IMSLP - User contributions [en]

User:JackB09

2017-02-09T16:44:40Z

JackB09:

{{Instr|pno-2|gui-1|com-1}}
{{Babel|en-|it|la-|fr-}}

* [http://it.wikipedia.org/wiki/Utente:JackB09 On it.Wikipedia]
* [http://imslp.org/wiki/Special:Contributions/JackB09 My Contributions]

== Other score projects ==
* [http://www.mutopiaproject.org/ Mutopia Project]
* [http://www.cpdl.org/ ChoralWiki]
* [http://icking-music-archive.org/ Werner Icking Music Archive]

User:JackB09

2013-08-28T19:34:54Z

JackB09:

{{Instr|pno-2|gui-1|com-1}}
{{Babel|en-|it|la-}}

* [http://it.wikipedia.org/wiki/Utente:JackB09 On it.Wikipedia]
* [http://imslp.org/wiki/Special:Contributions/JackB09 My Contributions]

== Other score projects ==
* [http://www.mutopiaproject.org/ Mutopia Project]
* [http://www.cpdl.org/ ChoralWiki]
* [http://icking-music-archive.org/ Werner Icking Music Archive]

Wishlist C-F

2010-09-23T18:39:13Z

JackB09: /* {{Cat|Enescu, George}} (1881–1955) */

{{wishlist|C-F}}

<div style="float: right; margin-left: 10px; font-size: 85%; padding-left: 80px">__TOC__</div>
==[[:Category:Cabanilles, Juan|Cabanilles, Juan Bautista]] (1644–1712)==
* All organ works
* Corrente Italiana

=={{Cat|Caplet, André}} (1878–1925)==
'''These works under copyright worldwide:'''
* Quintet for Winds and Piano (pub. 1996)

=={{Cat|Cervantes, Ignacio}} (1847–1905)==
* Soledad

=={{Cat|Carafa, Michele}} (1787–1872)==
*La belle au bois dormant (Sleeping Beauty) (1825)

=={{Cat|Casella, Alfredo}} (1883–1947)==
* Nove Pezzi per piano, op. 24
* Siciliana e burlesca, op. 23, (version for violin, cello and piano)
* Sicilienne et burlesque for flute and piano
* Barcarola et scherzo for flute and piano
* Symphony No. 2 in C minor, Op. 12 (1908-9), full score

=={{Cat|Charpentier, Marc-Antoine}} (1643–1704)==
* Messe de Minuit pour Noel, score and parts
* Te Deum (Full Score), Choir and Organ
* Les Art Florissants (Full Score)
* Missa Assumpta Est Maria, H. 11

=={{Cat|Chausson, Ernest}} (1855–1899)==
* 1889 Incidental music Les oiseaux, incidental music for Aristophanes' The Birds, for flute and harp
* 1879 Voice/Orchestra La veuve du roi basque, ballad to words by L. Brethous-Lafargue
* 1879-80 Voice/Orchestra Hylas, to words by Leconte de Lisle
* 1880 Voice/Orchestra Esméralda, to words by Victor Hugo
* 1881 Voice/Orchestra Hymne à la nature, to words by A. Silvestre
* 1881 Voice/Orchestra L'arabe, cantata
* 1881 Chamber Andante and Allegro for clarinet and piano
* 1878 Piano Sonatinas for piano four hands 1.No. 1 in G minor
2.No. 2 in D minor

* 1884 Piano Marche militaire for piano
* 1879 Keyboard O salutaris in B for organ, piano, or harp
* 1877 Voice/Piano Lilas, to words by Bouchor
* 1878 Voice/Piano Le petit sentier, to words by Bouchor
* 1879 Voice/Piano L'albatrois, to words by Charles Baudelaire
* 1879 Voice/Piano Le rideau de ma voisine, to words by Alfred de Musset

* 1882 Voice/Piano Nous nous aimerons, to words by anon.
* 1884 Voice/Piano Le mort maudit, to words by J. Richepin
* 1886 Voice/Piano Epithalame, to words by Bouchor
* 1891 Voice Tantum ergo for voice, organ, violin, and harp
* 1898 Voice/Piano Marins dévots à la Vierge, to words by L.-P. Fargue

* Op.11 1883 Two duos for voices 1.La nuit, to words by Théodore de Banville
2.Le réveil, to words by Honoré de Balzac

* Op.12 1886 Three motets for four voices, cello, harp, and organ 1.Ave Maria
2.Tota pulchra es 3.Ave maris stella

*Op.13 1885-87 Four Melodies 1.Apaisement, to words by Paul Verlaine (1885)
2.Sérénade, to words by Jean Lahor (1887)
3.L'aveu, to words by Villiers de L'Isle-Adam (1887)
4.La cigale, to words by Leconte de Lisle (1887)

*Op.14 1887 La caravane, song to words by Gautier (, also orch.)
*Op.15 1887-88 Chant nuptial, song for four female voices, to words by Leconte de Lisle
*Op.16 1888-91 Three Motets 1.Lauda Sion for voice, organ, and harp (1888)
2.Benedictus for two sopranos and harp (1890)
3.Pater noster for voice and organ (1891)

*Op.17 1888 Chansons de Miarka, to words by Jean Richepin 1.Les morts
2.La pluie

*Op.18 1888 La tempête, incidental music for Shakespeare's The Tempest (tr. M. Bouchor), for solo voices and small orchestra; and five pieces arranged
*Op.19 1882-90 Poème de l'amour et de la mer for voice and orchestra, to words by M. Bouchor(1882-90; rev. 1893)
*Op.22 1891 La légende de Sainte Cécile, incidental music, to words by Bouchor
*Op.23 1886-95 Le roi Arthus, original lyric drama in three acts
*Op.24 1893-96 Serres chaudes, song cycle to words by Maurice Maeterlinck 1.Serre chaude (1896)
2.Serre d'ennui (1893)
3.Lassitude (1893)
4.Fauves las (1896)
5.Oraison (1895)

*Op.27 1896 Three lieder, to words by Camille Mauclair 1.Les heures
2.Ballade
3.Les couronnes

*Op.28 1890-97 Songs of Shakespeare (tr. Bouchor) 1.Chanson de clown from Twelfth Night (1890)
2.Chanson d'amour from Measure for Measure (1891)
3.Chanson d'Ophélie from Hamlet (1896)
4.Chant funèbre from Much Ado about Nothing for four female voices (1897)

* Op.29 1896-97 Ballata (orig. title Canzoniere di Dante) , to words by Dante, for four voices
* Op.30 1897 Piano Quartet in A
* Op.31 1897 Vêpres pour le commun des vierges for organ
* Op.32 1897-98 Soir de fête, symphonic poem
* Op.33 1898 Pour un arbre de Noël, song
* Op.34 1898 Deux poèmes (Two Poems), songs with words by Verlaine 1.La chanson bien douce
2.Le chevalier malheur

* Op.36 1896-98 Two Melodies 1.Cantique à l'épouse, to words by A. Jounet (1896)
2.Dans la forêt du charme et de l'enchantement, to words by Jean Moréas (1898)

* Op.38 1895 Paysage (Landscape) for piano
* Op.39 1897 Piece for cello or viola, and piano

* Op.5 1882-87 Viviane, symphonic poem on a legend of the Round Table (1882, rev. 1887)
* Op.6 1883 Two Motets for voices, violin, and organ 1.Deus Abraham
2.Ave verum

* Op.7 1883-84 Hélène, lyric drama, in two acts, with libretto by Leconte de Lisle,incomplete
Op.8 1882-88 Four Melodies, to words by Maurice Bouchor 1.Nocturne (1886)
2.Amour d'antan (1882)
3.Printemps triste (1883)
4.Nos souvenirs (1888)

*Op.9 1886 Hymne védique for four voices and orchestra, to words by Leconte de Lisle

=={{Cat|Chopin, Frederic}} (1810–1849)==
* Canon in F Minor
::Can someone upload these from http://www.piano.ru/library-e.html?
::See also [http://www.chopinfiles.net/ ChopinFiles]
* Polish Songs Op.74 (with original text in Polish). - Uploaded 27 Jan 2010, big thank-you to Sibley - [[User:Aldona|Aldona]] 12:00, 27 January 2010 (UTC)
* Galop (1846) [probably Galop Marquis, which is already uploaded.]
* Andantino animato (1845)
* Prelude in F (1845)
* Nocturen Opus 9 no. 2 in Eb Major (Arranged for Guitar) full score (1830-1832)
* Mazur in G (Jakiez kwiaty, jakie wianki) (On the setting of a poem by Ignac Maciejowski) (August 22, 1829)

=={{Cat|Cilea, Francesco}} (1866–1950)==
* Adriana Lecouvreur (1902, opera)
* L'arlesiana (1987, opera)

=={{Cat|Cimarosa, Domenico}} (1749–1801)==
* Il Matrimonio segreto, overture in full score
* Concerto for two flutes in G major
* Il maestro di capella, vocal score or full score

=={{Cat|Claussmann, Aloÿs}} (1850–1926)==
* Organ works / Oeuvres pour orgue
=={{Cat|Clemens non Papa, Jacobus}} (ca.1510 — by 1556)==
* Missa Pastores quidnam vidisits
=={{Cat|Clementi, Muzio}} (1752–1832)==
* Sonata in G, WO 14 ''e.g. (Henle 817 or Henle 817/MDS)''
* Valses for piano (op. 38 numbers 4 to 12)
* Symphonies
*Selection of Practical Harmony

=={{Cat|Coleridge-Taylor, Samuel}} (1875–1912)==
'''Works first published after 1959 are copyright in Canada. Those first published after 1922 are possibly copyright in the USA.''' 
* Quintet for Clarinet and Strings in F Sharp minor, Op.10
* Romance in G for Violin and Orchestra
* Violin Concerto in G Minor Op.80 (either piano reduction or full score)

=={{Cat|Corelli, Arcangelo}} (1653–1713)==
* Concerto grosso Op. 6 No. 8, (Christmas concerto) parts
* Trio sonata Opus 2 No. 12, Chaconne, parts
* La Folia, Milstein Edition

=={{Cat|Corrette, Michel}} (1709–1795)==
* Organ works

=={{Cat|Couperin, François}} (1668–1733)==
* Leçons de Tenebres [FWC]
* Concerts Royaux (Facsimile); this is an appendix to the original ''Pieces de clavecin''
* Les Nations (Full Score)

=={{Cat|Couperin, Louis}} (1626–1661)==
* Oeuvre d'orgue
* Oeuvre d'Clavecin (Complete, Full Score)

=={{Cat|Cramer, Johann Baptist}} (1771–1858)==
* Instructions for the Pianoforte (c.1810)
* Piano Concerto No.8 Op.70

=={{Cat|Crawford Seeger, Ruth}} (1901–1953)==
* String Quartet

=={{Cat|Crusell, Bernhard Henrik}} (1775–1838)==
* Clarinet Concertos No.1 to 3 (Op.1, 5, 11) (piano reduction or full score)

=={{Cat|Cui, César Antonovich}} (1835–1918)==
*Full scores of operas (manuscript or engraved):
**''Prisoner of the Caucasus''
**''The Mandarin's Son''
**''William Ratcliff''
**''Mlada (Act 1)''
**''Angelo''
**''Le Flibustier''
**''The Saracen''
**''Feast in Time of Plague''
**''The Snow Bogatyr''' (At least a full score of the introduction was made.)
**''Mateo Falcone''
**''The Captain's Daughter''
**Musorgsky: ''The Fair at Sorochintsy''
*''Prisoner of the Caucasus'' -- 2nd Russian edition (ca. 1885)
* The Stone Guest (Complete Opera)--Full Score (collaborated with Nikolai Rimsky-Korsakov, completion of original by Alexander Dragomyschski).

=={{Cat|Czerny, Carl}} (1791–1857)==
* Symphonies
* 3 Rondos for Flute and Piano, Op. 374

=={{Cat|Damaré, Eugene}} (1840–1919)==
* Le merle blanc for piccolo flute and orchestra

=={{Cat|Dannreuter, Edward}}==
* Musical Ornamentation (1894)

=={{Cat|Danzi, Franz}} (1763–1826)==
* Sonata for Horn and Piano in E Minor, Op. 44
* Complete Wind Quintets
* Flute concertos

=={{Cat|Daquin, Louis-Claude}} (1694–1772)==
* Le Coucou

== {{Cat|Debussy, Claude}} (1862–1918)==
'''Works first published after 1958 are copyright in Canada. Those first published after 1922 are possibly copyright in the USA.''' 
'''Posthumously published works with copyright issues'''
* Élégie for piano, L. 138 (1915)
:While first appearing in an album entitled ''Pages inédites sur la Femme et la Guerre'' in 1916, its current engraved and published form is due to a 1978 printing by Jobert (plate J.J. 980). Possibly copyright until 2029 in Canada.
::If the engraved ed. of 1978 does not differ substantially from the version in the 1916 album, it is only protected in the EU until 2009, and of rather dubious status Canada and the USA. The 1916 edition itself is public domain worldwide. [[User:Carolus|Carolus]]
* Le Printemps (cantata for the Prix de Rome)
THESE WORKS UNDER COPYRIGHT WORLDWIDE: 
* Piano Trio (pub. 1986)
* Images Oubliées (1894) – ''first publ. 1977, copyright in Canada until 2028''
* Les soirs illuminés par l'ardeur du charbon (Album Leaf for piano) – ''first publ. 2003, copyright in Canada until 2054''
* Nocturne and Scherzo for Piano and Cello, L. 26 – ''first publ. 1995, copyright in Canada until 2046''
* Intermezzo for Cello and Orchestra (or piano), L. 27 – ''first publ. 1944 ed. by Gregor Piatigorsky (1903–1976), copyright in Canada until 2027''
:This is really more of an arrangement by Piatigorsky anyway.
* Orchestral score of Pelleas et Melisande that includes his revised orchestration
* "Symphonie en si mineur", four piano, four hands

=={{Cat|Delibes, Léo}} (1836–1891)==
* "Coppelia" , Orchestra Score
* Pizzicatto from "Sylvia" , Orchestra Score
* "Flower Duet" (score) or Lakmé (score)

=={{Cat|Delius, Frederick}} (1862–1934)==
* Florida Suite (full score)
* Brigg Fair – An Old English Rhapsody
* Appalachia
* The Sea
* Koanga, Act II: La Calinda
* North Country Sketches

==Demessieux, Jeanne (1921–1968)==
'''Under copyright worldwide. No posting without written permission from the copyright owner.'''
* Nativité, op. 4
* Six Études, op. 5
* Sept Méditations sur le Saint-Esprit, op. 6
* Triptyque, op. 7
* Twelve Choral-Preludes on Gregorian Chant Themes, op. 8
* Te Deum, op. 11
* Prélude et Fugue en Ut, op. 13
* "Chanson de Roland" for chorus, mezzo soprano, and orchestra

=={{Cat|Dienel, Otto}} (1839–1905)==
* Organ works

=={{Cat|Distler, Hugo}} (1908–1942)==
* Mörike-Chorliederbuch
* Geistliche Gesänge op.12
* Harpsichord Concerto
* Der Jahreskreis op.5
* Wie der Hirsch schreit nach frischem Wasser
* Choral Passion and Weinachtsgeschichte (full scores)
* Complete Organ Works

== {{Cat|Dittersdorf, Carl Ditters von}} (1739–1799) ==
* Double Bass Concerto

==[[:Category:Dohnányi, Ernő|Dohnányi, Ernő]] (1877–1960)==
'''Under copyright worldwide, apart from earlier works (publ. before 1923) which are PD in the USA. No posting without written permission from the copyright owner.'''
* Piano Quintet No. 1 in C minor, Op. 1 (1895)
* Vier Klavierstücke, Op. 2 (1897)
* Waltz for piano, four hands, Op. 3 (1897)
* Variations on a Theme by E.G., Op. 4 (1897)
* Piano Concerto No. 1 in E Minor, Op. 5 (1898)
* Passacaglia in E-flat Minor, Op. 6 (1899)
* String Quartet No. 1 in A Major, Op. 7 (1899)
* Cello Sonata in B-flat Minor, Op. 8 (1899)
* Symphony No. 1 in D Minor, Op. 9 (1901)
* Serenade in C Major for string trio, Op. 10 (1902)
* Vier Rhapsodien for piano, Op. 11 (1903)
* Konzertstück in D Major for cello and orchestra, Op. 12 (1904)
* ''Winterreigen'' for piano, Op. 13 (1905)
* String Quartet in D-flat Major, Op. 15 (1906)
* ''Five Humoresques in the Form of a Suite'' for piano, Op. 17 (1907)
* Suite in F-sharp Minor for orchestra, Op. 19 (1909)
* Violin Sonata in C-sharp Minor, Op. 21 (1912)
* Three Pieces for piano, Op. 23 (1912)
* Fugue in D Minor for piano, left hand alone, WoO (1913)
* ''Suite im alten Stil'' for piano, Op. 24 (1913)
* ''Variationen über ein Kinderlied'' for piano and orchestra, Op. 25 (1914)
* Piano Quintet No. 2 in E-flat Minor, Op. 26 (1915)
* Violin Concerto No. 1 in D Minor, Op. 27 (1915)
* Six Concert Etudes for piano, op. 28 (1916)
* Variations on a Hungarian Folksong, Op. 29 (1917)
* Pastorale (on the Hungarian Christmas song "Mennybõl az angyal"), WoO (1920)
* ''Ruralia Hungarica'', op. 32/a: Seven Pieces for solo Piano (1924)

=={{Cat|Donizetti, Gaetano}} (1797–1848)==
* L'assedio di Calais (melodramma lirico, 1836; publ. Ricordi); copies at the Library of Congress, Eastman School of Music, and Harvard University, and unavailable through interlibrary loan; no other known copies in North America
* Sonata in C major for flute and piano
* Il Campanello di notte - vocal score
* Viola Concerto, Viola Solo part.

Choral works
*Ave Maria
*Grande Offertorio
*Il sospiro
*Messa da Requiem
* Messa di Gloria e Credo
* Miserere (Psalm 50)

Orchestral works
* Allegro for Strings in C major
* L'ajo nell'imbarazzo: Sinfonia
* Larghetto, tema e variazioni in E flat major
* Roberto Devereux: Sinfonia
* Sinfonia Concertante in D major (1818)
* Sinfonia for Winds in G minor (1817)
* Sinfonia in A major
* Sinfonia in C major
* Sinfonia in D major
* Sinfonia in D minor
* Ugo, conte di Parigi: Sinfonia

* Orchestral overture to: Il Pigmalione (written 1816; premiere: 13 October 1960, Teatro Donizetti, Bergamo)
* Orchestral overture to: Olimpiade (1817, incomplete, libretto by Metastasio)
* Orchestral overture to: L'ira di Achille (1817)
* Orchestral overture to: Enrico di Borgogna (14 November 1818, Teatro San Luca, Venice)
* Orchestral overture to: Una follia (17 December 1818, Teatro San Luca, Venice) (lost)
* Orchestral overture to: I piccioli virtuosi ambulanti (1819), opera buffa in one act
* Orchestral overture to: Pietro il Grande zar di tutte le Russie ossia Il Falegname di Livonia (26 December 1819, Teatro San Samuele, Venice),
* Orchestral overture to: Le nozze in villa (1820; 1821? Teatro Vecchio, Mantua)
* Orchestral overture to: Zoraida di Granata or Zoraïda di Granata (28 January 1822, Teatro Argentina, Rome, rev. 7 January 1824 at the same theatre)
* Orchestral overture to: La Zingara (12 May 1822, Teatro Nuovo, Naples)
* Orchestral overture to: La lettera anonima (29 June 1822, Teatro del Fondo, Naples)
* Orchestral overture to: Chiara e Serafina, ossia I pirati (26 October 1822, Teatro alla Scala, Milan)
* Orchestral overture to: Alfredo il grande (2 July 1823, Teatro San Carlo, Naples)
* Orchestral overture to: Il fortunato inganno (3 September 1823, Teatro Nuovo, Naples)
* Orchestral overture to: L'ajo nell'imbarazzo (4 February 1824, Teatro Valle, Rome)
* Orchestral overture to: Emilia di Liverpool (L'eremitaggio di Liverpool) (28 July 1824, Teatro Nuovo, Naples)
* Orchestral overture to: Alahor in Granata (7 January 1826 Teatro Carolino, Palermo)
* Orchestral overture to: Don Gregorio [rev of L'ajo nell'imbarazzo] (11 June 1826, Teatro Nuovo, Naples)
* Orchestral overture to: Elvida (6 July 1826, Teatro San Carlo, Naples)
* Orchestral overture to: Gabriella di Vergy (written: 1826; premiere: 29 November 1869, Teatro San Carlo, Naples) (Gabriella)
* Orchestral overture to: Olivo e Pasquale (7 January 1827 Teatro Valle, Rome)
* Orchestral overture to: Olivo e Pasquale [rev] (1 September 1827, Teatro Nuovo, Naples)
* Orchestral overture to: Otto mesi in due ore (13 May 1827, Teatro Nuovo, Naples) (Gli esiliati in Siberia)
* Orchestral overture to: Il borgomastro di Saardam (19 August 1827, Teatro del Fondo, Naples)
* Orchestral overture to: Le convenienze ed inconvenienze teatrali , also known as Viva la mamma (21 November 1827, Teatro Nuovo, Naples)
* Orchestral overture to: L'esule di Roma, ossia Il proscritto (1 January 1828, Teatro San Carlo, Naples)
* Orchestral overture to: Emilia di Liverpool [rev] (8 March 1828, Teatro Nuovo, Naples)
* Orchestral overture to: Alina, regina di Golconda (12 May 1828, Teatro Carlo Felice, Genoa)
* Orchestral overture to: Gianni di Calais (2 August 1828, Teatro del Fondo, Naples)
* Orchestral overture to: Il paria (12 January 1829, Teatro San Carlo, Naples)
* Orchestral overture to: Il giovedi grasso (Il nuovo Pourceaugnac) (26 February 1829?, Teatro del Fondo, Naples)
* Orchestral overture to: Il castello di Kenilworth (6 July 1829, Teatro San Carlo, Naples)
* Orchestral overture to: Alina, regina di Golconda [rev] (10 October 1829, Teatro Valle, Rome)
* Orchestral overture to: I pazzi per progetto (6 February 1830, Teatro San Carlo, Naples)
* Orchestral overture to: Il diluvio universale (28 February 1830, Teatro San Carlo, Naples)
* Orchestral overture to: Imelda de' Lambertazzi (5 September 1830, Teatro San Carlo, Naples)
* Orchestral overture to: Anna Bolena (26 December 1830, Teatro Carcano, Milan)
* Orchestral overture to: Le convenienze ed inconvenienze teatrali [rev of Le convenienze teatrali] (20 April 1831, Teatro Canobbiana, Milan)
* Orchestral overture to: Gianni di Parigi (written: 1831; premiere: 10 September 1839, Teatro alla Scala Milan)
* Orchestral overture to: Francesca di Foix (30 May 1831, Teatro San Carlo, Naples)
* Orchestral overture to: La romanziera e l'uomo nero (18 June 1831, Teatro del Fondo, Naples) (libretto lost)
* Orchestral overture to: Fausta (12 January 1832, Teatro San Carlo, Naples)
* Orchestral overture to: Ugo, conte di Parigi (13 March 1832, Teatro alla Scala Milan)
* Orchestral overture to: L'elisir d'amore (12 May 1832, Teatro Canobbiana, Milan)
* Orchestral overture to: Sancia di Castiglia (4 November 1832, Teatro San Carlo, Naples)
* Orchestral overture to: Il furioso all'isola di San Domingo (2 January 1833, Teatro Valle, Rome)
* Orchestral overture to: Otto mesi in due ore [rev] (1833, Livorno)
* Orchestral overture to: Parisina (17 March 1833, Teatro della Pergola, Florence)
* Orchestral overture to: Torquato Tasso (9 September 1833, Teatro Valle, Rome)
* Orchestral overture to: Lucrezia Borgia (26 December 1833, Teatro alla Scala Milan)
* Orchestral overture to: Il diluvio universale [rev] (17 January 1834, Teatro Carlo Felice, Genoa)
* Orchestral overture to: Rosmonda d'Inghilterra (27 February 1834, Teatro della Pergola, Florence)
* Orchestral overture to: Maria Stuarda [rev] (Buondelmonte) (18 October 1834, Teatro San Carlo, Naples)
* Orchestral overture to: Gemma di Vergy (26 October 1834, Teatro alla Scala Milan)
* Orchestral overture to: Maria Stuarda (30 December 1835, Teatro alla Scala Milan)
* Orchestral overture to: Marin Faliero (12 March 1835, Théâtre-Italien, Paris)
* Orchestral overture to: Lucia di Lammermoor (26 September 1835, Teatro San Carlo, Naples)
* Orchestral overture to: Belisario (4 February 1836, Teatro La Fenice, Venice)
* Orchestral overture to: Il campanello di notte (1 June 1836, Teatro Nuovo, Naples)
* Orchestral overture to: Betly, o La capanna svizzera (21 August 1836, Teatro Nuovo, Naples)
* Orchestral overture to: L'assedio di Calais (19 November 1836, Teatro San Carlo, Naples)
* Orchestral overture to: Pia de' Tolomei (18 February 1837, Teatro Apollo, Venice)
* Orchestral overture to: Pia de' Tolomei [rev] (31 July 1837, Sinigaglia)
* Orchestral overture to: Betly [rev] ((?) 29 September 1837, Teatro del Fondo, Naples)
* Orchestral overture to: Roberto Devereux (28 October 1837, Teatro San Carlo, Naples)
* Orchestral overture to: Maria de Rudenz (30 January 1, 1838 Teatro La Fenice, Venice)
* Orchestral overture to: Gabriella di Vergy [rev] (written: 1838; August 1978 recording, London)
* Orchestral overture to: Poliuto (written: 1838; premiere: 30 November 1848, Teatro San Carlo, Naples)
* Orchestral overture to: Pia de' Tolomei [rev 2] (30 September 1838, Teatro San Carlo, Naples)
* Orchestral overture to: Lucie de Lammermoor [rev of Lucia di Lammermoor] (6 August 1839, Théâtre de la Renaissance, Paris)
* Orchestral overture to: Le duc d'Albe (written: 1839; premiere: 22 March 1882, Teatro Apollo, Rome) (Il duca d'Alba)
* Orchestral overture to: Lucrezia Borgia [rev] (11 January 1840, Teatro alla Scala Milan)
* Orchestral overture to: Poliuto [rev] (Les martyrs) (10 April 1840, Paris Opera (Salle Le Peletier)
* Orchestral overture to: La fille du régiment (11 February 1840, Opéra-Comique, Paris)
* Orchestral overture to: L'ange de Nisida (1839; ?)
* Orchestral overture to: Lucrezia Borgia [rev 2] (31 October 1840, Théâtre-Italien, Paris)
* Orchestral overture to: La favorite [rev of L'ange de Nisida] (2 December 1840, Paris Opera (Salle Le Peletier)
* Orchestral overture to: Adelia (11 February 1841, Teatro Apollo, Rome)
* Orchestral overture to: Rita (Deux hommes et une femme) (written: 1841; premiere: 7 May 1860, Opéra-Comique, Paris)
* Orchestral overture to: Maria Padilla (26 December 1841, Teatro alla Scala Milan)
* Orchestral overture to: Linda di Chamounix (19 May 1842, Kärntnertortheater, Vienna)
* Orchestral overture to: Linda di Chamounix [rev] (17 November 1842, Théâtre-Italien, Paris)
* Orchestral overture to: Caterina Cornaro (18 January 1844, Teatro San Carlo, Naples)
* Orchestral overture to: Don Pasquale (3 January 1843, Théâtre-Italien, Paris)
* Orchestral overture to: Maria di Rohan (5 June 1843, Kärntnertortheater, Vienna)
* Orchestral overture to: Dom Sébastien (13 November 1843, Paris Opera (Salle Le Peletier)
* Orchestral overture to: Dom Sébastien [rev] (6 February 1845, Kärntnertortheater, Vienna)

Concertos
* Concertino for Clarinet in B flat major
* Concertino for English Horn in G major (1816)
* Concertino in C minor for flute and chamber orchestra (1819)
* Concertino for Flute and Orchestra in C major
* Concertino for Flute and Orchestra in D major * Concertino for Oboe in F major
* Concertino for Violin and Cello in D minor
* Concerto for 2 Clarinets "Maria Padilla"
* Concerto for Violin and Cello in D minor

Chamber works
* Andante sostenuto for Oboe and Harp in F minor
* Introduction for Strings in D major
* Larghetto and Allegro for Violin and Harp in G minor
* Largo/Moderato for Cello and Piano in G minor
* Nocturnes (4) for Winds and Strings
* Quartet for Strings in D major
* Quartet for Strings no 3 in C minor: 2nd movement, Adagio ma non troppo
* Quartet for Strings no 4 in D major
* Quartet for Strings no 5 in E minor
* Quartet for Strings no 5 in E minor: Larghetto
* Quartet for Strings no 6 in G minor
* Quartet for Strings no 7 in F minor
* Quartet for Strings no 8 in B flat major
* Quartet for Strings no 9 in D minor
* Quartet for Strings no 10 in G minor
* Quartet for Strings no 11 in C major
* Quartet for Strings no 12 in C major
* Quartet for Strings no 13 in A major
* Quartet for Strings no 14 in D major
* Quartet for Strings no 15 in F major
* Quartet for Strings no 16 in B minor
* Quartet for Strings no 17 in D major
* Quartet for Strings no 18 in E minor
* Quartet for Strings no 18 in E minor: Allegro
* Quintet for Guitar and Strings no 2 in C major
* Solo de concert
* Sonata for Flute and Harp
* Sonata for Flute and Piano in C minor
* Sonata for Oboe and Piano in F major
* Study for Clarinet no 1 in B flat major
* Trio for Flute, Bassoon and Piano in F major

Piano works
* Adagio and Allegro for Piano in G major
* Allegro for Piano in C major
* Allegro for Piano in F minor
* Fugue for Piano in G minor
* Grand Waltz for Piano in A major
* Larghetto for Piano in A minor "Una furtiva lagrima"
* Larghetto for Piano in C major
* Pastorale for Piano in E major
* Presto for Piano in F minor
* Sinfonia for Piano in A major
* Sinfonia for Piano no 1 in C major
* Sinfonia for Piano no 1 in D major
* Sinfonia for Piano no 2 in C major
* Sinfonia for Piano no 2 in D major
* Sonata for Piano in C major
* Sonata for Piano in F major
* Sonata for Piano in G major
* Variations for Piano in E major
* Variations for Piano in G major
* Waltz for Piano in A major
* Waltz for Piano in C major
* Waltz for Piano in C major "The Invitation"

=={{Cat|Draeseke, Felix}} (1835–1913)==
* Piano Concerto in E flat Major, Op. 36, Two Piano Reduction
Christus-Mysterium Klavierauszug Piano Reduction
* Thuner See, symphonic poem (Full score or piano reduction)

=={{Cat|Driffill, William Ralph}} (1870–1922)==
'''Works first published after 1959 are copyright in Canada. Those first published after 1922 are possibly copyright in the USA.''' 
* Toccata in F minor (from Suite No. 1)

=={{Cat|Drigo, Riccardo}} (1846–1930)==
* La Esmeralda Pas de Deux (specifically the "tambourine variation", and for piano)

==[[:Category:Drouet, Louis François Philippe|Drouët, Louis François Philippe]] (1792–1873)==
* Method of Flute Playing (London, 1830)

=={{Cat|Dukas, Paul}} (1865–1935)==
* Götz de Berlichingen
* L'apprenti sorcier (The sorcerer's apprentice) - Arrangement pour orgue seul (Organ solo transcription)

=={{Cat|Dussek, Jan Ladislav}} (1760–1812)==
* Fantasia & Fugue in F Minor, Op. 55

=={{Cat|Dvořák, Antonín}} (1841–1904)==
* Armida, Opera Op.115
* Cello Concerto No. 1 in A major (B. 10) – ''first publ. 1975, possibly copyright in Canada until 2026''
* Kate and the devil, Opera Op.112
* String Quintet No. 2 in G major, Op. 77
* String Sextet in A major, Op. 48
* String Quartets (Nos. 1-3, 5-8)
* String Quintet in E-flat major, Op.97, American
* Songs my mother taught me (from Gypsy songs), Op.55 No.4 (violin and piano version by Louis Persinger) - ''Persinger d.1966, under copyright everywhere except the US''



==Eisler, Hanns (1898–1962)==
'''Under copyright worldwide, apart from earlier works (publ. before 1923) which are PD in the USA. No posting without written permission from the copyright owner.'''
* Solidaritätslied (Solidarity Song)

=={{Cat|Elgar, Edward}} (1857–1934)==
'''Works first published after 1959 are copyright in Canada. Those first published after 1922 are possibly copyright in the USA.'''
* Serenade (Piano Solo Work)
* In the South (full score)
* Organ Sonatas
* Sonatina for piano
* Pomp and Circumstance March No. 1 (organ transcription by E. Lemare)
* Pomp and Circumstance Marches Nos. 5 and 6 (Full Scores)
:P&C5 in full score is already up, but unfortunately subject to blocking owing to the 95-year copyright in the US, which expires in 2020. P&C6 exists as either unpublished sketch fragments or the full score and parts realised by Anthony Payne, who is still living and would have full rights as co-author, so this is a fairly unrealistic wish. Regards, [[User:Pml|Philip Legge]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User talk:Pml|talk]] 04:27, 9 July 2010 (UTC)
* Give unto the Lord, Op.74 (full score)

=={{Cat|Enescu, George}} (1881–1955)==
'''While works first published before 1960 are PD in Canada, the works of this composer are copyright in the EU. Only works published before 1923 are PD in the USA.''' 
* Piano quartets: No. 1, Op. 16 and No. 2, Op. 30
* Piano quintet Op. 29
* Sonata for Cello and Piano Op. 26 n° 1 (f minor)

=={{Cat|Ewald, Victor}} (1860–1935)==
'''Works first published after 1959 are copyright in Canada. Those first published after 1922 are possibly copyright in the USA.'''
* Brass Quintet No.1, Op.5 (score and parts)
* Brass Quintet No.2 in E{{flat}}, Op.6 (score and parts)
* Brass Quintet No.3 in D{{flat}}, Op.7 (score and parts)
* Brass Quintet No.4 in A{{flat}}, Op.8 (score and parts)

==Eyken, Jan Albert van (1823–1868)==
* Organ works


=={{Cat|Fährmann, Hans}} (1860–1940)==
'''While works first published before 1960 are PD in Canada, the works of this composer are copyright in the EU. Only works published before 1923 are PD in the USA.'''
* Organ sonatas

=={{Cat|Falla, Manuel de}} (1876–1946)==
'''While works first published before 1960 are PD in Canada, the works of this composer are copyright in the EU. Only works published before 1923 are PD in the USA.''' 
* Vals Capricho – ''first publ. 1996, under copyright worldwide''
* Cortejo de Gnomos – ''first publ. 1996, under copyright worldwide''
* Allegro de Concierto – ''first publ. 1986, under copyright worldwide''
* Mazurca en Do Menor – ''first publ. 1992, under copyright worldwide''
* Suites Populaires Espagnoles for violin and piano

=={{Cat|Farrenc, Louise}} (1804–1875)==
* Complete Piano Works

=={{Cat|Fibich, Zdeněk}} (1850–1900)==
* At Twilight, Op. 39
* Moods, Impressions, and Souvenirs, Op. 47
* Moods, Impressions, and Souvenirs, Op. 57
* Symphony No. 1
* Symphony No. 2
* Symphony No. 3

==[[:Category:Fischer, Johann Caspar Ferdinand|Fischer, J. C. F.]] (1665–1746)==
* Musikalischer Parnassus
* Harpsichord Suites

=={{Cat|Flügel, Gustav}} (1812–1900)==
* Organ works

=={{Cat|Forchhammer, Theophil}} (1847–1923)==
* Organ works

=={{Cat|Foulds, John}} (1880–1939)==
'''Works first published after 1959 are copyright in Canada. Only works published before 1923 are PD in the USA.'''
* All works!

=={{Cat|Fowler-Judd, Alice}} (1873–1940)==
*Cinderella-A Fairy Tale (Century Music Publishing)
*In the Month of Roses (Century Music Publishing, 1913)

=={{Cat|Franck, César}} (1822–1890)==
* Cello Sonata (violin sonata transcribed for cello)
* A decent scan of the Violin Sonata.

=={{Cat|Franck, Richard}} (1858–1938)==
'''Works first published after 1959 are copyright in Canada. Only works published before 1923 are PD in the USA.'''
* Violin sonatas Op. 14, Op. 35
* Piano trios Op. 20, Op. 32
* Piano quartets Op. 33, Op. 41

=={{Cat|Freitas Branco, Luís de}} (1890–1955)==
'''While works first published before 1960 are PD in Canada, the works of this composer are copyright in the EU. Only works published before 1923 are PD in the USA.'''
* Violin Concerto (1916)
* Alentejo Suite No. 1 (1919)
* Alentejo Suite No. 2 (1927)

=={{Cat|Frescobaldi, Girolamo}} (1583–1643)==
* Books of Toccatas, canzonas...
* Fiori Musicali
* For book 1 of canzoni see http://icking-music-archive.org/ByComposer/Frescobaldi.php [FWC]
** I also posted the original edition [[Il primo libro delle canzoni (Frescobaldi, Girolamo)|here]] --[[User:Boccaccio|Boccaccio]][[User talk:Boccaccio|Talk]] [[Special:Emailuser/Boccaccio|Email]] 13:28, 21 May 2009 (EDT)
* Fioretti di Frescobaldi

=={{Cat|Fuchs, Robert}} (1847–1927)==
'''Works first published after 1959 are copyright in Canada. Those first published after 1922 are possibly copyright in the USA.''' 
'''Works for piano'''
* Eglogue, Op. 5
* Landliche Szenen, Op. 8
* Sonata No. 1, Op. 19
* New improvisations, Op. 30
* Jugendklänge, Op. 32
* Preludes Op. 34
* In der Dämmerstunde (four hands), Op. 38
* Sommermärchen, Op. 39
* Herbstblätter, Op. 43
* Miniaturen (four hands), Op. 44
* Jugend-album, Op. 47
* Cello Sonata No. 2, Op. 83
* Sonata No. 2, Op. 88
* Nine fantasy pieces, Op. 89
* Sonata No. 3, Op. 109
* Four pieces, Op. 111
* Tautröpfen, Op. 112
* Six pieces, Op. 114
* An die Zither an meiner Wohnungstûre (man choir and harp)
* Marienblumen (women choir and harp or piano)

=={{Cat|Fumagalli, Adolfo}} (1828–1856)==
In general looking for all his piano works
* École Moderne du Pianiste : recueil de 24 morceaux caracteristiques for piano, Op. 100
* Le prophete : grande fantaisie de bravoure for piano, op. 43
* Grande Fantaisie Militaire for piano, Op. 60

=={{Cat|Fürstenau, Anton Bernhard}} (1792–1852)==
* Flöten-schule, Op. 42 (1826)
* Die Kunst des Flötenspiels, Op.138 (1844)

----
[[Wishlist A-B|Composers A-B]] | [[Wishlist G-K|Composers G-K]] | [[Wishlist L-P|Composers L-P]] | [[Wishlist Q-S|Composers Q-S]] | [[Wishlist T-Z|Composers T-Z]]

User:JackB09

2010-06-14T10:28:24Z

JackB09:

{{Instr|pno-2|gui-1|com-1}}
{{Babel|en-|it|la-}}

* [http://it.wikipedia.org/wiki/Utente:JackB09 On it.Wikipedia]
* [http://www.myspace.com/giacomobergami On MySpace]
* [http://digilander.iol.it/MIDISEARCH On my personal Website: MIDISEARCH]

* [http://imslp.org/wiki/Special:Contributions/JackB09 My Contributions]

== Other score projects ==
* [http://www.mutopiaproject.org/ Mutopia Project]
* [http://www.cpdl.org/ ChoralWiki]
* [http://icking-music-archive.org/ Werner Icking Music Archive]

User:JackB09

2010-05-21T09:55:23Z

JackB09:

User talk:Carolus

2008-12-25T21:29:53Z

JackB09: /* Re: Banchieri */

== Archive pages for this user talk page ==
*[[User talk:Carolus/archive1|Aug. 08, 2006 - May 08, 2007]]
*[[User talk:Carolus/archive2|May 09, 2007 - July 07, 2007]]
*[[User talk:Carolus/archive3|{{#makedate:2007|07|08}} - {{#makedate:2007|11|22}}]]
*[[User talk:Carolus/archive5|{{#makedate:2007|11|23}} - {{#makedate:2008|07|08}}]]

== Regarding the changing of explanation for Amazon links ==

Hi Carolus, I forgot to respond to your mention of changing the description. We can talk about this more over the phone, but I think it might be a good idea to have a concrete percentage, regardless of what it is. That way there is more transparency, and people know exactly what happened to their money.

However, insofar as changing goes, you can actually edit it directly here: [[Mediawiki:FTE:imslppage]]. I have yet to internationalize the ads, so they are directly in the template, but when I do get around to doing so they will be in the Messages subpage: [[Mediawiki:FTE:imslppage:Messages]]. --[[User:Feldmahler|Feldmahler]] 14:44, 9 July 2008 (EDT)

== Goldberg variations ==

Hi Carolus, isn't the recently submitted score on Goldberg variations the first edition rather than a manuscript? If you compare it with a image from [http://en.wikipedia.org/wiki/Image:Quodlibet.jpg wikipedia] you'll see that they are the same. --[[User:Funper|Funper]] [[User talk:Funper|talk]] 12:57, 14 July 2008 (EDT)
:I was wondering about that. It's very unusual for an engraving, especially looking at the curved beams. It must have been freehand-engraved with only minimal use of punches. Is this the edition that Bach had published himself? Now that I see it in detail, I agree with your point. This is certainly the 1741 edition. I'll change the page accordingly. Thanks, [[User:Carolus|Carolus]] 13:05, 14 July 2008 (EDT)

== Amazon score links ==

Hi Carolus, I've added a field to the file template specifically for Amazon score links that you've been adding (an example can be found on [[Piano_Concerto_No.5,_Op.73_(Beethoven,_Ludwig_van)|this page]]). However, generally speaking I think we should limit it to only the most famous pieces; having them anywhere else would be I think more labour than it is worth, and will unnecessarily crowd the page with ads. Instead, perhaps we can try having 2 scores and 3 CDs in the Amazon section, as opposed to the current 5 CDs. That will I think be much more flexible and less time-consuming. If we find that people don't really care about buying scores through Amazon, we can switch back to the 5 CD format. Tell me what you think about that. --[[User:Feldmahler|Feldmahler]] 02:22, 15 July 2008 (EDT)

== Marx deletion ==

Ok, but the [[public domain]] page gave the impression that files that were tagged as such would somehow be hosted on the US server ("These files are hosted on IMSLP's U.S. server...We expect uploaders to put considerable effort into assuring that the upload is in the public domain in Canada or the U.S.", which in this case it was in the US). I think the file name and such were wrong anyways, so all for the better. [[User:Alton|Alton]] 05:02, 18 July 2008 (EDT)

== Mahler Symphonies in Full Score ==

Carolus, about the Symphony No. 8 you posted a while back...that wasn't from the Dover reprint, was it? It has many less pages than what is listed for the Dover. I ask because I'm thinking about starting a project (among my many) to finish scanning the Mahler symphonies, and I'd like to know which are the definitive sources/versions. I don't really have the time to research his different revisions and their current publications, so I was hoping you could just tell me which would be the best of the missing symphony full scores to upload :) Should I just stick with the Dover scores, or should I reach for some of the later editions? [[User:Daphnis|Daphnis]] 17:10, 19 July 2008 (EDT)
:Hi, the Dover score for Mahler 8 is a reprint of one issued by Muzika in the late 1960s or thereabouts. It would definitely be worth having in addition to the UE one I posted. I would start with the Dover scores except for No.7 which I understand is a real train wreck (see the reviews over at Amazon for the details. I think the Soviets issued all of the Mahler symphonies plus ''Das Lied von der Erde'' in the big wave of Mahler popularity that started in the 1960s. I suspect they re-engraved the critical editions from that era as issued by UE, Kahnt and others. That has some advantages in terms of letting us have the critical edition - which should be fine to post in Canada as long as it's from before 1983, despite their ambiguous status in the USA - without necessarily drawing unwanted attention (with its attendant lawyer's fees) just after re-launch. The Dover scores should serve as a good starting point for our Mahler archive in most cases. [[User:Carolus|Carolus]] 22:33, 19 July 2008 (EDT)
::So Dover scores all around except the 7th. Is the Dover reprint of ''Das Lied von der Erde'' safe (since I'm trying to get my hands on it now), or also muddled? [[User:Daphnis|Daphnis]] 22:36, 19 July 2008 (EDT)
:It's pretty good - a reprint of the first edition (UE). Not a great deal of differences between it and the critical, which is an amended reprint of the same score. As it's a late piece, Mahler didn't have time to tinker with it - a habit he seems to have picked up from his teacher Bruckner. [[User:Carolus|Carolus]] 22:39, 19 July 2008 (EDT)
::Understood. How about a suitable edition of the 7th? Give me OCLC accession numbers if that's easier. I can request them directly with that. [[User:Daphnis|Daphnis]] 22:40, 19 July 2008 (EDT)
:That's a great idea. I can get the numbers fairly easily. The Soviet edition might be a good one for 7. [[User:Carolus|Carolus]] 22:47, 19 July 2008 (EDT)
::Good. I'll start with the 7th whenever you provide an OCLC number as it may or may not be harder to acquire than the ubiquitous Dover scores. Thanks for the insight! [[User:Daphnis|Daphnis]] 22:50, 19 July 2008 (EDT)
:::Before that, I couldn't find any Soviet publishers with the 7th symphony. They all seem to be Eulenberg or Dover. I was also trying to find out exactly when that volume came out in the Sämtliche Werke series (Band 7) but can't find an exact date. [[User:Daphnis|Daphnis]] 23:15, 19 July 2008 (EDT)
:I'll troll around over at Tarakanov's to see if he has any more Mahler. I know just enough Russian to get myself in trouble. [[User:Carolus|Carolus]] 23:17, 19 July 2008 (EDT)
::According to the IGMG site, I found this on the pub. date of the 7th:

Volume 7

Symphony No. 7
(in five movements for orchestra)

Study score
Editor: Erwin Ratz
Publisher: Bote & Bock, BB 16867, Berlin, 1960
ISMN: M-2025-0769-8

Miniature score, foreword by Friedrich Saathen
Editor: Erwin Ratz
Publisher: Philharmonia, 473, Vienna, 1976

Public domain in US? [[User:Daphnis|Daphnis]] 09:49, 20 July 2008 (EDT)

:The Ratz edition was [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=ratz&Search%5FCode=NALL&CNT=100&REC=0&RD=0&RC=0&PID=1oMrMaM4-95UFBDdQChim6t2rLO&SEQ=20080720200807&SID=1 registered and renewed] in the US. It would take a court case to disprove the claim. Any critical edition produced in 1960 or 1976 is, however, free in Canada - and even in the EU. I'm going to talk to Feldmahler about setting up a system whereby things can be scanned and uploaded from Canada or a similarly free territory for cases like this. [[User:Carolus|Carolus]] 19:49, 20 July 2008 (EDT)
::The link you included was for Symphony No.2, but I assume they still filed a renewal for the 7th. I suppose I'll just go ahead and scan and upload this version as it'll be free in Canada and the EU. Any other options for PD in the US besides the Dover reprint? [[User:Daphnis|Daphnis]] 19:53, 20 July 2008 (EDT)
:The page I copied and pasted the URL from was for Symphony No. 7 (!). Go figure.... Kalmus and Lucks both offer the piece of course. I suspect they might be reprinting the same score Dover has, but one never knows for sure until you actually see it. They aren't in the habit of stating what has been reprinted. That can sometimes lead to real train wrecks, as they found out when they offered Chrysander ed. scores and Novello parts for various Handel oratorios. [[User:Carolus|Carolus]] 20:00, 20 July 2008 (EDT)
::The Dover and Kalmus reprints are both 257 pages and Eulenberg probably re-engraved theirs of 400 pages. Is it a safe bet to assume the Dover and Kalmus are the exact same score? [[User:Daphnis|Daphnis]] 20:20, 20 July 2008 (EDT)
:Yes, any score this large would be very nearly impossible to produce in the identical number of pages. Eulenburg has been known to reprint some of the Mahler Gesellschaft scores under license, though there are often earlier issues where they made their own engraving (back in the Leipzig days). Peters Leipzig in the East Germany / Soviet era produced a number of things on their own as well, though I'm not sure if they got into Mahler. They definitely produced new engravings of a number of Debussy works, though. [[User:Carolus|Carolus]] 20:25, 20 July 2008 (EDT)
Back on Mahler a bit: I have access to the complete works edition, so wouldn't it be best for me to just scan these volumes instead of any Dover reprints? Since these are so long, I'd like to try and minimize the number of pages with which my scanners have to contend. [[User:Daphnis|Daphnis]] 21:58, 10 August 2008 (EDT)
:Carolus, yes/no to my above thought? [[User:Daphnis|Daphnis]] 19:33, 14 August 2008 (EDT)
:Hi. Sorry I missed your previous question above. The problem with the critical scores is that since they have copyright claims with renewals and the like, they will be tagged Non-PD in the USA. This means they will be blocked until Feldmahler writes some code to actually block access only from the USA or we allow unlimited download as long as the end user clicks on the appropriate disclaimer, etc. It's sort of complicated since the IMSLP corporate entity is actually in the USA, even though the site itself is in Canada. Right now, as reluctant as I am to say so, I think we'd be a lot safer with the reprint scores. As far as I know, No.7 is the only really bad one in the Dover series. I wonder if Kalmus reprinted a better score than Dover did for that one. [[User:Carolus|Carolus]] 02:56, 15 August 2008 (EDT)
Yes, I'm aware of their (critical scores) copyright status in the US, but I'm just wondering if, aside from the blocking reason, there is any compelling reason to have both. I believe that both Dover and Kalmus reprinted the same early printing of 7. [[User:Daphnis|Daphnis]] 14:41, 15 August 2008 (EDT)
:Aside from the reason stated above, which is ultimately temporary in nature, there really is no reason to have both. I have a facsimile of the manuscript for the Seventh Symphony which will ultimately be added to the collection here. If you have ready access to the critical editions, I'd say go for them and leave the Dover scores to Tarakanov, etc. [[User:Carolus|Carolus]] 22:18, 15 August 2008 (EDT)
::Ok, I've started in on the critical editions with No. 2. Can I also include the forward by Ratz and/or the Revisionsbericht preceeding the music? [[User:Daphnis|Daphnis]] 08:30, 26 August 2008 (EDT)
:Great! As for the foreword and revisonbericht, they fall under the same rule that an original composition by Ratz would. It's OK to post if Ratz has been dead for more than 50 years, otherwise no. [[User:Carolus|Carolus]] 14:48, 26 August 2008 (EDT)
I can understand the forward, but are you certain the Revisionsbericht fall under the same category? As I would interpret it, such a list would be seen (and, in fact IS) as nothing more than a quantitative changelog; an objective survey of items altered and not any piece of synthesized prose developed by Ratz or any one person. [[User:Daphnis|Daphnis]] 16:52, 26 August 2008 (EDT)
:I guess the legal question would boil down to: Is the ''Revisionbericht'' by Ratz expressed in any way that can be considered unique or original? It's a hard question to answer, and the problem with this sort of thing is that the status of such information listings - often in table form - have been upheld by some courts, albeit inconsistently. The situation in the EU is even worse in this regard. My recommendation would be to avoid reproducing it directly. Putting the contents of his ''Revisionbericht'' on the work's talk page - using a modified layout - would be perfectly fine, however. In fact, if anyone wanted to compare editions and list all the differences in tabular form, we could even claim our own copyright on it (not that we'd want to, mind you). [[User:Carolus|Carolus]] 21:23, 26 August 2008 (EDT)

== Rachmaninoff ''Symphonic Dances'' ==

So I noticed that Kalmus reprinted this from the original publication by C. Foley in 1941. Is it indeed public domain in the U.S., and if so how? Since we desperately need to add this to our collection, I need to find the best copy to get and scan. Recommendations? [[User:Daphnis|Daphnis]] 22:39, 19 July 2008 (EDT)
:No, they are printing it under license. If you obtain a Kalmus reprint, you'll see the Foley copyright notice right there in your face. I have one on the shelf about 6 feet from where I'm sitting. It's public domain in Canada, of course. [[User:Carolus|Carolus]] 22:41, 19 July 2008 (EDT)
::I see. Well, it'll still be PD in Canada. How does your Kalmus reprint look? Wondering if I should go for it or the original print. [[User:Daphnis|Daphnis]] 22:43, 19 July 2008 (EDT)
:I'll be happy to send it your way, since a package is going in your direction anyway. It's a large score (10 x 13), with fairly decent printing. [[User:Carolus|Carolus]] 22:45, 19 July 2008 (EDT)
::Well, don't go to extra expense especially seeing as how I can easily get the exact same score sent free of charge. [[User:Daphnis|Daphnis]] 22:47, 19 July 2008 (EDT)
:No problem. I just found a score of some sort over at Tarakanov's site. I suspect it's a 2-up affair from the page count. Probably scanned from the Muzgiz score. [[User:Carolus|Carolus]] 22:58, 19 July 2008 (EDT)

Hi Carolus,

I have realized, that some of my typesetted scores (Eccard, Hammerschmidt, Haydn, Hook, Mozart,
Rosier, Vanhal) are still blocked. I can´t see any reason for this. Is it possible to
eliminate the blocking?
I still want to say: It´s very fine, that IMSLP has reopened! Best regards [[User:Notenschreiber|Notenschreiber]] 13:12, 20 July 2008 (EDT)

== Not 6 Bagatelles? ==
Hello Carolus. Obviously I am brand new around here. The Beethoven [[Bagatelles,_Op.126_(Beethoven,_Ludwig_van)|op. 126]] is often referred to as the 6 bagatelles and is so described in IMSLP's [[List_of_compositions_by_Ludwig_van_Beethoven,_by_opus_number|list of compositions]] and [[Ludwig_van_Beethoven_-_Complete_Works_Edition|Complete Works Edition]] (#190). What is to be gained by deleting that description, when surely that could make those pieces more difficult to find? I think I don't understand the guiding principle here. Or else don't agree with it! (Should the 7 Bagatelles then be changed too? I hope not.) Thanks for the seemingly limitless amount of work that you do on this project. --[[User:Df|Df]] 01:56, 22 July 2008 (EDT)
:Thanks for pointing this out. We'll change it to ''6 Bagatelles, Op.126''. The general principle is to keep titles minimal and avoid things like mention of the key and the instrumentation unless there is a compelling reason to do so. For example, ''6 Bagatelles for Fortepiano, Op.126'' has a needless mention of the instrumentation because the Op.126 was written only for piano - not for any other instrument. Likewise, ''Symphony No. 5 for Grand Orchestra in C minor, Op.67'' is needlessly long. Beethoven didn't include any organ symphonies in his Op.67 and most of the world know the work as the ''Symphony No.5, Op.67'' so there's really no need to include the key (which is only for the first movement anyway, so it's technically inaccurate to describe the whole work as being in C minor). [[User:Carolus|Carolus]] 15:19, 22 July 2008 (EDT)

== Oxford Book of Carols ==

While I'm here: Have you ever been asked about posting medieval to 19th century carols from the Oxford Book of Carols (1964?) when the typeset score is credited as, for example, "arr. Praetorius"? Would that be OK as typographical arrrangement >25 yrs? Modern English translations of text might still have to be deleted from the page. Thanks. --[[User:Df|Df]] 01:56, 22 July 2008 (EDT)
:This can get complicated in some cases. Over and above translations, what did the editors do in the ''Oxford Book of Carols''? If it's an urtext-type of edition, the 25-year rule applies. If the editor did something more, like realize the continuo, add "divisions" and other items which sometimes are done for older works, then it's life of the editor plus 50 years in Canada. [[User:Carolus|Carolus]] 15:25, 22 July 2008 (EDT)

== Publisher formatting help ==

Hi there,

Thanks for editing my Massenet song submissions with a better format re: Kalmus reprint. I will use that style in future submissions! [[User:Massenetique|Massenetique]] 17:32, 22 July 2008 (EDT)
:You're very welcome - and thanks for uploading the Massenet scores. I'd like to see some of the full scores for operas up here eventually! [[User:Carolus|Carolus]] 18:51, 22 July 2008 (EDT)

== hello ==

First of all, thanks for your help with my upload.

When I go to the work page the score begins to load very slowly, and then it freezes up.

Have you tried to download the score?

thanks!--[[User:MrLopez2681|MrLopez2681]] 03:32, 23 July 2008 (EDT)

::Hello again -
Yes indeed, the first page is missing from "The Little Humpbacked Horse". How do we fix it? You must explain to me how you went about doing all of those things step by step - I have tons of music Id like to share! --[[User:MrLopez2681|MrLopez2681]] 04:10, 24 July 2008 (EDT)

== Historical Publication Info ==

Hi Carolus, since we have now sortable tables, do you think it would be a good idea if I joined [[Plate Number Styles]] with [[Music Publishers]] to create one large table containing for each publisher all information we have and / or the link to it's own page?

Oh and I joined the Edition No. and Plate tables at Breitkopf, and I'm planning to do the same for Peters after I find an easy way. As the tables are sortable now, there's no point anymore in having two tables containing the same information.--[[User:Peter|Peter]] [[User talk:Peter|talk]] 08:03, 23 July 2008 (EDT)

:I think the Breitkopf and Peters merged tables look splendid. It's also much easier to have a single table than two. It would probably be a good idea to merge [[Plate Number Styles]] with [[Music Publishers]] as well. I would recommend moving the mini-histories presently under some of the entries in [[Music Publishers]] to their own separate publisher pages (if the info is not already duplicated there), instead of putting them into a table. That way we can keep the table down to the bare essentials. [[User:Carolus|Carolus]] 01:40, 24 July 2008 (EDT)

== Titles/Sub-Titles, etc. ==
Following on from our recent discussion, but I played around with slightly varying the titles to see if it affected the hits on Amazon.com. "Romeo and Juliet" is another title applying to more than one of Tchaikovsky's works (the overture-fantasia and the duet scene), and the hits did vary considerably:
:*Romeo and Juliet + Tchaikovsky = 623 music CDs
:*Romeo and Juliet + overture + Tchaikovsky = 504 music CDs
:*Romeo and Juliet + fantasy overture + Tchaikovsky = 413 music CDs
:*Romeo and Juliet + overture fantasia + Tchaikovsky = 31 music CDs
:*Romeo and Juliet + duet + Tchaikovsky = 11 music CDs
:*Romeo and Juliet + TH 42 + Tchaikovsky = 0 music CDs
In this case, using Tchaikovsky's preferred title "Romeo and Juliet (overture-fantasia)" would eliminate 95% of the matches on Amazon, and including the catalogue number would eliminate the rest. While the purist in me would prefer the proper title, perhaps "''Romeo and Juliet: overture (Tchaikovsky, Pyotr Ilyich)''" would be an acceptable compromise. Presumably the same would apply to The Voyevoda, Hamlet, and The Nutcracker (ballet/suite). As you say, this is an issue for several composers, and if you or anyone else has other thoughts, they'd be very welcome.
BTW, that's great news about Swan Lake and Sleeping Beauty! [[User:P.davydov|P.davydov]] 12:35, 23 July 2008 (EDT) [''copied from P.Davydov's talk page'']

== Gershwin revisions by F. Campbell-Watson ==

Carolus, what do you know about this F. Campbell-Watson person, and what are the nature of these "revisions"? I'm going to post full scores to most of the orchestral works and come across this name as a contributor. Know of any dates? [[User:Daphnis|Daphnis]] 09:54, 24 July 2008 (EDT)
:Nevermind, I see he died in 1980. That rules any of his orchestrations out. I wonder which scores of Gershwin I actually *CAN* put up since he always handed off that job to someone else because he was incompetent. [[User:Daphnis|Daphnis]] 12:20, 24 July 2008 (EDT)

That's the rub about Gershwin. However, I understand that Warner did issue facsimiles of Gershwin's manuscripts for a number of the more famous works. I don't know if they made a copyright claim as the first publication of the original version or not. One of the legal doctrines about publication is that all existing versions of a piece are considered to be published when the first item is published. For example, if a vocal score was published in 1927 for "Of Thee I Sing" (I know it's a bad example because the words are by brother Ira who lived until 1983), then all extant versions were published as of that date. The vocal score is a derivative of the full score, in most cases so they shouldn't turn around and claim first publication of the full score 90 years after the fact as a ruse to enjoy a virtually perpetual copyright. Of course, as is often the case when it gets to this type of argument, you might have to go up against the Time-Warner legal dept. to prove it in court. [[User:Carolus|Carolus]] 20:30, 24 July 2008 (EDT)

== F. Lucca ==

Do you have any idea if the editions by F. Lucca, Milano, are entirely issued before 1923? Worldcat does not have much . It would make tagging these files of which there are many submitted today much easier.--[[User:Peter|Peter]] [[User talk:Peter|talk]] 12:44, 26 July 2008 (EDT)
:F. Lucca was sold to G. Ricordi in 1891. This resulted in a "great leap forward" in Ricordi plate numbers. Nothing issued by F. Lucca is under copyright in the USA, and it's very unlikely to be protected anywhere else - though one does run into the Henri Büsser (1872-1973)-like composer now and again so it's not completely impossible. [[User:Carolus|Carolus]] 15:44, 26 July 2008 (EDT)
::Thanks --[[User:Peter|Peter]] [[User talk:Peter|talk]] 18:16, 26 July 2008 (EDT)

== Question for Feldmahler ==

Seems that Feldie isn't online. Can you answer my question? Follow this link: [http://imslp.org/wiki/User_talk:Feldmahler#Are_two_time_periods_possible_to_program.3F]. [[User:Marcus2|Marcus2]] 15:51, 26 July 2008 (EDT)
:That's one that only Feldmahler can answer, Marcus. He's the programming wizard here. [[User:Carolus|Carolus]] 15:53, 26 July 2008 (EDT)

== Copyright Template ==

Oops, sorry about that. I should have asked first. I do think it should be changed though, as deceased composers cannot release their works into the public domain. [[User:Ras1|Rob]] 15:26, 28 July 2008 (EDT)
:One of the problems with the changes was that the notice failed to address cases where it was not the composer, but the heirs or legal assignees of the composer, who are releasing their works under a Creative Commons license. The copyright owner, whether it's the composer or the composer's heirs and assignees is the one whose permission and authority must be granted. [[User:Carolus|Carolus]] 23:33, 28 July 2008 (EDT)

== Apologies ==

Apologies for deleting Vexations. Never knew about it. --[[User:Aewanko|Aewanko]] 19:45, 29 July 2008 (EDT)

BTW, thanks for editing Busoni's Elegien. I made a bad mistake. Would you mind introducing me here a bit? --[[User:Aewanko|Aewanko]] 20:03, 29 July 2008 (EDT)

== Breitkopf Series ==

Carolus, do you have information on the Series by Breitkopf (Kammermusik-Bibliothek, Orchester-Bibliothek, Partitur-Bibliothek)? Most of the reprint cd-rom parts seem to come from these editions. Publication dates ranging from 1830 to 1980 are found on OCLC, at first sight without a chronological association with the edition number. Thanks, [[User:Peter|Peter]] [[User talk:Peter|talk]] 18:31, 1 August 2008 (EDT)
:Hi, Breitkopf launched all of those series in the 1890s. They often included works which they had issued previously, though I expect that anything as far back as the 1830s would have been re-engraved. The vast majority of all the above series were already in print by the early 1920s - hence the great number of reprints. There are a relatively few instances where they included a new edition in one of these series after 1920 up the present day, though. I had an interesting discussion with a German music dealer recently who was telling me that all of the major German publishers (Breitkopf and Peters especially), produce a new edition for something every 25 years - even though sometimes the new edition uses the exact same engraving which has been in print since 1885. [[User:Carolus|Carolus]] 18:44, 1 August 2008 (EDT)

== Mozart KV 487 ==

Hi Carolus,

what´s the matter with the "Horn-duos" of Mozart, KV 487? The music is PD of course, and the
transcription for Oboe and Cor Anglais is done by myself, where is the problem?

Best regards [[User:Notenschreiber|Notenschreiber]] 16:30, 4 August 2008 (EDT)

With the help of "Google" I have realized now, that there is a transcription of the duos
- selled by Sibelius music - for two Oboes by Mr. Feezell. Is this the reason for the "Non PD"
attributes of my transcription in spite of the fact,that my transcription is not for 2 Oboes,
but for Oboe and Cor anglais?
There are a lot of transcriptions of these nice pieces, but I don´t think, that any of them
gives reason for a new copyright, the music is nearly literatly the same.
[[User:Notenschreiber|Notenschreiber]] 17:41, 4 August 2008 (EDT)

== Massenet songs ==

Hi Carolus -- I am double checking capitalization against as many sources as possible. The Chant provencal was one I had missed, the lower-case p is correct according to Grove's and Demar Irvine's book. The rule in 19th-century French is basically that only the first word and proper nouns are capitalized, but when the proper name is made into an adjective (ie. provençal) is is treated as such and not a proper noun. Therefore, most titles contain only a capitalized first word, even if it is an article or preposition (examples: Ravel's ''L'enfant et les sortilèges'' and ''L'heure espagnole'', or Berlioz's ''Les Troyens''). I work in a music library and deal with these issues on a daily basis. Thanks again for your help! [[User:Massenetique|Massenetique]] 21:16, 4 August 2008 (EDT)
:Thanks for the info - that's interesting to know. We'll follow your guidelines for the French titles. [[User:Carolus|Carolus]] 01:24, 5 August 2008 (EDT)

== Könemann Opera Reprints ==
Hi Carolus, I've uploaded a few excerpts from Bizet's Carmen reprinted by Könemann. While they mentioned the edition at the beginning, later on Könemann tried to conceal the source with a label or just said '...reproduced / reprinted from early edition..'. For the Wagner pieces I could find out the editions but for Carmen I have no idea which edition it is printed from. Would you please have a look at this? Thanks a lot, [[User:Hobbypianist|Hobbypianist]] 03:26, 5 August 2008 (EDT)
:You must have been reading my mind. It looks like they reprinted the original Choudens edition instead of the Chappell score that both Dover and Kalmus reprinted. If you have the entire full score, it will be a terrific addition. Even a partial score would still be very nice. I can easily get the Choudens particulars (date, plate number, etc.) from the Fuld book which I have here. [[User:Carolus|Carolus]] 16:00, 5 August 2008 (EDT)
::yes, I have this complete full score of Carmen. When the series was published years ago I bought several vocal scores and full scores of operas. Ok, I try to scan and upload step by step the other numbers, too. But don't expect these within the next days...the partitura has ca. 600 pages and there are still lots of other works waiting in my scanning queue ;-) Regards, [[User:Hobbypianist|Hobbypianist]] 02:22, 6 August 2008 (EDT)
:No rush at all. It's a really nice addition to the archive. I'll try and obtain a scan of the Chappell full score. The 1964 Fritz Oeser edition issued by Alkor/Baerenreiter is eligible for posting here as well. That will be a lot more difficult to find, since printed copies are very expensive. [[User:Carolus|Carolus]] 18:40, 6 August 2008 (EDT)

== About Guillaume Couture ==

Greetings Carolus,

By editing one of my recent upload, you have answered a question I was about to post on the forum, namely whether I should put 'Library and Archives Canada' in the ''Scanned by'' field rather than in the comment field.

I have another request. For the other work I have uploaded of this composer, I had forgot to add 'Op. 1' to the work title. I tried to rename the page, it succeeded but unfortunately, the link is now broken : [http://imslp.org/wiki/Memorare%2C_pri%C3%A8re_%C3%A0_la_tr%C3%A8s_sainte_vierge_(Couture%2C_Guillaume)]. Is it possible to fix that ?

Looking forward to add more scores,
Kwtc

:Hello Kwtc, Unfortunately, it appears the page for Op.1 is seriously damaged. I'll have to see if Feldmahler can fix it. Thanks, [[User:Carolus|Carolus]] 21:56, 7 August 2008 (EDT)

::The work page relies on the title for the composer name and category, so it should ''always'' be in the strict format "''Work Name'' (''Composer'')". But I've fixed that page. :-) --[[User:Feldmahler|Feldmahler]] 22:06, 7 August 2008 (EDT)

:::Thanks, I have added more scores (from [[:Category:Contant,_Alexis|Alexis Contant]]), teacher of [[:Category:Lavallée,_Calixa|Calixa Lavallée]] and hopefully I did everything right this time!

== Sciffleholz Gallicon Duos==

Yes the manuscript is a slight edit from the original text to make the music playable on a lute, so it is an original edition. Hardly anybody has a gallichon so this music has been largely unplayed for years. I could not get it to load without it having to be public domain, otherwise I would have used a creative commons license. Of course today one would probably typeset this stuff though when you do that you risk losing some of the ornamentation marks scribes put on manuscripts.... [[User:MartinY|MartinY]] 04:26, 8 August 2008 (EDT)

== Massenet Mélodies ==

Hi Carolus -- I've been doing alot of research today regarding the publisher info for the 8 volumes of Massenet songs published by Heugel between 1890-1914. I think I've come up with just about everything and wanted to run it by you -- I didn't want to alter the page you made because I figure you understand how better to format, etc. Here's what I've discovered.
:Editions A and B exist for each volume, and somewhat couterintuitively it seems almost certain that the lower key was published first (or at least the plate numbered first), followed by the higher key -- ie. (A) is Mezzo-soprano/Baritone and (B) is Soprano/Tenor. This is consistent with the plate numbers I've been able to find as follows:
::Volume I: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 189?, plate H. et Cie 7990
:::Edition B pour soprano ou ténor -- Paris: Heugel, 189?, plate H. et Cie 7991
::Volume II: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1892, plate H. et Cie 7346
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1892, plate H. et Cie 7347 (this one's an assumption based on the successive nature of other plate numbers)
::Volume III: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1891, plate H. et Cie 7041
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1891, plate H. et Cie 7042
::Volume IV: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1896, plate H. et Cie 8305
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1896, plate H. et Cie 8306
::Volume V: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1900, plate H. et Cie 20,292
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1900, plate H. et Cie 20,293
::Volume VI: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1903, plate H. et Cie 21,704
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1903, plate H. et Cie 21,705
::Volume VII: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1912, plate H. et Cie 25,631
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1912, plate H. et Cie 25,632
::Volume VIII: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1914, plate H. et Cie 26,480
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1914, plate H. et Cie 26,481 (another assumption) 
There are of course also the original Hartmann plate numbers (Vol. I, 1875: GH 756; Volume II, 1881: GH 1250/1514?) but I believe the reprints I'm working from are all Heugel editions because I recognize a difference in typeset between Heugel and Hartmann that I do not see in the first two volumes. 
I found this info on various library websites, WorldCat, French National Library, Library of Congress, etc and compared against Demar Irvine's book which includes only original publication info. I think what I have here is right but I am open to comments. Thanks! [[User:Massenetique|Massenetique]] 21:01, 12 August 2008 (EDT)
:Thanks for this info. The Kalmus reprints were almost certainly made from Heugel prints since Hartmann issued only two volumes and even these are much more common in the Heugel reissues (1892 down to the recent times) than the small number of Hartmann originals (1875, 1881). Do you really think Heugel would have actually gone to the expense to re-engrave the Hartmann plates? This strikes me as unlikely since they bought Hartmann's complete catalogue starting in 1891. It would have been much easier (and cheaper) to simply add new plate numbers and change other pertinent info without actually having the songs engraved all over again. Vol. 1 looks to have been reissued by Heugel in about 1893-1894, while Vol. 2 was also the second issued by Heugel (1892) after the acquisition of Harrtmann. Both firms no doubt used the same Paris engravers who were so active at the time (L. Parent, Baudon, and a couple of others). [[User:Carolus|Carolus]] 22:42, 12 August 2008 (EDT)
::Yes, you are probably right about Heugel's reissue of the volumes first published by Hartmann ... In that case, which should be credited in publisher info? The original Hartmann plate # or the later Heugel, or does it not matter if they're both public domain and are identical? [[User:Massenetique|Massenetique]] 22:47, 12 August 2008 (EDT)
:Since it's very unlikely that Kalmus had Hartmann volumes to reprint for 1 and 2, I'd go ahead and list the Heugel on the workpages. We can list the Hartmann originals on the series page, which should be sufficient enough to satisfy freaks like us :) [[User:Carolus|Carolus]] 22:50, 12 August 2008 (EDT)

== Beethoven Serenade op.25 ==

Hi Carolus,
is it possible to unblock the Serenade in D major for Flute, Violin and Viola of Beethoven,
Complete score for all movements?
Thanks! [[User:Notenschreiber|Notenschreiber]] 04:41, 14 August 2008 (EDT)

== significant / insignificant editorial contributions ==

Hi Carolus ! I have just tagged 11/V/31 some files (uploaded by Generoso) from PD composers and published in 1913 but edited and fingered by George John Trinkaus (1878-1960). Apparently you prefered
to tag similar files (I mean from the same book) as C/V/C. Is this because Trinkaus only added fingerings ? More generally, can we make the general statement that fingering is not a significant editorial contribution ? In that case, i am afraid I have been a little bit too severe a couple of time. Cheers, [[User:Matthieu|Matthieu]]
:Trinkaus was an American and the works published were issues in the USA also. Becuase of Rule of the Shorter Term in the EU and Canada, works now PD in the USA have no additional protection in the EU or in Canada. This also applies to Leopold Godowsky (US citizen from the 1890s) and several others. [[User:Carolus|Carolus]] 16:14, 14 August 2008 (EDT)
Of course ! (I would rather go to bed now.)

== Headings ==

Hello Carolus. Thanks for your message. I didn't realise that a decision had been taken on standardising of headings. I can see the thinking behind the proposed changes, although this could throw up a few anomalies. For instance, on the page for Tchaikovsky's Manfred Symphony we have a full score of all four movements, and also a full score for the first movement only (both actually from the same edition). Putting them under different headings (with a piano transcription of the full work inbetween) seems counter-intuitive and a little confusing -- or maybe that's just me :-)

Before adopting a formal scheme universally, might it be worthwhile testing the proposals on a sample of composers as a pilot project, to test what sorts of issues might come up? I'd be happy to help with this if required. [[User:P.davydov|P.davydov]] 18:57, 16 August 2008 (EDT)

:I see what you mean, but I guess the key is if a given item was actually published as an excerpt - instead of it being an incomplete score, which is what the Manfred first movement is. (I'll have to look at that to see if we really need to be keeping it, to tell you the truth.) As I mentioned before, we're still trying to hammer this out so it will be practical and make some sort of sense. We have a discussion over at the forum about it, so your input is of course very welcome. [[User:Carolus|Carolus]] 19:01, 16 August 2008 (EDT)

== New Versions ==

Hi Carolus,

I have a problem (like Carmar1791) with a new version of Divertimento KV Anh.229 II, Transcription for 2 Oboes and Bassoon.
The version is announced and indicated as actuell version (file size 0,19 MB), but downloading has as result the old version.
Can you help? Thanks. [[User:Notenschreiber|Notenschreiber]] 04:15, 19 August 2008 (EDT)

==Federico Maria Sardelli's scores==
Dear Carolus, many thanks for your notice. I am the copyist om my own works and the scores I put in IMSLP are not published by any publishing company. So they are free. Best wishes from Federico Maria Sardelli--[[User:Federicosardelli|Federicosardelli]] 02:13, 2 September 2008 (EDT)

==Copyright Reviews==

Hi Carolus,

:I'm wondering if I could become a part of the copyright review team.
Thanks, [[User:Dja|Dja]]

== Microsoft scores ==

Hello, Carolus. Whil you were away we were wondering what to do with the Microsoft scanned scores. Their statement allows non-commercial redistribution, but the logo is copyrighted. [[User:Peter|Peter]] [[User talk:Peter|talk]] 15:50, 22 September 2008 (EDT)
:Hi, I'm really very leary of posting these. Reproducing the logo is very definitely not legally permissible. The question which arises is what constitutes "non-commercial." It depends on how strictly one would define this term. We are not (yet) a legally organized charity or non-profit enterprise, though that is the ultimate goal. Yes, I know there are quite a few of these scans out there. It's rather ironic that the multi-billion for-profit enterprise Microsoft effectively controls the distribution of scans of public domain holdings of publicly funded libraries by affixing their logo to every single page. [[User:Carolus|Carolus]] 15:57, 22 September 2008 (EDT)

== Brucker symphonies (Peters) ==
Hi Carolus, 
finally it's done. I've uploaded the 9 symphonies by Bruckner (C.F. Peters). While they are PD in any case in Canada and EU, I couldn't find an exact date to determine the US status (libraries estimate from ca.1900 up to the 1940s....) Chronological order of the plate numbers assumed it should be around the 1920s, thus an exact date will decide whether the files are blocked or available... Would you please take a look at them? Thanks a lot, [[User:Hobbypianist|Hobbypianist]] 16:42, 23 September 2008 (EDT)
:Hi, Thanks for the lovely collection. Peters did not print a publication date, and it appears to be around 1920 or 1921 from the plate number. I'm therefore tagging them as PD in the USA. [[User:Carolus|Carolus]] 16:54, 23 September 2008 (EDT)

==Preludes y fuges for piano==

Hi Carolus,

when you have a chance would you mind deleting the new copies of the 48 Preludes and Fugues that [[User_talk:Kmilo1992050|Kmilo1992050]] has begun uploading? I appear not to have privileges to be able to delete items.

I've pointed out to the chap that these editions by Carl Czerny already exist on IMSLP at [[Well-Tempered Clavier, Book 1 Nos. 1-12, BWV 846-857 (Bach, Johann Sebastian)]] under "other editions", which hopefully should dissuade him from adding any more. Moreover the scans are identical, byte for byte, with the set uploaded by Funper, except for one of the new files where this guy has appended his digital signature (d'oh).

Regards, Philip Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 20:29, 2 October 2008 (EDT)
:Thanks for dropping this fellow a note, Philip. Deleting is no problem. [[User:Carolus|Carolus]] 21:08, 2 October 2008 (EDT)

== Haydn Symphonies ==

Hello Carolus.

Yesterday I uploaded a full score of Haydn’s 34th symphony which didn’t pass the PD-Test. Obviously I still have to learn how to verify the copyright status and what is significant and unsignificant editorial work. I suppose that one problem was the introductory notes, that are not PD. Would it be possible to upload the file without them? I have other Haydn-Scores where you find:

*no text whatsoever, just the plain score
*notes by the editor, but only biographical
*notes by the editor about the editorial work (like in the dismissed score, but not as detailed)

Is it legal to upload these? With or without the text? Would be great if you could give clarification.

--[[User:Fritz Winter|Fritz Winter]] 05:28, 3 October 2008 (EDT)

:Hello Fritz, Any prefaces, notes, biographies, etc, written by an editor are subject to the same copyright rules that an original musical work is: life plus 50 years in Canada (where IMSLP is hosted), life plus 70 in the EU. The music may subject to the "urtext" rule (25 years from publication) if there is no significant original contribution on the editor's part. PML, who tagged the Haydn score you uploaded stated that the editor (who is still alive, apparently) in this case had made significant original contributions which placed this particular edition out of the "urtext" category and into the "interpretative edition" category, which carries the life-plus terms instead of the 25 years of an urtext edition. Even if we end up deciding this edition is an urtext (and therefore eligible to be hosted at IMSLP), all prefaces, critical notes, biographies, etc. will need to be eliminated. Sorry for the long-winded answer, but this is a complicated case. [[User:Carolus|Carolus]] 21:31, 3 October 2008 (EDT)

::OK, so I won’t upload my scan of Haydn’s 6th, because the notes by the editor are quite similar to these in the 34th, which means there’s significant editorial work, which should be protected, right? But I will upload Haydn’s 7th and 34th, without any biographical introductory texts. --[[User:Fritz Winter|Fritz Winter]] 04:10, 4 October 2008 (EDT)

:::Fritz, as Carolus pointed out I tagged the Haydn score and will admit I may have been overcautious when deciding on the editorial contribution – only a single page of corrections is not very much! – however the score as I found it had the editor's own introductory text intact and was a clear copyvio as a result. Omitting the pages of concern does not erase the entire editorial contribution however the originality of what remains was minimal. As IMSLP has attracted hostile attention from certain quarters the copyright review is unfortunately required to be diligent; so if you are able to obtain scores without such hindrances it does make the process a lot smoother. Best regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 06:23, 13 October 2008 (EDT)

== [[Caprice No.6 (Franchomme, Auguste)|Franchomme: Caprice No.6]] ==
Yes, Franchomme wrote 12 Caprices for solo cello and Albini did arrange the piano accompaniment for the Caprice No.6. Thanks for checking it out for me. I did not know when Albini lived. Thanks for your help. [[User:Generoso|Generoso]] 04:58, 6 October 2008 (EDT)

== Ivota Arra & [[User talk:Werther]] ==

Hi Carolus,

you wrote,
:Dear Werther, Are you the composer Ivota Arra, or do you have permission to post his or her works here? If not, the files you uploaded will be deleted in 24 hours or less. [[User:Carolus|Carolus]] 14:29, 12 October 2008 (EDT) (IMSLP Copyright Admin)

I think from [http://imslp.org/index.php?title=Phophattoperisteris_(Arra%2C_Ivota)&oldid=165608 this] we can establish that "Young Werther" :) is ''not'' the composer. However, if you look at the PDF, it was typeset by a chap called Ivo M. (identity partially concealed), which begs another question:
:1. Does Ivo M. have permission to publish Ivota Arra's works; and
:2. Does Werther have permission to upload Ivo's edition here?
Over at CPDL we ''have'' seen cases of a relative or descendent of a deceased composer posting non-PD works with the consent of the composer's estate. This may well be the case here, so I suggest sending an e-mail as per [http://imslpforums.org/viewtopic.php?t=1321 this] forum topic.
Regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 06:11, 13 October 2008 (EDT)

== Brahms-institut ==

Hi Carolus, I'm not quite understanding how we can permit the reproducing of the logo of the Brahms-institut in regard to the Microsoft logo that allows non-commercial copying? [[User:Peter|Peter]] [[User talk:Peter|talk]] 10:36, 14 October 2008 (EDT)
:My reasoning is that the Brahms-Institut is a government-funded institution and therefore not really entitled to exercise IP rights under most national laws. Microsoft and Google by contrast are private corporations who regularly enforce their trademarks. The Brahms items are certainly very desirable for the collection and I am admittedly "pushing the envelope" a little here as I would normally prefer the watermarks to be removed, honestly, just to be on the safe side. Thanks for bringing it up - and let me know if you disagree. [[User:Carolus|Carolus]] 13:45, 14 October 2008 (EDT)
::My thought would be to at least inform the Brahms-Institut as a courtesy and diplomatically point out the advantages for researchers, students, musicologists etc etc for their scans to be available here at IMSLP as well, while acknowledging them as the source. This isn't without certain risks however, primarily that the BI might turn around and request the removal of all of their scans; secondarily, that they might wish to impose some conditions on how visitors to IMSLP can obtain their scores.
::This is incidentally why there hasn't exactly been a huge progress on the NMA project: when scoping it out I quickly found we would only be able, under the current copyright laws regarding urtexts and the 3-domain tagging system, to host about a third of the NMA. So once I recover some free time (which hasn't been the case for about six months) I am planning to contact the Mozarteum Institute to negotiate IMSLP hosting the entire musical portion of the NMA (probably not editorial notes and the critical reports, obviously); I will be taking advice from trusted people here and consulting with yourself and Feldmahler once I'm ready to proceed on that! Regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 17:11, 14 October 2008 (EDT)

== Private message awaiting you ==

Hi Carolus,

e-mail for you at your yahoo address - regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 19:53, 14 October 2008 (EDT)

:Turns out we did use one of the NMA full scores from the University of Melbourne collection – and my continuo player was turning pages every four bars as a result! But the performance of K 317 went exceptionally well :) Thanks again for your help, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 23:15, 17 October 2008 (EDT)

== 3 questions ==
Hi Carolus,
I have Berwald's complete solo piano music, published by Bärenreiter 1977, editor Bengt Edlund. I'm trying to get also the piano concerto and if possible the symphonies. However, I'm not quite sure about the status since most of the editors of the Berwald complete edition are Swedish. Does this affect somehow the urtext condition? Also, would you please take a look at the Zar and Waffenschmied vs? The high plate number actually doesn't fit to the old style of the score. Is it really Peters or just a reprinted Breitkopf score? Worldcat says Peters. I came across several scores where Elibron and CDSM are mentioned as scanner/in the misc. field. Wouldn't it be better to remove really every single occurrence of those names in order not to draw their attention? Thanks a lot in advance, [[User:Hobbypianist|Hobbypianist]] 16:39, 15 October 2008 (EDT)
:Hello Hobbypianist, Any critical edition score from 1982 or before is fair game, regardless of where in the EU it was published. The only problem we run into with these editions now and again is the case where the editor has actually added original material - like a continuo realization. That's why I think each one needs to be examined in some detail to make an evaluation. Our policy is to recognize at most a 25-year term. The 93/98 EU Directive actually states that member states can grant a term of no more than 30 years from publication for such editions - if they choose to do so. It is entirely possible that under Swedish law, such an edition is not protected at all.

:It is entirely possible that Peters reprinted an older Breitkopf score. I have never quite figured out the relationship between Peters and Breitkopf - they cooperated on several ventures - like the complete works edition of Mendelssohn. Such cooperation between competitors is much rarer in the USA. It is also possible that the score was first published by another publisher with higher plate numbers like Cranz. It was "engraved and printed" by Breitkopf. The plate number is certainly not that of Peters. but of another - earlier - publisher. The score you posted is late-19th to early-20th century, and Kogel edited hundreds of vocal scores for Peters.

:I agree with you that it's probably best to not mention Elibron, Everynote, or CDSM as the scanner by name. While such a citation would not constitute a trademark violation, it could precipitate a frivolous lawsuit, which are very expensive to fight nevertheless. [[User:Carolus|Carolus]] 21:18, 15 October 2008 (EDT)

::Thanks for your answer. Regarding the Berwald scores, how can we handle this? Do you agree if I upload them with corresponding work pages and leave them untagged/blocked at first? Then one can examine and decide whether to release them or delete them in case of unclear status. [[User:Hobbypianist|Hobbypianist]] 14:52, 16 October 2008 (EDT)

:Yes, I think that's the best way to go. I know some of the symphonies were edited by the conductor Herbert Blomstedt. If there are complicated issues, they can be addressed on the forum. [[User:Carolus|Carolus]] 20:27, 16 October 2008 (EDT)
::Hi again, as announced I've uploaded in a first step the complete solo piano music by Berwald. Would you please take a closer look at them to evaluate if the scores are permissible or not? The other works (symphonies and concertos) will take some time (provided I get them). Thanks and regards, [[User:Hobbypianist|Hobbypianist]] 16:25, 26 October 2008 (EDT)

:Hi. I just looked over the first one, and it seems to me that this is definitely an urtext edition, where the editorial content on the music itself is not sufficiently original to qualify for a copyright under Canada's law. The US (as always) is a more complicated case. Since anything published from 1964 onward was automatically renewed, most of the Berwald series is nominally under copyright for 95 years from the date of publication. No one has actually challenged critical or urtext editions under US law using the "threshold of originality" doctrine. So, right now I have to tag it "Non-PD US". Before too long, the blocking software should be modified to allow free access to files that have two OK tags (C or V or any combination). The Berwald score I looked at appears to be free in both Canada and the EU. BTW, you no longer need to use the "br" tag for the urtext template. Feldmahler fixed it so that it has an automatic break in front of it. [[User:Carolus|Carolus]] 19:31, 26 October 2008 (EDT)
::Hi Carolus, I've finished the Berwald project, the major works are now in my collection. As announced I've uploaded the 4 Symphonies, the Piano and Violin Concerto. Would you please take a look at them? Regarding the editing work I've uploaded also [[Image:Berwald_info_editing.pdf]]. For the Piano Concerto I can't see any fingering so this should actually be ok. In the Violin Concerto there are few negligible marks. However, if the status of these scores is unclear please delete them. Thanks a lot. [[User:Hobbypianist|Hobbypianist]] 17:56, 21 December 2008 (EST)

== Question about Edition Peters ==
Hello Carolus,
If I would upload a score that is published by Peters, should I place "C.F. Peters" instead of "Edition Peters"? Just inquiring. Thanks. --[[User:Aewanko|Aewanko]] 21:35, 15 October 2008 (EDT)
:Hi, It depends on when it was actually first published. Peters didn't use the imprint "Edition Peters" until 1895. I try to label things that were first issued before then as "C.F. Peters" and possibly mention that it score is a post-1895 reissue, as in "Reissue (after 1895) - [[Edition Peters]]." Peters continues to use the imprint "C.F. Peters" to this day and reserves the "Edition Peters" imprint only for selected items. So, for post-1895 issues I go with whatever is printed. Our [[Edition Peters/Plate Numbers|plate number]] list is getting pretty extensive now, so you can get some idea of when things were actually first issued. [[User:Carolus|Carolus]] 21:40, 15 October 2008 (EDT)

== I am the composer of the 3 Preludes for Piano by Mark Hedien ==

Hello -- I just uploaded (again) three preludes for piano. My name is Mark Hedien. My login name on imslp is Mrvegas. I wrote these pieces and have the full rights to them. It is ok to list them as public domain. Let me know if you have any questions.
:Thanks for letting us know. Sorry we deleted what you posted before, but we hadn't received a reply so decided to remove just in case the files had been posted without authorization. [[User:Carolus|Carolus]] 00:44, 23 October 2008 (EDT)

After all imslp has been through, I understand you have to be careful. I'm very happy to see the site back up.

== Searle numbering ==
Hi Carolus, several Liszt pages have been redirected (2 piano versions to orchestral). However, the Searle numbering distiguishes clearly between orchestral and for example 2 piano or 4 hand version. Shouldn't we therefore keep the original S. number? Just wanted to hear your opinion. [[User:Hobbypianist|Hobbypianist]] 13:33, 29 October 2008 (EDT)
:Yes, I think you're probably right. I'm not sure why PerlNerd666 started moving them around. I don't think that Searles's idea of giving transcriptions of the same work different numbers was very good one, but the Searle numbering system is widely used nonetheless. It might be OK to copy the transcriptions of the symphonic poems into the work-pages for the orchestral originals, and vice-versa.
::Oops...I really need to pay more attention--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 11:13, 5 November 2008 (EST)

== Telemann copyright ==

Dear Carolus, Johann Tufvesson and Luigi Cataldi write in their pdf-files: non-commercial copying welcome (normally on the first page). There are some files by Johan Tufvesson in the IMSLP, e.g. 12 Duos for Violin and Cello. I thought, that this would be enough. Mario Bolognani gives a copyright notice on the first pages of his pdf-files: Creative Commons License BY-NC-ND. It wasn't possible to upload the files under this license, but I gave a link to the original hompage. This is specified on his Home-Page: http://www.baroquemusic.it/_eng/diritti.cfm. If this isn't enough, I'm sorry.[[User:Rarus|Rarus]] 09:35, 9 November 2008 (EST)
:Hello Carolus, the 36 Fantasias by Telemann are actually from the WIMA. I didn't upload more from there, because I couldn't find anything about copyright. But this file ([[36 Fantasias for Cembalo (Telemann, Georg Philipp)]]) has a notice on the first page, and I relied on this. [[User:Rarus|Rarus]] 16:48, 9 November 2008 (EST)
::Oh, this WIMA seems to be a strange thing ... [[User:Rarus|Rarus]] 16:56, 9 November 2008 (EST)
==Bach Vocal Scores==
Hi. I compared the file for BWV 91 to the bh2000 one - an exact match, so the edition is the same. Why are you still adding question marks on the transcriber? Am I missing something?--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 12:48, 10 November 2008 (EST)
:Because the fact that one score was an exact match doesn't necessarily mean the others are. For one thing, I don't think Todt was responsible for all of the approx. 200 vocal scores issued. There were a couple of other arranger/editors involved as well for the series. We'll learn more about it as time goes on, but right now just use the info we have (Todt followed by question mark in parens). Having the page counts is a help in the research via OCLC, which is rather laborious. That's also why I'm tagging everything C/V/C. [[User:Carolus|Carolus]] 13:00, 10 November 2008 (EST)
::Thanks!--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 13:03, 14 November 2008 (EST)

==Dvorak complete?==
I have an edition of the Dvorak slavonic dances op. 46 by the czech state library, reprinted by dover, and the ninth symphony reprinted by kalmus. Is this under copyright? If not, I've seen it in libraries and think we should make a page for it.--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 13:03, 14 November 2008 (EST)
:Not under copyright anywhere. The Supraphon Complete Works was mostly issued in the 1950s and 1960s. Most were not renewed in the USA (and thus reprinted by both Kalmus and Dover) and are moreover ineligible for GATT "restoration" because they are PD in the EU (critical editions more than 30 years old). Post away. [[User:Carolus|Carolus]] 15:17, 14 November 2008 (EST)
::Let us create a page!--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 16:09, 14 November 2008 (EST)
Although I don't know any of the specifics, and do not have access to a scanner anymore....this might be hard...--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 16:11, 14 November 2008 (EST)
:You could always post on the forum to see if you can send the scores to someone who has the scanner (and the time!), Thanks [[User:Carolus|Carolus]] 16:14, 14 November 2008 (EST)

==Hello...==
Thank you for your message the other day. I have left some comments and questions on my Discussion page which you may wish to see or respond to. Best Regards, --[[User:Homerdundas|Homerdundas]] 00:31, 19 November 2008 (EST)

== Chausson: "Concert" versus "Concerto" ==

Hi Carolus,
I noticed you moved the title of the "Concert en ré majeur pour violon, piano et quatuor à cordes, Op. 21" by Ernest Chausson from "Concert" to "Concerto" in the english translation. I think this is not correct, even if this practice is very common (for example the Dover reprint use the word "Concerto") in the english speaking area. Here is the point: in French, as well as in english (correct me if I am wrong), both words "Concert" and "Concerto" do exist. This was Ernest Chausson's explicit choice to name is work "Concert" (fr) rather than "Concerto" (fr) because there is a subtle nuance: (i) As you probably noticed this is not a "Concerto" in the usual sense, (ii) The word "Concert" refers to the old days of French music (see Couperin for example) and denote a chamber music form where some parts are more developped than others (one of the many proto-concerto forms, "Concerti Grossi" are an other example . Here "Concert (fr)" as the sense of "Gentle agreement" in english. In that context, I think naming this work as "Concerto for Piano, Violin and String Quartet, Op.21 (Chausson, Ernest)" is a mistake that can be compared to renaming Couperin's "Concert royaux" to "Royal Concertos" (!). Note that le latter is never used in the english speaking area. Neither Couperin or Chausson works are concertos. I agree that standard forms should be systematically translated to english ("COncerto pour violon"->"Violin Concerto", "Sonate pour alto"->"Viola sonata"...), but "Concert (fr)" is all but a standard form. Regards,--[[User:Matthieu|Matthieu]] 01:49, 27 November 2008 (EST)
:Hi Matthieu, Good Point! Concert it should be. I saw the Dover title which made me think (incorrectly) of using Concerto. Thanks, [[User:Carolus|Carolus]] 02:34, 27 November 2008 (EST)
And apparently, Dover took some other liberalities such as swapping the original order "Violin, Piano..." to "Piano, Violin...". --[[User:Matthieu|Matthieu]] 03:32, 27 November 2008 (EST)

== Mozart Oboe Quartet K. 370 by Bärenreiter ==

Carolus, I have a set of parts and score (BA 4867, parts) dated 1987 presumably from the NMA. I'm not very familiar with Mozart publication history nor practices with Bärenreiter, so would this be public domain? [[User:Daphnis|Daphnis]] 09:51, 6 December 2008 (EST)
: AS far as I know: all urtext editions are PD in Canada, 1987 is less than 25 years ago, and IMSLP voluntarily observes a 25-year rule, as this is what the EU does. It is protected in the US for 95 years after date of publication.--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] [[Special:Emailuser/Perlnerd666|Email me]] 17:17, 6 December 2008 (EST)

Hi Daphnis (and Snailey), It's the 25-year rule for the Urtext volumes from the NMA, so the 1987 score would not yet be OK. You also have to be careful about some of the Baerenreiter scores because they are not actual offprints from the NMA, but "practical" editions with added editorial content - especially continuo realizations, but also sometimes articulations, dynamics, and slurs that are original to the editor. I've been heavily involved with a project at my 'day job' for the past several days and will hopefully be able to get back on IMSLP soon. The US status of such editions is officially life-plus-70 of the last surviving editor for those published after 1977. It's really a gray area in the USA because there are two major court decisions (Feist vs. Rural and Bridgeman vs. Corel) that would tend to make the case that such editions are not subject to any sort of copyright under US law. However, the issue of critical editions has not come up - yet - in court. [[User:Carolus|Carolus]] 02:30, 8 December 2008 (EST)
:Thanks for the great info. I'll try and track down an older edition. [[User:Daphnis|Daphnis]] 09:54, 8 December 2008 (EST)

== Supraphon Page ==

I know that you probably know more than me (or the nonexistent wikipedia article...) about [[Supraphon]]. Would you mind giving a little help, when you have the time?[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] [[Special:Emailuser/Perlnerd666|Email me]] 12:44, 9 December 2008 (EST)
:I'll be glad to when I get a chance. Right now, my 'day job' is taking up much of my time. I'll be glad when things slow down a little and I have a chance to get back cruising around IMSLP! [[User:Carolus|Carolus]] 02:25, 10 December 2008 (EST)

== Forberg ==

Hi...Sorry, I know that you're busy (Who isn't right now?), but I think it's time we created a publisher page for Rob. Forberg, as I think we've reached a critical mass of pages that could use the link...this would be helpful...Thanks![[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] [[Special:Emailuser/Perlnerd666|Email me]] 16:58, 21 December 2008 (EST)

== Re: Banchieri ==

Hello Carolus,

Thanks for your observation: I have downloaded those files from the [http://www.cpdl.org Choral Public Domain Library]; but as a '''Public Domain''' Library, I thought I could upload them: I've done the same thing for [[Armide, LWV 71 (Lully, Jean-Baptiste)]]. Then I noticed that I forgot to delcare on "Il festino" page the kind of edition, and so I've updated the page adding the information (maybe that is adequate). If this isn't enough, I'm sorry. --[[User:JackB09|JackB09]] 16:08, 25 December 2008 (EST).

I would also ask why the files from 17 to 20 don't appear.

User talk:Carolus

2008-12-25T21:29:04Z

JackB09: /* Re: Banchieri */

== Archive pages for this user talk page ==
*[[User talk:Carolus/archive1|Aug. 08, 2006 - May 08, 2007]]
*[[User talk:Carolus/archive2|May 09, 2007 - July 07, 2007]]
*[[User talk:Carolus/archive3|{{#makedate:2007|07|08}} - {{#makedate:2007|11|22}}]]
*[[User talk:Carolus/archive5|{{#makedate:2007|11|23}} - {{#makedate:2008|07|08}}]]

== Regarding the changing of explanation for Amazon links ==

Hi Carolus, I forgot to respond to your mention of changing the description. We can talk about this more over the phone, but I think it might be a good idea to have a concrete percentage, regardless of what it is. That way there is more transparency, and people know exactly what happened to their money.

However, insofar as changing goes, you can actually edit it directly here: [[Mediawiki:FTE:imslppage]]. I have yet to internationalize the ads, so they are directly in the template, but when I do get around to doing so they will be in the Messages subpage: [[Mediawiki:FTE:imslppage:Messages]]. --[[User:Feldmahler|Feldmahler]] 14:44, 9 July 2008 (EDT)

== Goldberg variations ==

Hi Carolus, isn't the recently submitted score on Goldberg variations the first edition rather than a manuscript? If you compare it with a image from [http://en.wikipedia.org/wiki/Image:Quodlibet.jpg wikipedia] you'll see that they are the same. --[[User:Funper|Funper]] [[User talk:Funper|talk]] 12:57, 14 July 2008 (EDT)
:I was wondering about that. It's very unusual for an engraving, especially looking at the curved beams. It must have been freehand-engraved with only minimal use of punches. Is this the edition that Bach had published himself? Now that I see it in detail, I agree with your point. This is certainly the 1741 edition. I'll change the page accordingly. Thanks, [[User:Carolus|Carolus]] 13:05, 14 July 2008 (EDT)

== Amazon score links ==

Hi Carolus, I've added a field to the file template specifically for Amazon score links that you've been adding (an example can be found on [[Piano_Concerto_No.5,_Op.73_(Beethoven,_Ludwig_van)|this page]]). However, generally speaking I think we should limit it to only the most famous pieces; having them anywhere else would be I think more labour than it is worth, and will unnecessarily crowd the page with ads. Instead, perhaps we can try having 2 scores and 3 CDs in the Amazon section, as opposed to the current 5 CDs. That will I think be much more flexible and less time-consuming. If we find that people don't really care about buying scores through Amazon, we can switch back to the 5 CD format. Tell me what you think about that. --[[User:Feldmahler|Feldmahler]] 02:22, 15 July 2008 (EDT)

== Marx deletion ==

Ok, but the [[public domain]] page gave the impression that files that were tagged as such would somehow be hosted on the US server ("These files are hosted on IMSLP's U.S. server...We expect uploaders to put considerable effort into assuring that the upload is in the public domain in Canada or the U.S.", which in this case it was in the US). I think the file name and such were wrong anyways, so all for the better. [[User:Alton|Alton]] 05:02, 18 July 2008 (EDT)

== Mahler Symphonies in Full Score ==

Carolus, about the Symphony No. 8 you posted a while back...that wasn't from the Dover reprint, was it? It has many less pages than what is listed for the Dover. I ask because I'm thinking about starting a project (among my many) to finish scanning the Mahler symphonies, and I'd like to know which are the definitive sources/versions. I don't really have the time to research his different revisions and their current publications, so I was hoping you could just tell me which would be the best of the missing symphony full scores to upload :) Should I just stick with the Dover scores, or should I reach for some of the later editions? [[User:Daphnis|Daphnis]] 17:10, 19 July 2008 (EDT)
:Hi, the Dover score for Mahler 8 is a reprint of one issued by Muzika in the late 1960s or thereabouts. It would definitely be worth having in addition to the UE one I posted. I would start with the Dover scores except for No.7 which I understand is a real train wreck (see the reviews over at Amazon for the details. I think the Soviets issued all of the Mahler symphonies plus ''Das Lied von der Erde'' in the big wave of Mahler popularity that started in the 1960s. I suspect they re-engraved the critical editions from that era as issued by UE, Kahnt and others. That has some advantages in terms of letting us have the critical edition - which should be fine to post in Canada as long as it's from before 1983, despite their ambiguous status in the USA - without necessarily drawing unwanted attention (with its attendant lawyer's fees) just after re-launch. The Dover scores should serve as a good starting point for our Mahler archive in most cases. [[User:Carolus|Carolus]] 22:33, 19 July 2008 (EDT)
::So Dover scores all around except the 7th. Is the Dover reprint of ''Das Lied von der Erde'' safe (since I'm trying to get my hands on it now), or also muddled? [[User:Daphnis|Daphnis]] 22:36, 19 July 2008 (EDT)
:It's pretty good - a reprint of the first edition (UE). Not a great deal of differences between it and the critical, which is an amended reprint of the same score. As it's a late piece, Mahler didn't have time to tinker with it - a habit he seems to have picked up from his teacher Bruckner. [[User:Carolus|Carolus]] 22:39, 19 July 2008 (EDT)
::Understood. How about a suitable edition of the 7th? Give me OCLC accession numbers if that's easier. I can request them directly with that. [[User:Daphnis|Daphnis]] 22:40, 19 July 2008 (EDT)
:That's a great idea. I can get the numbers fairly easily. The Soviet edition might be a good one for 7. [[User:Carolus|Carolus]] 22:47, 19 July 2008 (EDT)
::Good. I'll start with the 7th whenever you provide an OCLC number as it may or may not be harder to acquire than the ubiquitous Dover scores. Thanks for the insight! [[User:Daphnis|Daphnis]] 22:50, 19 July 2008 (EDT)
:::Before that, I couldn't find any Soviet publishers with the 7th symphony. They all seem to be Eulenberg or Dover. I was also trying to find out exactly when that volume came out in the Sämtliche Werke series (Band 7) but can't find an exact date. [[User:Daphnis|Daphnis]] 23:15, 19 July 2008 (EDT)
:I'll troll around over at Tarakanov's to see if he has any more Mahler. I know just enough Russian to get myself in trouble. [[User:Carolus|Carolus]] 23:17, 19 July 2008 (EDT)
::According to the IGMG site, I found this on the pub. date of the 7th:

Volume 7

Symphony No. 7
(in five movements for orchestra)

Study score
Editor: Erwin Ratz
Publisher: Bote & Bock, BB 16867, Berlin, 1960
ISMN: M-2025-0769-8

Miniature score, foreword by Friedrich Saathen
Editor: Erwin Ratz
Publisher: Philharmonia, 473, Vienna, 1976

Public domain in US? [[User:Daphnis|Daphnis]] 09:49, 20 July 2008 (EDT)

:The Ratz edition was [http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=12&ti=1,12&Search%5FArg=ratz&Search%5FCode=NALL&CNT=100&REC=0&RD=0&RC=0&PID=1oMrMaM4-95UFBDdQChim6t2rLO&SEQ=20080720200807&SID=1 registered and renewed] in the US. It would take a court case to disprove the claim. Any critical edition produced in 1960 or 1976 is, however, free in Canada - and even in the EU. I'm going to talk to Feldmahler about setting up a system whereby things can be scanned and uploaded from Canada or a similarly free territory for cases like this. [[User:Carolus|Carolus]] 19:49, 20 July 2008 (EDT)
::The link you included was for Symphony No.2, but I assume they still filed a renewal for the 7th. I suppose I'll just go ahead and scan and upload this version as it'll be free in Canada and the EU. Any other options for PD in the US besides the Dover reprint? [[User:Daphnis|Daphnis]] 19:53, 20 July 2008 (EDT)
:The page I copied and pasted the URL from was for Symphony No. 7 (!). Go figure.... Kalmus and Lucks both offer the piece of course. I suspect they might be reprinting the same score Dover has, but one never knows for sure until you actually see it. They aren't in the habit of stating what has been reprinted. That can sometimes lead to real train wrecks, as they found out when they offered Chrysander ed. scores and Novello parts for various Handel oratorios. [[User:Carolus|Carolus]] 20:00, 20 July 2008 (EDT)
::The Dover and Kalmus reprints are both 257 pages and Eulenberg probably re-engraved theirs of 400 pages. Is it a safe bet to assume the Dover and Kalmus are the exact same score? [[User:Daphnis|Daphnis]] 20:20, 20 July 2008 (EDT)
:Yes, any score this large would be very nearly impossible to produce in the identical number of pages. Eulenburg has been known to reprint some of the Mahler Gesellschaft scores under license, though there are often earlier issues where they made their own engraving (back in the Leipzig days). Peters Leipzig in the East Germany / Soviet era produced a number of things on their own as well, though I'm not sure if they got into Mahler. They definitely produced new engravings of a number of Debussy works, though. [[User:Carolus|Carolus]] 20:25, 20 July 2008 (EDT)
Back on Mahler a bit: I have access to the complete works edition, so wouldn't it be best for me to just scan these volumes instead of any Dover reprints? Since these are so long, I'd like to try and minimize the number of pages with which my scanners have to contend. [[User:Daphnis|Daphnis]] 21:58, 10 August 2008 (EDT)
:Carolus, yes/no to my above thought? [[User:Daphnis|Daphnis]] 19:33, 14 August 2008 (EDT)
:Hi. Sorry I missed your previous question above. The problem with the critical scores is that since they have copyright claims with renewals and the like, they will be tagged Non-PD in the USA. This means they will be blocked until Feldmahler writes some code to actually block access only from the USA or we allow unlimited download as long as the end user clicks on the appropriate disclaimer, etc. It's sort of complicated since the IMSLP corporate entity is actually in the USA, even though the site itself is in Canada. Right now, as reluctant as I am to say so, I think we'd be a lot safer with the reprint scores. As far as I know, No.7 is the only really bad one in the Dover series. I wonder if Kalmus reprinted a better score than Dover did for that one. [[User:Carolus|Carolus]] 02:56, 15 August 2008 (EDT)
Yes, I'm aware of their (critical scores) copyright status in the US, but I'm just wondering if, aside from the blocking reason, there is any compelling reason to have both. I believe that both Dover and Kalmus reprinted the same early printing of 7. [[User:Daphnis|Daphnis]] 14:41, 15 August 2008 (EDT)
:Aside from the reason stated above, which is ultimately temporary in nature, there really is no reason to have both. I have a facsimile of the manuscript for the Seventh Symphony which will ultimately be added to the collection here. If you have ready access to the critical editions, I'd say go for them and leave the Dover scores to Tarakanov, etc. [[User:Carolus|Carolus]] 22:18, 15 August 2008 (EDT)
::Ok, I've started in on the critical editions with No. 2. Can I also include the forward by Ratz and/or the Revisionsbericht preceeding the music? [[User:Daphnis|Daphnis]] 08:30, 26 August 2008 (EDT)
:Great! As for the foreword and revisonbericht, they fall under the same rule that an original composition by Ratz would. It's OK to post if Ratz has been dead for more than 50 years, otherwise no. [[User:Carolus|Carolus]] 14:48, 26 August 2008 (EDT)
I can understand the forward, but are you certain the Revisionsbericht fall under the same category? As I would interpret it, such a list would be seen (and, in fact IS) as nothing more than a quantitative changelog; an objective survey of items altered and not any piece of synthesized prose developed by Ratz or any one person. [[User:Daphnis|Daphnis]] 16:52, 26 August 2008 (EDT)
:I guess the legal question would boil down to: Is the ''Revisionbericht'' by Ratz expressed in any way that can be considered unique or original? It's a hard question to answer, and the problem with this sort of thing is that the status of such information listings - often in table form - have been upheld by some courts, albeit inconsistently. The situation in the EU is even worse in this regard. My recommendation would be to avoid reproducing it directly. Putting the contents of his ''Revisionbericht'' on the work's talk page - using a modified layout - would be perfectly fine, however. In fact, if anyone wanted to compare editions and list all the differences in tabular form, we could even claim our own copyright on it (not that we'd want to, mind you). [[User:Carolus|Carolus]] 21:23, 26 August 2008 (EDT)

== Rachmaninoff ''Symphonic Dances'' ==

So I noticed that Kalmus reprinted this from the original publication by C. Foley in 1941. Is it indeed public domain in the U.S., and if so how? Since we desperately need to add this to our collection, I need to find the best copy to get and scan. Recommendations? [[User:Daphnis|Daphnis]] 22:39, 19 July 2008 (EDT)
:No, they are printing it under license. If you obtain a Kalmus reprint, you'll see the Foley copyright notice right there in your face. I have one on the shelf about 6 feet from where I'm sitting. It's public domain in Canada, of course. [[User:Carolus|Carolus]] 22:41, 19 July 2008 (EDT)
::I see. Well, it'll still be PD in Canada. How does your Kalmus reprint look? Wondering if I should go for it or the original print. [[User:Daphnis|Daphnis]] 22:43, 19 July 2008 (EDT)
:I'll be happy to send it your way, since a package is going in your direction anyway. It's a large score (10 x 13), with fairly decent printing. [[User:Carolus|Carolus]] 22:45, 19 July 2008 (EDT)
::Well, don't go to extra expense especially seeing as how I can easily get the exact same score sent free of charge. [[User:Daphnis|Daphnis]] 22:47, 19 July 2008 (EDT)
:No problem. I just found a score of some sort over at Tarakanov's site. I suspect it's a 2-up affair from the page count. Probably scanned from the Muzgiz score. [[User:Carolus|Carolus]] 22:58, 19 July 2008 (EDT)

Hi Carolus,

I have realized, that some of my typesetted scores (Eccard, Hammerschmidt, Haydn, Hook, Mozart,
Rosier, Vanhal) are still blocked. I can´t see any reason for this. Is it possible to
eliminate the blocking?
I still want to say: It´s very fine, that IMSLP has reopened! Best regards [[User:Notenschreiber|Notenschreiber]] 13:12, 20 July 2008 (EDT)

== Not 6 Bagatelles? ==
Hello Carolus. Obviously I am brand new around here. The Beethoven [[Bagatelles,_Op.126_(Beethoven,_Ludwig_van)|op. 126]] is often referred to as the 6 bagatelles and is so described in IMSLP's [[List_of_compositions_by_Ludwig_van_Beethoven,_by_opus_number|list of compositions]] and [[Ludwig_van_Beethoven_-_Complete_Works_Edition|Complete Works Edition]] (#190). What is to be gained by deleting that description, when surely that could make those pieces more difficult to find? I think I don't understand the guiding principle here. Or else don't agree with it! (Should the 7 Bagatelles then be changed too? I hope not.) Thanks for the seemingly limitless amount of work that you do on this project. --[[User:Df|Df]] 01:56, 22 July 2008 (EDT)
:Thanks for pointing this out. We'll change it to ''6 Bagatelles, Op.126''. The general principle is to keep titles minimal and avoid things like mention of the key and the instrumentation unless there is a compelling reason to do so. For example, ''6 Bagatelles for Fortepiano, Op.126'' has a needless mention of the instrumentation because the Op.126 was written only for piano - not for any other instrument. Likewise, ''Symphony No. 5 for Grand Orchestra in C minor, Op.67'' is needlessly long. Beethoven didn't include any organ symphonies in his Op.67 and most of the world know the work as the ''Symphony No.5, Op.67'' so there's really no need to include the key (which is only for the first movement anyway, so it's technically inaccurate to describe the whole work as being in C minor). [[User:Carolus|Carolus]] 15:19, 22 July 2008 (EDT)

== Oxford Book of Carols ==

While I'm here: Have you ever been asked about posting medieval to 19th century carols from the Oxford Book of Carols (1964?) when the typeset score is credited as, for example, "arr. Praetorius"? Would that be OK as typographical arrrangement >25 yrs? Modern English translations of text might still have to be deleted from the page. Thanks. --[[User:Df|Df]] 01:56, 22 July 2008 (EDT)
:This can get complicated in some cases. Over and above translations, what did the editors do in the ''Oxford Book of Carols''? If it's an urtext-type of edition, the 25-year rule applies. If the editor did something more, like realize the continuo, add "divisions" and other items which sometimes are done for older works, then it's life of the editor plus 50 years in Canada. [[User:Carolus|Carolus]] 15:25, 22 July 2008 (EDT)

== Publisher formatting help ==

Hi there,

Thanks for editing my Massenet song submissions with a better format re: Kalmus reprint. I will use that style in future submissions! [[User:Massenetique|Massenetique]] 17:32, 22 July 2008 (EDT)
:You're very welcome - and thanks for uploading the Massenet scores. I'd like to see some of the full scores for operas up here eventually! [[User:Carolus|Carolus]] 18:51, 22 July 2008 (EDT)

== hello ==

First of all, thanks for your help with my upload.

When I go to the work page the score begins to load very slowly, and then it freezes up.

Have you tried to download the score?

thanks!--[[User:MrLopez2681|MrLopez2681]] 03:32, 23 July 2008 (EDT)

::Hello again -
Yes indeed, the first page is missing from "The Little Humpbacked Horse". How do we fix it? You must explain to me how you went about doing all of those things step by step - I have tons of music Id like to share! --[[User:MrLopez2681|MrLopez2681]] 04:10, 24 July 2008 (EDT)

== Historical Publication Info ==

Hi Carolus, since we have now sortable tables, do you think it would be a good idea if I joined [[Plate Number Styles]] with [[Music Publishers]] to create one large table containing for each publisher all information we have and / or the link to it's own page?

Oh and I joined the Edition No. and Plate tables at Breitkopf, and I'm planning to do the same for Peters after I find an easy way. As the tables are sortable now, there's no point anymore in having two tables containing the same information.--[[User:Peter|Peter]] [[User talk:Peter|talk]] 08:03, 23 July 2008 (EDT)

:I think the Breitkopf and Peters merged tables look splendid. It's also much easier to have a single table than two. It would probably be a good idea to merge [[Plate Number Styles]] with [[Music Publishers]] as well. I would recommend moving the mini-histories presently under some of the entries in [[Music Publishers]] to their own separate publisher pages (if the info is not already duplicated there), instead of putting them into a table. That way we can keep the table down to the bare essentials. [[User:Carolus|Carolus]] 01:40, 24 July 2008 (EDT)

== Titles/Sub-Titles, etc. ==
Following on from our recent discussion, but I played around with slightly varying the titles to see if it affected the hits on Amazon.com. "Romeo and Juliet" is another title applying to more than one of Tchaikovsky's works (the overture-fantasia and the duet scene), and the hits did vary considerably:
:*Romeo and Juliet + Tchaikovsky = 623 music CDs
:*Romeo and Juliet + overture + Tchaikovsky = 504 music CDs
:*Romeo and Juliet + fantasy overture + Tchaikovsky = 413 music CDs
:*Romeo and Juliet + overture fantasia + Tchaikovsky = 31 music CDs
:*Romeo and Juliet + duet + Tchaikovsky = 11 music CDs
:*Romeo and Juliet + TH 42 + Tchaikovsky = 0 music CDs
In this case, using Tchaikovsky's preferred title "Romeo and Juliet (overture-fantasia)" would eliminate 95% of the matches on Amazon, and including the catalogue number would eliminate the rest. While the purist in me would prefer the proper title, perhaps "''Romeo and Juliet: overture (Tchaikovsky, Pyotr Ilyich)''" would be an acceptable compromise. Presumably the same would apply to The Voyevoda, Hamlet, and The Nutcracker (ballet/suite). As you say, this is an issue for several composers, and if you or anyone else has other thoughts, they'd be very welcome.
BTW, that's great news about Swan Lake and Sleeping Beauty! [[User:P.davydov|P.davydov]] 12:35, 23 July 2008 (EDT) [''copied from P.Davydov's talk page'']

== Gershwin revisions by F. Campbell-Watson ==

Carolus, what do you know about this F. Campbell-Watson person, and what are the nature of these "revisions"? I'm going to post full scores to most of the orchestral works and come across this name as a contributor. Know of any dates? [[User:Daphnis|Daphnis]] 09:54, 24 July 2008 (EDT)
:Nevermind, I see he died in 1980. That rules any of his orchestrations out. I wonder which scores of Gershwin I actually *CAN* put up since he always handed off that job to someone else because he was incompetent. [[User:Daphnis|Daphnis]] 12:20, 24 July 2008 (EDT)

That's the rub about Gershwin. However, I understand that Warner did issue facsimiles of Gershwin's manuscripts for a number of the more famous works. I don't know if they made a copyright claim as the first publication of the original version or not. One of the legal doctrines about publication is that all existing versions of a piece are considered to be published when the first item is published. For example, if a vocal score was published in 1927 for "Of Thee I Sing" (I know it's a bad example because the words are by brother Ira who lived until 1983), then all extant versions were published as of that date. The vocal score is a derivative of the full score, in most cases so they shouldn't turn around and claim first publication of the full score 90 years after the fact as a ruse to enjoy a virtually perpetual copyright. Of course, as is often the case when it gets to this type of argument, you might have to go up against the Time-Warner legal dept. to prove it in court. [[User:Carolus|Carolus]] 20:30, 24 July 2008 (EDT)

== F. Lucca ==

Do you have any idea if the editions by F. Lucca, Milano, are entirely issued before 1923? Worldcat does not have much . It would make tagging these files of which there are many submitted today much easier.--[[User:Peter|Peter]] [[User talk:Peter|talk]] 12:44, 26 July 2008 (EDT)
:F. Lucca was sold to G. Ricordi in 1891. This resulted in a "great leap forward" in Ricordi plate numbers. Nothing issued by F. Lucca is under copyright in the USA, and it's very unlikely to be protected anywhere else - though one does run into the Henri Büsser (1872-1973)-like composer now and again so it's not completely impossible. [[User:Carolus|Carolus]] 15:44, 26 July 2008 (EDT)
::Thanks --[[User:Peter|Peter]] [[User talk:Peter|talk]] 18:16, 26 July 2008 (EDT)

== Question for Feldmahler ==

Seems that Feldie isn't online. Can you answer my question? Follow this link: [http://imslp.org/wiki/User_talk:Feldmahler#Are_two_time_periods_possible_to_program.3F]. [[User:Marcus2|Marcus2]] 15:51, 26 July 2008 (EDT)
:That's one that only Feldmahler can answer, Marcus. He's the programming wizard here. [[User:Carolus|Carolus]] 15:53, 26 July 2008 (EDT)

== Copyright Template ==

Oops, sorry about that. I should have asked first. I do think it should be changed though, as deceased composers cannot release their works into the public domain. [[User:Ras1|Rob]] 15:26, 28 July 2008 (EDT)
:One of the problems with the changes was that the notice failed to address cases where it was not the composer, but the heirs or legal assignees of the composer, who are releasing their works under a Creative Commons license. The copyright owner, whether it's the composer or the composer's heirs and assignees is the one whose permission and authority must be granted. [[User:Carolus|Carolus]] 23:33, 28 July 2008 (EDT)

== Apologies ==

Apologies for deleting Vexations. Never knew about it. --[[User:Aewanko|Aewanko]] 19:45, 29 July 2008 (EDT)

BTW, thanks for editing Busoni's Elegien. I made a bad mistake. Would you mind introducing me here a bit? --[[User:Aewanko|Aewanko]] 20:03, 29 July 2008 (EDT)

== Breitkopf Series ==

Carolus, do you have information on the Series by Breitkopf (Kammermusik-Bibliothek, Orchester-Bibliothek, Partitur-Bibliothek)? Most of the reprint cd-rom parts seem to come from these editions. Publication dates ranging from 1830 to 1980 are found on OCLC, at first sight without a chronological association with the edition number. Thanks, [[User:Peter|Peter]] [[User talk:Peter|talk]] 18:31, 1 August 2008 (EDT)
:Hi, Breitkopf launched all of those series in the 1890s. They often included works which they had issued previously, though I expect that anything as far back as the 1830s would have been re-engraved. The vast majority of all the above series were already in print by the early 1920s - hence the great number of reprints. There are a relatively few instances where they included a new edition in one of these series after 1920 up the present day, though. I had an interesting discussion with a German music dealer recently who was telling me that all of the major German publishers (Breitkopf and Peters especially), produce a new edition for something every 25 years - even though sometimes the new edition uses the exact same engraving which has been in print since 1885. [[User:Carolus|Carolus]] 18:44, 1 August 2008 (EDT)

== Mozart KV 487 ==

Hi Carolus,

what´s the matter with the "Horn-duos" of Mozart, KV 487? The music is PD of course, and the
transcription for Oboe and Cor Anglais is done by myself, where is the problem?

Best regards [[User:Notenschreiber|Notenschreiber]] 16:30, 4 August 2008 (EDT)

With the help of "Google" I have realized now, that there is a transcription of the duos
- selled by Sibelius music - for two Oboes by Mr. Feezell. Is this the reason for the "Non PD"
attributes of my transcription in spite of the fact,that my transcription is not for 2 Oboes,
but for Oboe and Cor anglais?
There are a lot of transcriptions of these nice pieces, but I don´t think, that any of them
gives reason for a new copyright, the music is nearly literatly the same.
[[User:Notenschreiber|Notenschreiber]] 17:41, 4 August 2008 (EDT)

== Massenet songs ==

Hi Carolus -- I am double checking capitalization against as many sources as possible. The Chant provencal was one I had missed, the lower-case p is correct according to Grove's and Demar Irvine's book. The rule in 19th-century French is basically that only the first word and proper nouns are capitalized, but when the proper name is made into an adjective (ie. provençal) is is treated as such and not a proper noun. Therefore, most titles contain only a capitalized first word, even if it is an article or preposition (examples: Ravel's ''L'enfant et les sortilèges'' and ''L'heure espagnole'', or Berlioz's ''Les Troyens''). I work in a music library and deal with these issues on a daily basis. Thanks again for your help! [[User:Massenetique|Massenetique]] 21:16, 4 August 2008 (EDT)
:Thanks for the info - that's interesting to know. We'll follow your guidelines for the French titles. [[User:Carolus|Carolus]] 01:24, 5 August 2008 (EDT)

== Könemann Opera Reprints ==
Hi Carolus, I've uploaded a few excerpts from Bizet's Carmen reprinted by Könemann. While they mentioned the edition at the beginning, later on Könemann tried to conceal the source with a label or just said '...reproduced / reprinted from early edition..'. For the Wagner pieces I could find out the editions but for Carmen I have no idea which edition it is printed from. Would you please have a look at this? Thanks a lot, [[User:Hobbypianist|Hobbypianist]] 03:26, 5 August 2008 (EDT)
:You must have been reading my mind. It looks like they reprinted the original Choudens edition instead of the Chappell score that both Dover and Kalmus reprinted. If you have the entire full score, it will be a terrific addition. Even a partial score would still be very nice. I can easily get the Choudens particulars (date, plate number, etc.) from the Fuld book which I have here. [[User:Carolus|Carolus]] 16:00, 5 August 2008 (EDT)
::yes, I have this complete full score of Carmen. When the series was published years ago I bought several vocal scores and full scores of operas. Ok, I try to scan and upload step by step the other numbers, too. But don't expect these within the next days...the partitura has ca. 600 pages and there are still lots of other works waiting in my scanning queue ;-) Regards, [[User:Hobbypianist|Hobbypianist]] 02:22, 6 August 2008 (EDT)
:No rush at all. It's a really nice addition to the archive. I'll try and obtain a scan of the Chappell full score. The 1964 Fritz Oeser edition issued by Alkor/Baerenreiter is eligible for posting here as well. That will be a lot more difficult to find, since printed copies are very expensive. [[User:Carolus|Carolus]] 18:40, 6 August 2008 (EDT)

== About Guillaume Couture ==

Greetings Carolus,

By editing one of my recent upload, you have answered a question I was about to post on the forum, namely whether I should put 'Library and Archives Canada' in the ''Scanned by'' field rather than in the comment field.

I have another request. For the other work I have uploaded of this composer, I had forgot to add 'Op. 1' to the work title. I tried to rename the page, it succeeded but unfortunately, the link is now broken : [http://imslp.org/wiki/Memorare%2C_pri%C3%A8re_%C3%A0_la_tr%C3%A8s_sainte_vierge_(Couture%2C_Guillaume)]. Is it possible to fix that ?

Looking forward to add more scores,
Kwtc

:Hello Kwtc, Unfortunately, it appears the page for Op.1 is seriously damaged. I'll have to see if Feldmahler can fix it. Thanks, [[User:Carolus|Carolus]] 21:56, 7 August 2008 (EDT)

::The work page relies on the title for the composer name and category, so it should ''always'' be in the strict format "''Work Name'' (''Composer'')". But I've fixed that page. :-) --[[User:Feldmahler|Feldmahler]] 22:06, 7 August 2008 (EDT)

:::Thanks, I have added more scores (from [[:Category:Contant,_Alexis|Alexis Contant]]), teacher of [[:Category:Lavallée,_Calixa|Calixa Lavallée]] and hopefully I did everything right this time!

== Sciffleholz Gallicon Duos==

Yes the manuscript is a slight edit from the original text to make the music playable on a lute, so it is an original edition. Hardly anybody has a gallichon so this music has been largely unplayed for years. I could not get it to load without it having to be public domain, otherwise I would have used a creative commons license. Of course today one would probably typeset this stuff though when you do that you risk losing some of the ornamentation marks scribes put on manuscripts.... [[User:MartinY|MartinY]] 04:26, 8 August 2008 (EDT)

== Massenet Mélodies ==

Hi Carolus -- I've been doing alot of research today regarding the publisher info for the 8 volumes of Massenet songs published by Heugel between 1890-1914. I think I've come up with just about everything and wanted to run it by you -- I didn't want to alter the page you made because I figure you understand how better to format, etc. Here's what I've discovered.
:Editions A and B exist for each volume, and somewhat couterintuitively it seems almost certain that the lower key was published first (or at least the plate numbered first), followed by the higher key -- ie. (A) is Mezzo-soprano/Baritone and (B) is Soprano/Tenor. This is consistent with the plate numbers I've been able to find as follows:
::Volume I: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 189?, plate H. et Cie 7990
:::Edition B pour soprano ou ténor -- Paris: Heugel, 189?, plate H. et Cie 7991
::Volume II: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1892, plate H. et Cie 7346
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1892, plate H. et Cie 7347 (this one's an assumption based on the successive nature of other plate numbers)
::Volume III: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1891, plate H. et Cie 7041
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1891, plate H. et Cie 7042
::Volume IV: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1896, plate H. et Cie 8305
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1896, plate H. et Cie 8306
::Volume V: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1900, plate H. et Cie 20,292
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1900, plate H. et Cie 20,293
::Volume VI: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1903, plate H. et Cie 21,704
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1903, plate H. et Cie 21,705
::Volume VII: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1912, plate H. et Cie 25,631
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1912, plate H. et Cie 25,632
::Volume VIII: 20 (Vignt) Mélodies
:::Edition A pour mezzo-soprano ou baryton -- Paris: Heugel, 1914, plate H. et Cie 26,480
:::Edition B pour soprano ou ténor -- Paris: Heugel, 1914, plate H. et Cie 26,481 (another assumption) 
There are of course also the original Hartmann plate numbers (Vol. I, 1875: GH 756; Volume II, 1881: GH 1250/1514?) but I believe the reprints I'm working from are all Heugel editions because I recognize a difference in typeset between Heugel and Hartmann that I do not see in the first two volumes. 
I found this info on various library websites, WorldCat, French National Library, Library of Congress, etc and compared against Demar Irvine's book which includes only original publication info. I think what I have here is right but I am open to comments. Thanks! [[User:Massenetique|Massenetique]] 21:01, 12 August 2008 (EDT)
:Thanks for this info. The Kalmus reprints were almost certainly made from Heugel prints since Hartmann issued only two volumes and even these are much more common in the Heugel reissues (1892 down to the recent times) than the small number of Hartmann originals (1875, 1881). Do you really think Heugel would have actually gone to the expense to re-engrave the Hartmann plates? This strikes me as unlikely since they bought Hartmann's complete catalogue starting in 1891. It would have been much easier (and cheaper) to simply add new plate numbers and change other pertinent info without actually having the songs engraved all over again. Vol. 1 looks to have been reissued by Heugel in about 1893-1894, while Vol. 2 was also the second issued by Heugel (1892) after the acquisition of Harrtmann. Both firms no doubt used the same Paris engravers who were so active at the time (L. Parent, Baudon, and a couple of others). [[User:Carolus|Carolus]] 22:42, 12 August 2008 (EDT)
::Yes, you are probably right about Heugel's reissue of the volumes first published by Hartmann ... In that case, which should be credited in publisher info? The original Hartmann plate # or the later Heugel, or does it not matter if they're both public domain and are identical? [[User:Massenetique|Massenetique]] 22:47, 12 August 2008 (EDT)
:Since it's very unlikely that Kalmus had Hartmann volumes to reprint for 1 and 2, I'd go ahead and list the Heugel on the workpages. We can list the Hartmann originals on the series page, which should be sufficient enough to satisfy freaks like us :) [[User:Carolus|Carolus]] 22:50, 12 August 2008 (EDT)

== Beethoven Serenade op.25 ==

Hi Carolus,
is it possible to unblock the Serenade in D major for Flute, Violin and Viola of Beethoven,
Complete score for all movements?
Thanks! [[User:Notenschreiber|Notenschreiber]] 04:41, 14 August 2008 (EDT)

== significant / insignificant editorial contributions ==

Hi Carolus ! I have just tagged 11/V/31 some files (uploaded by Generoso) from PD composers and published in 1913 but edited and fingered by George John Trinkaus (1878-1960). Apparently you prefered
to tag similar files (I mean from the same book) as C/V/C. Is this because Trinkaus only added fingerings ? More generally, can we make the general statement that fingering is not a significant editorial contribution ? In that case, i am afraid I have been a little bit too severe a couple of time. Cheers, [[User:Matthieu|Matthieu]]
:Trinkaus was an American and the works published were issues in the USA also. Becuase of Rule of the Shorter Term in the EU and Canada, works now PD in the USA have no additional protection in the EU or in Canada. This also applies to Leopold Godowsky (US citizen from the 1890s) and several others. [[User:Carolus|Carolus]] 16:14, 14 August 2008 (EDT)
Of course ! (I would rather go to bed now.)

== Headings ==

Hello Carolus. Thanks for your message. I didn't realise that a decision had been taken on standardising of headings. I can see the thinking behind the proposed changes, although this could throw up a few anomalies. For instance, on the page for Tchaikovsky's Manfred Symphony we have a full score of all four movements, and also a full score for the first movement only (both actually from the same edition). Putting them under different headings (with a piano transcription of the full work inbetween) seems counter-intuitive and a little confusing -- or maybe that's just me :-)

Before adopting a formal scheme universally, might it be worthwhile testing the proposals on a sample of composers as a pilot project, to test what sorts of issues might come up? I'd be happy to help with this if required. [[User:P.davydov|P.davydov]] 18:57, 16 August 2008 (EDT)

:I see what you mean, but I guess the key is if a given item was actually published as an excerpt - instead of it being an incomplete score, which is what the Manfred first movement is. (I'll have to look at that to see if we really need to be keeping it, to tell you the truth.) As I mentioned before, we're still trying to hammer this out so it will be practical and make some sort of sense. We have a discussion over at the forum about it, so your input is of course very welcome. [[User:Carolus|Carolus]] 19:01, 16 August 2008 (EDT)

== New Versions ==

Hi Carolus,

I have a problem (like Carmar1791) with a new version of Divertimento KV Anh.229 II, Transcription for 2 Oboes and Bassoon.
The version is announced and indicated as actuell version (file size 0,19 MB), but downloading has as result the old version.
Can you help? Thanks. [[User:Notenschreiber|Notenschreiber]] 04:15, 19 August 2008 (EDT)

==Federico Maria Sardelli's scores==
Dear Carolus, many thanks for your notice. I am the copyist om my own works and the scores I put in IMSLP are not published by any publishing company. So they are free. Best wishes from Federico Maria Sardelli--[[User:Federicosardelli|Federicosardelli]] 02:13, 2 September 2008 (EDT)

==Copyright Reviews==

Hi Carolus,

:I'm wondering if I could become a part of the copyright review team.
Thanks, [[User:Dja|Dja]]

== Microsoft scores ==

Hello, Carolus. Whil you were away we were wondering what to do with the Microsoft scanned scores. Their statement allows non-commercial redistribution, but the logo is copyrighted. [[User:Peter|Peter]] [[User talk:Peter|talk]] 15:50, 22 September 2008 (EDT)
:Hi, I'm really very leary of posting these. Reproducing the logo is very definitely not legally permissible. The question which arises is what constitutes "non-commercial." It depends on how strictly one would define this term. We are not (yet) a legally organized charity or non-profit enterprise, though that is the ultimate goal. Yes, I know there are quite a few of these scans out there. It's rather ironic that the multi-billion for-profit enterprise Microsoft effectively controls the distribution of scans of public domain holdings of publicly funded libraries by affixing their logo to every single page. [[User:Carolus|Carolus]] 15:57, 22 September 2008 (EDT)

== Brucker symphonies (Peters) ==
Hi Carolus, 
finally it's done. I've uploaded the 9 symphonies by Bruckner (C.F. Peters). While they are PD in any case in Canada and EU, I couldn't find an exact date to determine the US status (libraries estimate from ca.1900 up to the 1940s....) Chronological order of the plate numbers assumed it should be around the 1920s, thus an exact date will decide whether the files are blocked or available... Would you please take a look at them? Thanks a lot, [[User:Hobbypianist|Hobbypianist]] 16:42, 23 September 2008 (EDT)
:Hi, Thanks for the lovely collection. Peters did not print a publication date, and it appears to be around 1920 or 1921 from the plate number. I'm therefore tagging them as PD in the USA. [[User:Carolus|Carolus]] 16:54, 23 September 2008 (EDT)

==Preludes y fuges for piano==

Hi Carolus,

when you have a chance would you mind deleting the new copies of the 48 Preludes and Fugues that [[User_talk:Kmilo1992050|Kmilo1992050]] has begun uploading? I appear not to have privileges to be able to delete items.

I've pointed out to the chap that these editions by Carl Czerny already exist on IMSLP at [[Well-Tempered Clavier, Book 1 Nos. 1-12, BWV 846-857 (Bach, Johann Sebastian)]] under "other editions", which hopefully should dissuade him from adding any more. Moreover the scans are identical, byte for byte, with the set uploaded by Funper, except for one of the new files where this guy has appended his digital signature (d'oh).

Regards, Philip Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 20:29, 2 October 2008 (EDT)
:Thanks for dropping this fellow a note, Philip. Deleting is no problem. [[User:Carolus|Carolus]] 21:08, 2 October 2008 (EDT)

== Haydn Symphonies ==

Hello Carolus.

Yesterday I uploaded a full score of Haydn’s 34th symphony which didn’t pass the PD-Test. Obviously I still have to learn how to verify the copyright status and what is significant and unsignificant editorial work. I suppose that one problem was the introductory notes, that are not PD. Would it be possible to upload the file without them? I have other Haydn-Scores where you find:

*no text whatsoever, just the plain score
*notes by the editor, but only biographical
*notes by the editor about the editorial work (like in the dismissed score, but not as detailed)

Is it legal to upload these? With or without the text? Would be great if you could give clarification.

--[[User:Fritz Winter|Fritz Winter]] 05:28, 3 October 2008 (EDT)

:Hello Fritz, Any prefaces, notes, biographies, etc, written by an editor are subject to the same copyright rules that an original musical work is: life plus 50 years in Canada (where IMSLP is hosted), life plus 70 in the EU. The music may subject to the "urtext" rule (25 years from publication) if there is no significant original contribution on the editor's part. PML, who tagged the Haydn score you uploaded stated that the editor (who is still alive, apparently) in this case had made significant original contributions which placed this particular edition out of the "urtext" category and into the "interpretative edition" category, which carries the life-plus terms instead of the 25 years of an urtext edition. Even if we end up deciding this edition is an urtext (and therefore eligible to be hosted at IMSLP), all prefaces, critical notes, biographies, etc. will need to be eliminated. Sorry for the long-winded answer, but this is a complicated case. [[User:Carolus|Carolus]] 21:31, 3 October 2008 (EDT)

::OK, so I won’t upload my scan of Haydn’s 6th, because the notes by the editor are quite similar to these in the 34th, which means there’s significant editorial work, which should be protected, right? But I will upload Haydn’s 7th and 34th, without any biographical introductory texts. --[[User:Fritz Winter|Fritz Winter]] 04:10, 4 October 2008 (EDT)

:::Fritz, as Carolus pointed out I tagged the Haydn score and will admit I may have been overcautious when deciding on the editorial contribution – only a single page of corrections is not very much! – however the score as I found it had the editor's own introductory text intact and was a clear copyvio as a result. Omitting the pages of concern does not erase the entire editorial contribution however the originality of what remains was minimal. As IMSLP has attracted hostile attention from certain quarters the copyright review is unfortunately required to be diligent; so if you are able to obtain scores without such hindrances it does make the process a lot smoother. Best regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 06:23, 13 October 2008 (EDT)

== [[Caprice No.6 (Franchomme, Auguste)|Franchomme: Caprice No.6]] ==
Yes, Franchomme wrote 12 Caprices for solo cello and Albini did arrange the piano accompaniment for the Caprice No.6. Thanks for checking it out for me. I did not know when Albini lived. Thanks for your help. [[User:Generoso|Generoso]] 04:58, 6 October 2008 (EDT)

== Ivota Arra & [[User talk:Werther]] ==

Hi Carolus,

you wrote,
:Dear Werther, Are you the composer Ivota Arra, or do you have permission to post his or her works here? If not, the files you uploaded will be deleted in 24 hours or less. [[User:Carolus|Carolus]] 14:29, 12 October 2008 (EDT) (IMSLP Copyright Admin)

I think from [http://imslp.org/index.php?title=Phophattoperisteris_(Arra%2C_Ivota)&oldid=165608 this] we can establish that "Young Werther" :) is ''not'' the composer. However, if you look at the PDF, it was typeset by a chap called Ivo M. (identity partially concealed), which begs another question:
:1. Does Ivo M. have permission to publish Ivota Arra's works; and
:2. Does Werther have permission to upload Ivo's edition here?
Over at CPDL we ''have'' seen cases of a relative or descendent of a deceased composer posting non-PD works with the consent of the composer's estate. This may well be the case here, so I suggest sending an e-mail as per [http://imslpforums.org/viewtopic.php?t=1321 this] forum topic.
Regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 06:11, 13 October 2008 (EDT)

== Brahms-institut ==

Hi Carolus, I'm not quite understanding how we can permit the reproducing of the logo of the Brahms-institut in regard to the Microsoft logo that allows non-commercial copying? [[User:Peter|Peter]] [[User talk:Peter|talk]] 10:36, 14 October 2008 (EDT)
:My reasoning is that the Brahms-Institut is a government-funded institution and therefore not really entitled to exercise IP rights under most national laws. Microsoft and Google by contrast are private corporations who regularly enforce their trademarks. The Brahms items are certainly very desirable for the collection and I am admittedly "pushing the envelope" a little here as I would normally prefer the watermarks to be removed, honestly, just to be on the safe side. Thanks for bringing it up - and let me know if you disagree. [[User:Carolus|Carolus]] 13:45, 14 October 2008 (EDT)
::My thought would be to at least inform the Brahms-Institut as a courtesy and diplomatically point out the advantages for researchers, students, musicologists etc etc for their scans to be available here at IMSLP as well, while acknowledging them as the source. This isn't without certain risks however, primarily that the BI might turn around and request the removal of all of their scans; secondarily, that they might wish to impose some conditions on how visitors to IMSLP can obtain their scores.
::This is incidentally why there hasn't exactly been a huge progress on the NMA project: when scoping it out I quickly found we would only be able, under the current copyright laws regarding urtexts and the 3-domain tagging system, to host about a third of the NMA. So once I recover some free time (which hasn't been the case for about six months) I am planning to contact the Mozarteum Institute to negotiate IMSLP hosting the entire musical portion of the NMA (probably not editorial notes and the critical reports, obviously); I will be taking advice from trusted people here and consulting with yourself and Feldmahler once I'm ready to proceed on that! Regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 17:11, 14 October 2008 (EDT)

== Private message awaiting you ==

Hi Carolus,

e-mail for you at your yahoo address - regards, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 19:53, 14 October 2008 (EDT)

:Turns out we did use one of the NMA full scores from the University of Melbourne collection – and my continuo player was turning pages every four bars as a result! But the performance of K 317 went exceptionally well :) Thanks again for your help, Philip Legge [[User:Pml|♇]] [[Special:Emailuser/Pml|@]] [[Special:Contributions/Pml|©]] [[User_talk:Pml|Φ]] 23:15, 17 October 2008 (EDT)

== 3 questions ==
Hi Carolus,
I have Berwald's complete solo piano music, published by Bärenreiter 1977, editor Bengt Edlund. I'm trying to get also the piano concerto and if possible the symphonies. However, I'm not quite sure about the status since most of the editors of the Berwald complete edition are Swedish. Does this affect somehow the urtext condition? Also, would you please take a look at the Zar and Waffenschmied vs? The high plate number actually doesn't fit to the old style of the score. Is it really Peters or just a reprinted Breitkopf score? Worldcat says Peters. I came across several scores where Elibron and CDSM are mentioned as scanner/in the misc. field. Wouldn't it be better to remove really every single occurrence of those names in order not to draw their attention? Thanks a lot in advance, [[User:Hobbypianist|Hobbypianist]] 16:39, 15 October 2008 (EDT)
:Hello Hobbypianist, Any critical edition score from 1982 or before is fair game, regardless of where in the EU it was published. The only problem we run into with these editions now and again is the case where the editor has actually added original material - like a continuo realization. That's why I think each one needs to be examined in some detail to make an evaluation. Our policy is to recognize at most a 25-year term. The 93/98 EU Directive actually states that member states can grant a term of no more than 30 years from publication for such editions - if they choose to do so. It is entirely possible that under Swedish law, such an edition is not protected at all.

:It is entirely possible that Peters reprinted an older Breitkopf score. I have never quite figured out the relationship between Peters and Breitkopf - they cooperated on several ventures - like the complete works edition of Mendelssohn. Such cooperation between competitors is much rarer in the USA. It is also possible that the score was first published by another publisher with higher plate numbers like Cranz. It was "engraved and printed" by Breitkopf. The plate number is certainly not that of Peters. but of another - earlier - publisher. The score you posted is late-19th to early-20th century, and Kogel edited hundreds of vocal scores for Peters.

:I agree with you that it's probably best to not mention Elibron, Everynote, or CDSM as the scanner by name. While such a citation would not constitute a trademark violation, it could precipitate a frivolous lawsuit, which are very expensive to fight nevertheless. [[User:Carolus|Carolus]] 21:18, 15 October 2008 (EDT)

::Thanks for your answer. Regarding the Berwald scores, how can we handle this? Do you agree if I upload them with corresponding work pages and leave them untagged/blocked at first? Then one can examine and decide whether to release them or delete them in case of unclear status. [[User:Hobbypianist|Hobbypianist]] 14:52, 16 October 2008 (EDT)

:Yes, I think that's the best way to go. I know some of the symphonies were edited by the conductor Herbert Blomstedt. If there are complicated issues, they can be addressed on the forum. [[User:Carolus|Carolus]] 20:27, 16 October 2008 (EDT)
::Hi again, as announced I've uploaded in a first step the complete solo piano music by Berwald. Would you please take a closer look at them to evaluate if the scores are permissible or not? The other works (symphonies and concertos) will take some time (provided I get them). Thanks and regards, [[User:Hobbypianist|Hobbypianist]] 16:25, 26 October 2008 (EDT)

:Hi. I just looked over the first one, and it seems to me that this is definitely an urtext edition, where the editorial content on the music itself is not sufficiently original to qualify for a copyright under Canada's law. The US (as always) is a more complicated case. Since anything published from 1964 onward was automatically renewed, most of the Berwald series is nominally under copyright for 95 years from the date of publication. No one has actually challenged critical or urtext editions under US law using the "threshold of originality" doctrine. So, right now I have to tag it "Non-PD US". Before too long, the blocking software should be modified to allow free access to files that have two OK tags (C or V or any combination). The Berwald score I looked at appears to be free in both Canada and the EU. BTW, you no longer need to use the "br" tag for the urtext template. Feldmahler fixed it so that it has an automatic break in front of it. [[User:Carolus|Carolus]] 19:31, 26 October 2008 (EDT)
::Hi Carolus, I've finished the Berwald project, the major works are now in my collection. As announced I've uploaded the 4 Symphonies, the Piano and Violin Concerto. Would you please take a look at them? Regarding the editing work I've uploaded also [[Image:Berwald_info_editing.pdf]]. For the Piano Concerto I can't see any fingering so this should actually be ok. In the Violin Concerto there are few negligible marks. However, if the status of these scores is unclear please delete them. Thanks a lot. [[User:Hobbypianist|Hobbypianist]] 17:56, 21 December 2008 (EST)

== Question about Edition Peters ==
Hello Carolus,
If I would upload a score that is published by Peters, should I place "C.F. Peters" instead of "Edition Peters"? Just inquiring. Thanks. --[[User:Aewanko|Aewanko]] 21:35, 15 October 2008 (EDT)
:Hi, It depends on when it was actually first published. Peters didn't use the imprint "Edition Peters" until 1895. I try to label things that were first issued before then as "C.F. Peters" and possibly mention that it score is a post-1895 reissue, as in "Reissue (after 1895) - [[Edition Peters]]." Peters continues to use the imprint "C.F. Peters" to this day and reserves the "Edition Peters" imprint only for selected items. So, for post-1895 issues I go with whatever is printed. Our [[Edition Peters/Plate Numbers|plate number]] list is getting pretty extensive now, so you can get some idea of when things were actually first issued. [[User:Carolus|Carolus]] 21:40, 15 October 2008 (EDT)

== I am the composer of the 3 Preludes for Piano by Mark Hedien ==

Hello -- I just uploaded (again) three preludes for piano. My name is Mark Hedien. My login name on imslp is Mrvegas. I wrote these pieces and have the full rights to them. It is ok to list them as public domain. Let me know if you have any questions.
:Thanks for letting us know. Sorry we deleted what you posted before, but we hadn't received a reply so decided to remove just in case the files had been posted without authorization. [[User:Carolus|Carolus]] 00:44, 23 October 2008 (EDT)

After all imslp has been through, I understand you have to be careful. I'm very happy to see the site back up.

== Searle numbering ==
Hi Carolus, several Liszt pages have been redirected (2 piano versions to orchestral). However, the Searle numbering distiguishes clearly between orchestral and for example 2 piano or 4 hand version. Shouldn't we therefore keep the original S. number? Just wanted to hear your opinion. [[User:Hobbypianist|Hobbypianist]] 13:33, 29 October 2008 (EDT)
:Yes, I think you're probably right. I'm not sure why PerlNerd666 started moving them around. I don't think that Searles's idea of giving transcriptions of the same work different numbers was very good one, but the Searle numbering system is widely used nonetheless. It might be OK to copy the transcriptions of the symphonic poems into the work-pages for the orchestral originals, and vice-versa.
::Oops...I really need to pay more attention--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 11:13, 5 November 2008 (EST)

== Telemann copyright ==

Dear Carolus, Johann Tufvesson and Luigi Cataldi write in their pdf-files: non-commercial copying welcome (normally on the first page). There are some files by Johan Tufvesson in the IMSLP, e.g. 12 Duos for Violin and Cello. I thought, that this would be enough. Mario Bolognani gives a copyright notice on the first pages of his pdf-files: Creative Commons License BY-NC-ND. It wasn't possible to upload the files under this license, but I gave a link to the original hompage. This is specified on his Home-Page: http://www.baroquemusic.it/_eng/diritti.cfm. If this isn't enough, I'm sorry.[[User:Rarus|Rarus]] 09:35, 9 November 2008 (EST)
:Hello Carolus, the 36 Fantasias by Telemann are actually from the WIMA. I didn't upload more from there, because I couldn't find anything about copyright. But this file ([[36 Fantasias for Cembalo (Telemann, Georg Philipp)]]) has a notice on the first page, and I relied on this. [[User:Rarus|Rarus]] 16:48, 9 November 2008 (EST)
::Oh, this WIMA seems to be a strange thing ... [[User:Rarus|Rarus]] 16:56, 9 November 2008 (EST)
==Bach Vocal Scores==
Hi. I compared the file for BWV 91 to the bh2000 one - an exact match, so the edition is the same. Why are you still adding question marks on the transcriber? Am I missing something?--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 12:48, 10 November 2008 (EST)
:Because the fact that one score was an exact match doesn't necessarily mean the others are. For one thing, I don't think Todt was responsible for all of the approx. 200 vocal scores issued. There were a couple of other arranger/editors involved as well for the series. We'll learn more about it as time goes on, but right now just use the info we have (Todt followed by question mark in parens). Having the page counts is a help in the research via OCLC, which is rather laborious. That's also why I'm tagging everything C/V/C. [[User:Carolus|Carolus]] 13:00, 10 November 2008 (EST)
::Thanks!--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 13:03, 14 November 2008 (EST)

==Dvorak complete?==
I have an edition of the Dvorak slavonic dances op. 46 by the czech state library, reprinted by dover, and the ninth symphony reprinted by kalmus. Is this under copyright? If not, I've seen it in libraries and think we should make a page for it.--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 13:03, 14 November 2008 (EST)
:Not under copyright anywhere. The Supraphon Complete Works was mostly issued in the 1950s and 1960s. Most were not renewed in the USA (and thus reprinted by both Kalmus and Dover) and are moreover ineligible for GATT "restoration" because they are PD in the EU (critical editions more than 30 years old). Post away. [[User:Carolus|Carolus]] 15:17, 14 November 2008 (EST)
::Let us create a page!--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 16:09, 14 November 2008 (EST)
Although I don't know any of the specifics, and do not have access to a scanner anymore....this might be hard...--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] 16:11, 14 November 2008 (EST)
:You could always post on the forum to see if you can send the scores to someone who has the scanner (and the time!), Thanks [[User:Carolus|Carolus]] 16:14, 14 November 2008 (EST)

==Hello...==
Thank you for your message the other day. I have left some comments and questions on my Discussion page which you may wish to see or respond to. Best Regards, --[[User:Homerdundas|Homerdundas]] 00:31, 19 November 2008 (EST)

== Chausson: "Concert" versus "Concerto" ==

Hi Carolus,
I noticed you moved the title of the "Concert en ré majeur pour violon, piano et quatuor à cordes, Op. 21" by Ernest Chausson from "Concert" to "Concerto" in the english translation. I think this is not correct, even if this practice is very common (for example the Dover reprint use the word "Concerto") in the english speaking area. Here is the point: in French, as well as in english (correct me if I am wrong), both words "Concert" and "Concerto" do exist. This was Ernest Chausson's explicit choice to name is work "Concert" (fr) rather than "Concerto" (fr) because there is a subtle nuance: (i) As you probably noticed this is not a "Concerto" in the usual sense, (ii) The word "Concert" refers to the old days of French music (see Couperin for example) and denote a chamber music form where some parts are more developped than others (one of the many proto-concerto forms, "Concerti Grossi" are an other example . Here "Concert (fr)" as the sense of "Gentle agreement" in english. In that context, I think naming this work as "Concerto for Piano, Violin and String Quartet, Op.21 (Chausson, Ernest)" is a mistake that can be compared to renaming Couperin's "Concert royaux" to "Royal Concertos" (!). Note that le latter is never used in the english speaking area. Neither Couperin or Chausson works are concertos. I agree that standard forms should be systematically translated to english ("COncerto pour violon"->"Violin Concerto", "Sonate pour alto"->"Viola sonata"...), but "Concert (fr)" is all but a standard form. Regards,--[[User:Matthieu|Matthieu]] 01:49, 27 November 2008 (EST)
:Hi Matthieu, Good Point! Concert it should be. I saw the Dover title which made me think (incorrectly) of using Concerto. Thanks, [[User:Carolus|Carolus]] 02:34, 27 November 2008 (EST)
And apparently, Dover took some other liberalities such as swapping the original order "Violin, Piano..." to "Piano, Violin...". --[[User:Matthieu|Matthieu]] 03:32, 27 November 2008 (EST)

== Mozart Oboe Quartet K. 370 by Bärenreiter ==

Carolus, I have a set of parts and score (BA 4867, parts) dated 1987 presumably from the NMA. I'm not very familiar with Mozart publication history nor practices with Bärenreiter, so would this be public domain? [[User:Daphnis|Daphnis]] 09:51, 6 December 2008 (EST)
: AS far as I know: all urtext editions are PD in Canada, 1987 is less than 25 years ago, and IMSLP voluntarily observes a 25-year rule, as this is what the EU does. It is protected in the US for 95 years after date of publication.--[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] [[Special:Emailuser/Perlnerd666|Email me]] 17:17, 6 December 2008 (EST)

Hi Daphnis (and Snailey), It's the 25-year rule for the Urtext volumes from the NMA, so the 1987 score would not yet be OK. You also have to be careful about some of the Baerenreiter scores because they are not actual offprints from the NMA, but "practical" editions with added editorial content - especially continuo realizations, but also sometimes articulations, dynamics, and slurs that are original to the editor. I've been heavily involved with a project at my 'day job' for the past several days and will hopefully be able to get back on IMSLP soon. The US status of such editions is officially life-plus-70 of the last surviving editor for those published after 1977. It's really a gray area in the USA because there are two major court decisions (Feist vs. Rural and Bridgeman vs. Corel) that would tend to make the case that such editions are not subject to any sort of copyright under US law. However, the issue of critical editions has not come up - yet - in court. [[User:Carolus|Carolus]] 02:30, 8 December 2008 (EST)
:Thanks for the great info. I'll try and track down an older edition. [[User:Daphnis|Daphnis]] 09:54, 8 December 2008 (EST)

== Supraphon Page ==

I know that you probably know more than me (or the nonexistent wikipedia article...) about [[Supraphon]]. Would you mind giving a little help, when you have the time?[[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] [[Special:Emailuser/Perlnerd666|Email me]] 12:44, 9 December 2008 (EST)
:I'll be glad to when I get a chance. Right now, my 'day job' is taking up much of my time. I'll be glad when things slow down a little and I have a chance to get back cruising around IMSLP! [[User:Carolus|Carolus]] 02:25, 10 December 2008 (EST)

== Forberg ==

Hi...Sorry, I know that you're busy (Who isn't right now?), but I think it's time we created a publisher page for Rob. Forberg, as I think we've reached a critical mass of pages that could use the link...this would be helpful...Thanks![[User:Perlnerd666|Snailey]] [[User Talk:Perlnerd666|Yell at me]] [[Special:Emailuser/Perlnerd666|Email me]] 16:58, 21 December 2008 (EST)

== Re: Banchieri ==

Hello Carolus,

Thanks for your observation: I have downloaded those files from the [http://www.cpdl.org Choral Public Domain Library]; but as a '''Public Domain''' Library, I thought I could upload them: I've done the same thing for [[Armide, LWV 71 (Lully, Jean-Baptiste)]]. Then I noticed that I forgot to delcare on "Il festino" page the kind of edition, and so I've updated the page adding the information (maybe that is adequate). If this isn't enough, I'm sorry. --[[User:JackB09|JackB09]] 16:08, 25 December 2008 (EST)

I would also ask why the files from 17 to 20 don't appear.

User talk:JackB09

2008-12-25T21:11:35Z

JackB09:

== Goldberg variations on IMSLP ==
[http://it.wikipedia.org/wiki/Discussioni_utente:JackB09#Goldberg_variations_on_IMSLP Goldberg variations on IMSLP]

== composer template ==

Hello JackB09, I changed the table on your user page to the composer template we already had. As there was no level specified, I randomly assigned level 2, so you might want to change it. cheers, [[User:Peter|Peter]] [[User talk:Peter|talk]] 11:17, 18 August 2008 (EDT)

== Banchieri ==

Hello JackB09, Do you have Chris Lee's permission to post his typesets here? If not, they will have to be deleted. Thanks, [[User:Carolus|Carolus]] 19:36, 24 December 2008 (EST) (IMSLP Copyright Admin)

User talk:Carolus

2008-12-25T21:08:54Z

JackB09: New section: Re: Banchieri

Festino nella sera del giovedì grasso, Op.18 (Banchieri, Adriano)

2008-12-25T21:04:32Z

JackB09: Updating: Edizione

{{#fte:imslppage

| *****FILES***** =

{{Separator-1}}
{{#fte:imslpfile
||File Name 1=PMLP57681-banc-f01.pdf
|File Description 1=1. Il diletto moderno per introduzione
|Page Count 1=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 2=PMLP57681-banc-f02.pdf
|File Description 2=2. Justiniana di vecchietti chiozzotti
|Page Count 2=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 3=PMLP57681-banc-f03.pdf
|File Description 3=3. Mascherata di villanelle
|Page Count 3=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 4=PMLP57681-banc-f04.pdf
|File Description 4=4. Seguita la detta mascherata
|Page Count 14=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 5=PMLP57681-banc-f05.pdf
|File Description 5=5. Madrigale a un dolce usignolo
|Page Count 5=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 6=PMLP57681-banc-f06.pdf
|File Description 6=6. Mascherata d'amanti
|Page Count 6=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 7=PMLP57681-banc-f07.pdf
|File Description 7=7. Gli amanti morescano
|Page Count 7=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 8=PMLP57681-banc-f08.pdf
|File Description 8=8. Gli amanti cantano un madrigale
|Page Count 8=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 9=PMLP57681-banc-f09.pdf
|File Description 9=9. Gli amanti cantano una canzonetta
|Page Count 9=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 10=PMLP57681-banc-f10.pdf
|File Description 10=10. La zia Bernardina racconta una novella
|Page Count 10=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 11=PMLP57681-banc-f11.pdf
|File Description 11=11. Capricciata a tre voci
|Page Count 11=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 12=PMLP57681-banc-f12.pdf
|File Description 12=12. Contraponto bestiale alla mente
|Page Count 12=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 13=PMLP57681-banc-f13.pdf
|File Description 13=13. I cervellini cantano un madrigale
|Page Count 13=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 14=PMLP57681-banc-f14.pdf
|File Description 14=14. Intermedio di venditori di fusi
|Page Count 14=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 15=PMLP57681-banc-f15.pdf
|File Description 15=15. Li fusari cantano un madrigale
|Page Count 15=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=[http://www.cpdl.org Choral Public Domain Library]
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 17=PMLP57681-banc-f17.pdf
|File Description 17=17. Gli Festinanti
|Page Count 17=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=[http://www.cpdl.org Choral Public Domain Library]
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 18=PMLP57681-banc-f18.pdf
|File Description 18=18. Vinata di brindisi e ragioni
|Page Count 18=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=[http://www.cpdl.org Choral Public Domain Library]
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 19=PMLP57681-banc-f19.pdf
|File Description 19=19. Sproposio di Goffi (però di gusto)
|Page Count 19=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=[http://www.cpdl.org Choral Public Domain Library]
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 20=PMLP57681-banc-f20.pdf
|File Description 20=20. Diletto moderno licenza a di nuova invita
|Page Count 20=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=[http://www.cpdl.org Choral Public Domain Library]
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
}}

| *****INFO ID (SEE HELP PAGE)***** = 0

| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

User talk:JackB09

2008-12-24T15:48:32Z

JackB09:

Write Under This Line, Please

----

== Goldberg variations on IMSLP ==
[http://it.wikipedia.org/wiki/Discussioni_utente:JackB09#Goldberg_variations_on_IMSLP Goldberg variations on IMSLP]

== composer template ==

Hello JackB09, I changed the table on your user page to the composer template we already had. As there was no level specified, I randomly assigned level 2, so you might want to change it. cheers, [[User:Peter|Peter]] [[User talk:Peter|talk]] 11:17, 18 August 2008 (EDT)

Festino nella sera del giovedì grasso, Op.18 (Banchieri, Adriano)

2008-12-24T15:43:09Z

JackB09:

{{#fte:imslppage

| *****FILES***** =

{{Separator-1}}
{{#fte:imslpfile
||File Name 1=PMLP57681-banc-f01.pdf
|File Description 1=1. Il diletto moderno per introduzione
|Page Count 1=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 2=PMLP57681-banc-f02.pdf
|File Description 2=2. Justiniana di vecchietti chiozzotti
|Page Count 2=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 3=PMLP57681-banc-f03.pdf
|File Description 3=3. Mascherata di villanelle
|Page Count 3=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 4=PMLP57681-banc-f04.pdf
|File Description 4=4. Seguita la detta mascherata
|Page Count 14=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 5=PMLP57681-banc-f05.pdf
|File Description 5=5. Madrigale a un dolce usignolo
|Page Count 5=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 6=PMLP57681-banc-f06.pdf
|File Description 6=6. Mascherata d'amanti
|Page Count 6=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 7=PMLP57681-banc-f07.pdf
|File Description 7=7. Gli amanti morescano
|Page Count 7=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 8=PMLP57681-banc-f08.pdf
|File Description 8=8. Gli amanti cantano un madrigale
|Page Count 8=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 9=PMLP57681-banc-f09.pdf
|File Description 9=9. Gli amanti cantano una canzonetta
|Page Count 9=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 10=PMLP57681-banc-f10.pdf
|File Description 10=10. La zia Bernardina racconta una novella
|Page Count 10=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 11=PMLP57681-banc-f11.pdf
|File Description 11=11. Capricciata a tre voci
|Page Count 11=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 12=PMLP57681-banc-f12.pdf
|File Description 12=12. Contraponto bestiale alla mente
|Page Count 12=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 13=PMLP57681-banc-f13.pdf
|File Description 13=13. I cervellini cantano un madrigale
|Page Count 13=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 14=PMLP57681-banc-f14.pdf
|File Description 14=14. Intermedio di venditori di fusi
|Page Count 14=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 15=PMLP57681-banc-f15.pdf
|File Description 15=15. Li fusari cantano un madrigale
|Page Count 15=
|Editor=[http://www.cpdl.org Choral Public Domain Library]
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09| JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 17=PMLP57681-banc-f17.pdf
|File Description 17=17. Gli Festinanti
|Page Count 17=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 18=PMLP57681-banc-f18.pdf
|File Description 18=18. Vinata di brindisi e ragioni
|Page Count 18=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 19=PMLP57681-banc-f19.pdf
|File Description 19=19. Sproposio di Goffi (però di gusto)
|Page Count 19=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
||File Name 20=PMLP57681-banc-f20.pdf
|File Description 20=20. Diletto moderno licenza a di nuova invita
|Page Count 20=
|Editor=
|Image Type=Typeset
|Scanner=Chris Lee
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/12/24
|Publisher Information=
|Copyright=Creative Commons Attribution 3.0
|Misc. Notes=
}}

| *****INFO ID (SEE HELP PAGE)***** = 0

| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Festino nella sera del giovedì grasso, Op.18 (Banchieri, Adriano)

2008-12-24T15:42:23Z

Festino nella sera del giovedì grasso, Op.18 (Banchieri, Adriano)

2008-07-14T16:10:00Z

JackB09: Create article for work

{{#fte:imslppage

| *****FILES***** =

| *****INFO ID (SEE HELP PAGE)***** = 0

| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}

Madrigals, Libro 4 (Gesualdo, Carlo)

2008-07-14T15:55:39Z

JackB09: Added 1 files to Il Quatro Libro di Madrigali (Gesualdo, Carlo)

{{#fte:imslppage

| *****FILES***** =

{{#fte:imslpfile
||File Name 1=PMLP44517-gesu-iot.pdf
|File Description 1=Io tacerò
|Page Count 1=4
|Editor=www.cpdl.org
|Image Type=Typeset
|Scanner= Claudio Macchi
|Uploader=[[User:JackB09|JackB09]]
|Date Submitted=2008/7/14
|Publisher Information=
|Copyright=Creative Commons Attribution Share Alike 3.0
|Misc. Notes=
}}

| *****INFO ID (SEE HELP PAGE)***** = 0

| *****COMMENTS***** =

| *****END OF TEMPLATE***** }}