Talk:Xaver Scharwenka

message: Manual of style on flats and sharps deprecates (at least!) use of b for flat and # for sharp- use of flat/-flat, sharp/-sharp, or the unicode equivalents ♭ ♯ are recommended instead. Ways I'd suggest improving the page in substantial ways (since that's what a talk page is for?) Discussion of style, how it differs from Chopin say (this was a topic briefly in the Raff.org forums but those are under construction and can't be accessed- the way he uses development in the first movement of the concertos was discussed. It's a point to ponder, especially comparing it with concertos written by composers who were and weren't virtuosos at the instruments the concertos were for- his are a little bit more "serious-minded" in intent- form, I mean, not always mood- and with some music examples or otherwise, here or in articles devoted to the pieces in question, one can consider whether intention succeeds. Just a - lengthy - thought. (The analysis section in the Bartók article is to be avoided at all costs- pseudo-intellectual gabble is not what I'm speaking of, but rather Donald Francis Tovey-ish explanation and revelation.) Schissel | Sound the Note! 20:08, 7 August 2006 (UTC)
thread_title: MoS

message: :First, thanks for pointing to the manual of style for music. Although it still doesn't resolve issues concerning opus, number, dates, and commas, it helps.
:Second, I agree that anyone who has the knowledge and writing impulse should include historical and analytical examinations of works. Comparisons with contemporaries, or previous and subsequent composers of influence, would certainly help.
:Finally, I'm not sure I wholly agree with your assessment of the Bartok analysis. It's much too narrow for such a prominent 20th century composer but is at least a start. Explanations using theory and form should be included because they are the lingua franca of musical analysis. Comparing different composers' use of sonata form is as informative as commenting on the scales used (octatonic, 12-tone, etc.). Important too is that Bartok was on the cusp of modernism and so employed techniques that may not fit a specific style. Expounding on those techniques is helpful. Scharwenka (from what I've heard of his music) rests very comfortably in the romantic style and so may need less pure theory to communicate his uniqueness.
:Sstrader 19:47, 8 August 2006 (UTC)
thread_title: Untitled

message: While reading this article, I couldn't help but notice that one of the external links was broken (the link to the "Scharwenka Society," formerly available at this address: http://members.aol.com/etrenkner/.)  I tried to find out if the Scharwenka Society had relocated to another page, but I was unable to conclusively determine if they had.  I was, however, able to find a "Xaver and Philipp Scharwenka Society," and I have replaced the broken link with a link to their website.  Odd Owl 00:31, 10 September 2009 (UTC)
thread_title:  Broken Link 

message: German or German-Polish? Polish wiki calls him German-Polish. The name suggests Polish descent, at least, and he was born in the German partition of Poland. Thoughts, sources? --Piotr Konieczny aka Prokonsul Piotrus| reply here 03:39, 6 May 2013 (UTC)
replies: text: Apparently, his own autobiography says German, or he identified with being German.  If his first language was German in his family, then that is no surprise. HammerFilmFan (talk) 07:56, 24 June 2014 (UTC)
thread_title: Nationality

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thread_title:  External links modified