User talk:Richard Mix

Since Handel did not prepare a piano reduction for Messiah, Sceaux's score is absolutely a transcription. I haven't compared this version note-for-note with the one made by Chrysander, but a piano reduction - even if done by the composer himself - meets the definition of transcription. Update: It looks like Sceaux basically re-engraved Chrysander's transcription which appears at the bottom of the HGA full score (Chrysander often provided such reductions beneath his editions of the scores). Chrysander is now listed as transcriber instead of Sceaux. Carolus 03:26, 17 December 2009 (UTC) (IMSLP Admin)

Well, yes, but that is a definition that includes all vocal scores. Seeing the file in question listed in a separate section as a transcription for piano solo misled me into thinking it was a stand-alone arrangement, like the Dubois. Instead it falls silent during non-doubled vocal passages, so wouldn't you agree that it is for rehearsal purposes only (the ouverture and pifa excepted, perhaps) ? Richard Mix 05:36, 17 December 2009 (UTC)



Hi, and thanks for the interest in correcting IMSLP! However, please do not correct any more genres - the current system is being wholly replaced and the old genre tags completely scrapped. We would not want you to have wasted your time. Thanks!-- Snailey Talk to Me Email me 22:05, 31 January 2010 (UTC)

BGA prefaces

Hi, and thanks for merging some of these with their corresponding work pages. The only problem is that it's already been decided (see here) that these pages will be separated out so that there will be one page for each cantata. While as you can see there are still some of the collection pages left up, the splitting has already been started. So if I were you, I wouldn't spend more time merging these with the collection pages, since they will be eventually deleted anyway. Thanks, KGill talk email 00:43, 27 April 2010 (UTC)

Elgar Fringes of the Fleet

Hello Richard. I saw your change to the tagging of this piece, as it generated an error. If you feel a mistake has been made then please bring it to the attention of the tagging team, rather than trying to correct it yourself. Elgar's "Fringes" is set for 4 solo voices (usually 3 baritones accompanying a solo baritone) so it would be inaccurate to list it as a work for chorus — P.davydov 22:11, 8 June 2010 (UTC)

Sorry about the tagging. The vocal score has solo and chorus, so I wonder what you're going by: the full score? Do those instructions specify different soloists for the 4 songs as well as 3 unison soloists for the chorus? Richard Mix 02:46, 9 June 2010 (UTC)

As I understand it, the "Chorus" consists only of the 3 baritones accompanying the soloist, and there isn't a choir involved — P.davydov 05:49, 9 June 2010 (UTC)


Hi -- Just wanted to let you know that tagging is done only by a specific group, moderated by P.davydov. I had to fix a couple of your tags which were written incorrectly, and while I understand the desire to help (I tagged myself before I was made part of the team and didn't see the big deal but now that I understand it better it makes sense to limit it to a particular group). If you want to help, I'm sure P.davydov would be glad to add you to the team after you familiarize yourself with the procedures. Thanks! Massenetique 05:42, 16 November 2010 (UTC)

You mention a couple, but I only recall [one.] I was going by what I could gather from A not-so-short guide to tagging which appears to list Antiphon as a genre and is of course missing the members-only warning. I think for now I'll just wish you all good luck. Richard Mix 10:11, 16 November 2010 (UTC)
You are correct, it was just one page - I corrected a number of others and thought another one was yours. The music indicates the work is a motet and in tags we always use lower case letters and start immediately after the =, no space. Also the language should not be set off in parentheses behind the genre, but rather requires its own separate tag. Massenetique 11:01, 16 November 2010 (UTC)
The title describes it as a "concerto" for voices; the text is of course third antiphon at Lauds (LU397) though 'motet' is fine as a catch all, I suppose.Richard Mix 23:55, 16 November 2010 (UTC)

Mozart or 'Mozart' duets?...

noticed someone asking about Mozart duets- went and looked into it, and interestingly some sources (resellers mainly it seems) do speak of flute duets K.156 and 157 - surprisingly since those are indeed usually assigned to early quartets in early Köchel (156/K(6) 134b is a quartet in G, 157/K(6) 157 is a quartet in C, from around 1772-3. Have known the quartet in G since my college years when it was used as an example in one of my classes ;). ) No mention in Köchel catalogue of other works given K156/157, nor, that I can tell, any mention of flute duets or duos. Maybe another composer or an arrangement of another composer has crept in - works by other composers were and have been passed off as Mozart for quite some time... don't know. Eric 07:01, 26 January 2011 (UTC) (of course, it could just be an arrangement of themes from works by Mozart- even from those two quartets. not having seen the duets, I don't know. cheers!)

Jacobus de Kerle

Hi Richard,

as you might have noticed (from the comments directed to enthusiasts of Kellner and Kerll, either side of Kerle!) the wishlist guidelines have recently been revised. Specifically, conversations about requests are to be kept to a minimum – so I’m transferring your comments here (and answering one part of it), but leaving behind the item that you indicated as your “first preference”. Feel free to add the other items back in their short form, please. Cheers Philip @ © talk 01:22, 21 May 2011 (UTC)

While I'm itching for a peek at the 1585 Selectiorum aliquot modulorum, It might be more reasonable to start with the works that were reprinted in the Trésor musical (Brussels 1865-1893, an interesting large project in itself). Issues devoted to Kerle are:xxii–xxviii (6 missae, a 4, 5vv Venice, 1562) and i (1865) & xvii (1881) (Selectae quaedam cantiones sacrae Nuremberg, 1571). What is the copyright status of DTB, xxxiv, Jg.xvi (1926)? Richard Mix 22:54, 20 May 2011 (UTC)
If I’m not mistaken, we already have some uploads from DTB of about that vintage, so they probably were never renewed for copyright or had defective copyright notices (which usually clears up their US status as public domain); the urtext rubric in Europe (30 years max.) or the life+50 years p.m.a. term under Canadian law is usually sufficient for these to clear the bar for Canadian and EU status, which are the other relevant domains for the copyright review team. I think this would almost certainly be hostable. Philip @ © talk 01:22, 21 May 2011 (UTC)