lflage/wiki-talks huggingface dataset:
Talk:Missa Hercules Dux Ferrariae

message: This article contains some PoVs (several uses of the term unfortunate - for whom, says who, etc) and uses of the word 'premiere' - meaning  first? or best? (says who?) - use of the word 'confinal' seems obscure. All needs a tidy, but best done by the OP if possible. Bob aka Linuxlad 08:53, 12 June 2007 (UTC)
replies: text: I took out the word 'unfortunately' in front of 'rigid' in reference to the style of composition, which bothered me as well. It is recorded often for a reason; its perceived rigidity is apparently not thought of as unfortunate by everyone. 130.54.130.238 (talk) 06:46, 16 October 2012 (UTC)
thread_title: POV etc
Talk:Missa La sol fa re mi

message: I'm italian, and i can tell you for sure that the sentence "lascia fare mi" doesn't make any sense, not even in the italian language of Reinassance.
It sounds like "lasciami fare", that is "let me do [that]"; "leave me alone" or "get lost" would be "lasciami stare".
So? Are there any further information on this mass on the web, that can correct the italian sentence?
Google translate renders "lascia fare me" as "let me do it", a translation commonly given in historical discussions specifically about this mass; in the Italian, the strict reading is "leave it to me".  — Preceding unsigned comment added by 97.99.66.162 (talk) 21:42, 25 June 2020 (UTC)
thread_title:  Lascia fare mi
Talk:Missa Pange lingua

message: The source for this is myself, and I never found it meaty enough to write an article on it, but I corresponded about it verbally with many musicologists and musicians, who since have cited it, amongst them Alfred Dürr, Siegbert Rampe, Bob van Asperen. The thesis can easily be verified by looking at the respective music itself. I honestly don't know how to further substantiate the argument, but I would hate to have it deleted, because a lot of "Bach borrowed from Froberger" or "Bach borrowed from Fischer" statements can be proven to be invalid by the reference to Josquin.
Michael Zapf 15:02, 11 July 2007 (UTC)
thread_title:  RE missing citations on the influence of the Kyrie on Lohet, Rossi, Fischer, Froberger, Bach, Fux, Mozart
Talk:Gesang der Jünglinge

message: It is described as "exactly" 13 minutes 14 seconds long. This is an oddly specific claim - and is also just a worthless factoid, unless we explain the reason and give a specific reference proving that every performance (past and future) must necessarily be exactly this length. TooManyFingers (talk) 18:34, 26 June 2023 (UTC)
replies: text: The first performance is described as such. --Gerda Arendt (talk) 20:59, 26 June 2023 (UTC)
replies: text: The precise duration in seconds of one single performance (even the first one) is irrelevant, unless the composer explicitly requires all performances to be exactly that length - or, for example, if there's a technical reason such as a pre-made recording that every performance must fit with. TooManyFingers (talk) 21:12, 27 June 2023 (UTC)
replies: text:  I don't follow, sorry. Why - when the first is given - do you think it implies that others have to be the same duration? --Gerda Arendt (talk) 21:14, 27 June 2023 (UTC)
thread_title:  "Exact" timing?
Talk:Mikrophonie (Stockhausen)

message: , Kontarsky and Alings performance,  film direction François Béranger, ORTF. -- Michael Bednarek (talk) 05:38, 25 September 2012 (UTC)
replies: text: Yes, this is the film usually attributed to Sylvain Dhomme, made in 1966, and well worth seeing. (Mikrophonie I is a piece that really must be seen as well as heard.) I wonder how long it will stay up on YouTube, though? The film is still under copyright, as far as I can tell.—Jerome Kohl (talk) 16:47, 25 September 2012 (UTC)
thread_title: ''Mikrophonie I'' film
Talk:Momente

message: I note that User:Hyacinth has decided without prior discussion to merge "Moment (Stockhausen)" with this article. Because of the lack of discussion, I cannot tell whether Hyacinth believed that "moment" was no more than the English translation of the title of this piece and therefore "Moment (Stockhausen)" was simply a description of the composition's form. The nature of the merge suggests this, but it is not the case, as I have now clarified by creating a new "Form" section and renaming the old "Form" section "Moment form". On the whole, I think this was a bad move, since the term is by no means exclusively associated with Momente (as is plain from the content), nor was it even originally formulated in connection with this work (in fact, from this point of view it would be better located in the article on Kontakte). Further, it hampers efforts to put the notion of moment form into the larger context of Stockhausen's compositional theories developed in the 1950s: Punctualism, groups, collectives; fixed, variable, and polyvalent relationships; dramatic and epic (episodic, or serial) forms. For these reasons, I recommend restoration of "Moment (Stockhausen)" as a separate article, which mercifully would not entail disentangling the references, which Hyacinth at least kept in a separate section (despite duplications).—Jerome Kohl (talk) 21:05, 13 January 2008 (UTC)
replies: text: Undone. Moment (Stockhausen) moved to Moment form. Hyacinth (talk) 22:36, 13 January 2008 (UTC)
replies: text: Much obliged, and I think people generally are more likely to search for Moment form than for Moment (Stockhausen), so this is an improvement. Unfortunately, now all the links pointing to Momente#Moment form default to Momente instead of to Moment form, and will need to be changed, but at least I made them recently enough that I think I can remember where they all are. I do hope that in future you will think to ask first whether there are any compelling reasons not to merge or separate articles, before going ahead and doing so. You could save other editors a lot of trouble and wasted time.—Jerome Kohl (talk) 00:25, 14 January 2008 (UTC)
replies: text: You appear to have changed the links. Thanks! Hyacinth (talk) 01:57, 16 January 2008 (UTC)

text: Oh, yes, one more thing. By reverting to the earlier form of the article, you also inadvertently deleted all the edits (including addition of about five items to the reference list, and corrections made to bring this into line with the entries in the Momente article) that had been made in the meantime. I have gone back to the previous version and replaced the entire contents of Moment form with the latest edit. Changes to the Momente article were minimal, involving only new section headings, which may not now be necessary anyway.—Jerome Kohl (talk) 00:39, 14 January 2008 (UTC)
thread_title: Merge without discussion
Talk:Shredderman Rules

message: Does anyone know if the DVD cover for the movie exists, and where it is located? It would be good for an image. Legedevin 00:34, 11 June 2007 (UTC)
thread_title:  DVD cover 

message: There is no area of the article stating that shredderman is a book, which was the base of the movie.
70.104.134.101 00:59, 11 June 2007 (UTC)
thread_title:  Book 

message: That little blurb at the end seems to kill the mood of the article, as well as the theme of the movie.  Any objections to removing it?  The theme of the movie is about stopping injustices and such, but that little comment about Nolan cyberbullying essentially makes it sound like he's the bad guy.
:I'm pretty sure that was vandalism and I'm going to take the liberty of deleting it. (ReshenKusaga 00:23, 5 July 2007 (UTC)
thread_title: Cyberbullying

message: This article has had its infobox tag removed by a cleanup using AWB.
Any concerns please leave me a message at my talk page. RWardy 20:41, 11 September 2007 (UTC)
thread_title:  Removal of "needs infobox" tag
Talk:La source (Saint-Léon)

message: From the section history on down, this article was a "copy and paste" of the reference sited - Bremster's International Dictionary of Ballet. The article is identicle to its source.
The user Deb also did this with the article on the ballet La Esmeralda.
--Mrlopez2681 21:11, 1 July 2007 (UTC)
thread_title:  reason for edit 

message: :La Source → La source — French capitalization per WP:CAPM. —Kleinzach 03:17, 22 January 2010 (UTC)
replies: text: OK. Now I see the other articles, I agree with the logic of your suggestions. --Kleinzach 06:08, 22 January 2010 (UTC)
replies: text:  --Kleinzach 06:27, 22 January 2010 (UTC)
thread_title:  Requested move 

message: In a minor edit to this article yesterday, (1) a link to help distinguish the meaning of the English translation was deleted, (2) two short sentences about a Russian production of the ballet, mentioning two historic Russian dancers, and with a full reference, was deleted, (3) the final sentence of the synopsis was changed, making it less clear, (4) three general external links, only indirectly related to the article's subject and with information about a variety of subjects, were re-instated.
Before I do some more editing on this article, I would be interested in any comments on these edits.
Cg2p0B0u8m (talk) 15:22, 12 March 2010 (UTC)
thread_title:  recent editing 
Talk:The Race to Urga

message: I have made "A Pray by Blecht" a re-direct to this page. Possibly, this page should re-direct to that location. I don't know which is the more common (or final) title. By the way, does anyone know why the "r" and "l" are reversed? The Luizer (talk) 20:30, 11 April 2009 (UTC)
replies: text: Probably no point in responding to this so late, but according to a talk I just saw Sondheim give at UCLA, it's simply a cheap joke about Asian accents (since the play is set in Asia). Clampton (talk) 08:18, 9 November 2010 (UTC)
thread_title: Re-direct
Talk:Fazeley Junction

message: The Coventry Canal Cmpany ran out of money when building their canal north-west of Fazeley Junction so it was completed by the Birmingham and Birmingham and Fazeley Company (later called BCN). The OS map incorrectly ?? shows the Birmingham and Fazeley as extending to the north-west of the junction. This is thought of today as the Coventry Canal. Oosoom Talk to me 06:40, 21 May 2007 (UTC)
replies: text: The Pearson guide states that: "Technically the B&F extends 5 miles northwards to Whittington. The Coventry Canal had run out of money and momentum. So it was left to the B&F and T&M (Trent & Mersey) companies to fill the gap between Fradeley and Fazeley." Oosoom Talk to me 14:26, 25 May 2007 (UTC)
replies: text: Yes, Nicholson and CanalPlan agree: The Birmingham and Fazeley extends from Fazeley Junction 5½ miles north-west as far as bridge 78, after which it again becomes the Coventry Canal ("detached portion").--Shantavira|feed me 18:37, 17 November 2012 (UTC)
thread_title: Canal past Fazeley Junction
Talk:Studies on Chopin's Études

message: While these etudes are taxing for the majority, including myself, phrases such as "these etudes are so taxing" is not allowed. Please adhere to NPOV and help clean up the article from NPOV violations. --Bryce (talk | contribs) 13:55, 6 January 2012 (UTC)
replies: text: It seems like a legitimate description of a level of difficulty. "They're mind blowing" would be a NPOV violation. Hearfourmewesique (talk) 00:00, 30 January 2013 (UTC)
thread_title:  Please adhere to NPOV while editing 

message: It would be useful to provide the date of these compositions.  — Preceding unsigned comment added by 68.174.106.142 (talk) 00:50, 22 January 2014 (UTC)
thread_title: Publication Date?
Talk:On an Overgrown Path

message: Titles of whole musical works, like this "song" cycle, are generally given italics. But individual songs, which are parts of the work, are usually given only quotes. Shouldn't this general convention also be applied here? Thanks. Martinevans123 (talk) 22:34, 2 January 2014 (UTC)
replies: text: ‑‑YodinT 18:14, 23 September 2016 (UTC)
thread_title:  Cycle title / song titles
Talk:Sinfonietta (Janáček)

message: Are the trumpets in F pitched above or below the trumpets in C? Badagnani (talk) 07:55, 5 January 2008 (UTC)
replies: text: This is rather late, but F trumpets are pitched above C trumpets. (this is more a traditional notation convention from the days of valveless trumpets, as in the 19th and 20th century F trumpet parts are usually meant to be performed on "ordinary" B flat trumpets.) -- megA (talk) 01:03, 8 November 2009 (UTC)

text: As I understand it, F trumpets sound a perfect fourth higher than written, unless a Russian composer is using them...in which case they mimic the standard transposition of the French horn and sound a perfect fifth lower than written. I don't know why this discrepancy should have arisen, but there we are. It's actually very unusual for any transposing instrument to sound higher than written. --Wspencer11 (talk to me...) 01:59, 24 June 2010 (UTC)
thread_title: Trumpets in F
Talk:Taras Bulba (rhapsody)

message: I´ve removed the sentence "It was composed in 1918 and despite Janacek's age at the time it is in fact one of his first compositions in his mature style" (introduction), since 1) it was uncited, 2) I think (and my sources prove), that till 1918 Janáček composed a number of works commonly considered as "mature works", and the information is thus puzzled. I´ve replaced the sentence with a new one, cited, more characteristic and reliable. Vejvančický (talk) 13:28, 29 July 2008 (UTC)
thread_title:  Explanation
Talk:Sequenza

message: The article says "reworked in 2004 for double-bass as Sequenza XIVb". Reworked by whom? Berio died in 2003, he can't have reworked it himself in 2004. Either someone else made the arrangement or it was released (or completed) posthumously. Steinbach (talk) 14:06, 24 May 2014 (UTC)
replies: text: Never mind, I found the answer: it was Stefano Scodanibbio. Steinbach (talk) 14:18, 24 May 2014 (UTC)
thread_title:  Sequenza XIV
Talk:An die ferne Geliebte

message: Isn't the third movement not through-composed? It repeats one of the verses.
65.255.181.151 (talk) 19:00, 18 September 2018 (UTC)
replies: text: And is "through-composed" quite the best way to describe this cycle? All but the last song are clearly strophic... Double sharp (talk) 14:06, 19 October 2020 (UTC)
replies: text: The article says, "The whole sequence is through-composed, so that none of the songs stands alone." which is a valid description. The strophic, or not, character of the individual components may well need further elaboration. -- Michael Bednarek (talk) 02:08, 20 October 2020 (UTC)
thread_title: Through-composed
Talk:Cello Sonatas Nos. 1 and 2 (Beethoven)

message: This movement ends with an extended passage in major.  That is not a "tierce de Picardie," which is a major final chord or tonic pedal.  Kostaki mou (talk) 02:30, 4 January 2011 (UTC)
thread_title:  Tierce de Picardie 

message: I have strong doubts about the entire contents of the section starting with "In the early 19th century, sonatas for piano and instrument were usually advertised as piano sonatas with instrumental accompaniment".
100 years before Beethoven's sonatas, there were already sonatas for cello by e.g. Vivaldi, or viola da gamba, by Handel, that have completely written parts for both instruments and an even more interesting cello part than harpsichord part. Also all violin sonatas before Beethoven (by e.g. Mozart) look more like violin works with piano accompaniment than the other way around.
I have no access to the referenced source.  — Preceding unsigned comment added by Maartenterh (talk • contribs) 17:18, 29 January 2019 (UTC)
thread_title:  There exist 18th century cello sonatas with written out parts for both harpsichord and cello 

message: Beethoven's sonatas are a pretty major departure from the earlier repertoire. The Vivaldi sonatas, and nearly all other cello sonatas from the eighteenth century were written as solos for the cello with a bass line that could be played by a variety of different instruments or combination of instruments. Keyboard instruments like harpsichord could play the bass line and fill in the harmonies, given in part in figures, and realize a complete accompaniment. Written out accompaniments for Vivaldi sonatas that are published now realizations by more recent editors. Only the bass line in these parts is by Vivaldi. This would be true of sonatas by Marcello, Geminiani, Boccherini, and many others. Beethoven wrote out entire keyboard parts and conceived of his "cello" sonatas as piano (or keyboard) sonatas with obbligato cello. I know of only three examples of sonatas before Beethoven for cello and keyboard where the keyboard part is fully written out and those pieces are very different in nature from Beethoven's. Much has been written on this, including the magnum opus on the sonata by William S. Newman.  --HenryPurcell (talk) 00:58, 30 January 2019 (UTC)
thread_title:  Major difference between Beethoven's sonatas and earlier cello sonatas
Talk:Eroica Variations

message: There's an interesting discussion going on over at the Humanities Ref Desk about the most appropriate title for this article - see here.  --  JackofOz 00:46, 4 November 2007 (UTC)
replies: text: The first two paragraphs of the Eroica Variations mentions the history of the theme, the catalogue title first and "commonly referred to" title second.  I don't think a change is needed here, but I'm also flexible.  The other nicknamed works above have the luxury of also being numbered works (e.g. Piano Sonata No. 14 (Beethoven), Piano Concerto No. 5 (Beethoven)), so there was never an issue of the appropriate title for the page as there is here.  Using the full catalogue title of the piece as the title of the article might be confusing to readers.  Certainly it can't hurt to flesh out the title discussion in the article, though.  At present, its all there, but perhaps a bit too terse. DavidRF 02:33, 4 November 2007 (UTC)
thread_title: Discussion on the Reference Desk

message: If I'm not mistaken, there are only three variations on the bass line. Do I need to cite this? If so, is a link to the score reliable source? Brett (talk) 13:49, 29 July 2009 (UTC)
replies: text: Thanks for picking that up.  The score at IMSLP lists has "a due", "a tre" and "a quattro" variations above the three bass variations which is probably where the confusion comes from.DavidRF (talk) 15:08, 29 July 2009 (UTC)
replies: text: Right, every score I've seen so far has that. I think it refers to the number of voices in each of the variations. Brett (talk) 02:04, 30 July 2009 (UTC)
thread_title: Number of Variations
Talk:Piano Trio, Op. 11 (Beethoven)

message: There's no mention in this article of the Op. 11 trio's Gassenhauer nickname. This name occurs on some CDs, but most recordings of Beethoven's piano trios note only the "Archduke" and "Ghost" nicknames. Is there any explanation for "Gassenhauer"? Milkunderwood (talk) 08:23, 3 October 2011 (UTC)
thread_title:  "Gassenhauer"? 

message: I raised the  from the title  to Clarinet Trio, Op. 11 (Beethoven) by User:Casadesus at Wikipedia talk:WikiProject Classical music#LvB Op. 11: Piano or Clarinet?. The sourced opinion there is that "Piano Trio" is the more appropriate name. I suggest to move the article back. -- Michael Bednarek (talk) 09:45, 21 January 2013 (UTC)
replies: text: Following the discussion, and the definiton of 'Piano trio ' in Grove Music Online, (now cited in the article), as well as the work's listing in IMLSP,other Wikipedias, etc. as a piano trio and its inclusion in the Beethoven piano trio template in English Wikipedia, I have reverted the article name.--Smerus (talk) 06:53, 29 January 2013 (UTC)
thread_title: Piano or Clarinet Trio?
Talk:Rage Over a Lost Penny

message: "Beethoven seems to have conflated alla zingarese (in the Gypsy style) and all'ongarese (in the Hungarian style) to come up with a unique term alla ingharese.[3]"
There is no word 'ongarese' in Italian either. 'Hungarian' is in Italian 'ungherese' - and Beethoven had conflated 'zingarese' - 'gypsy' and 'ungherese' - 'Hungarian.  — Preceding unsigned comment added by 2001:9E8:262:D300:5922:548C:E391:5CAE (talk) 22:40, 8 February 2022 (UTC)
thread_title:  oops -
Talk:The Imaginary Invalid

message: I don't know if this distinction is too subtle, but is labeling Argan a hypochondriac the most accurate label possible? After all, being a hypochondriac implies that Argan cannot control it--and there's quite a bit of evidence in the play to suggest that he does, in some way, control or purposely fake his illness in order to get care, love, attention, or whatever floats your boat.
Like I said--might be too subtle. But still. 76.104.152.128 (talk) 02:00, 18 March 2008 (UTC)
thread_title: Hypochondriac?

message: Rather than making the pedestrian yet ambiguous literal translation of the title to 'The Imaginary Invalid', would it not be more accurately rendered as 'The Hypochondriac'? I was always led to understand that this is what the expression 'le malade imaginaire' means in French. And, after all, Argan is neither imaginary not an invalid, but a severe hypochondriac. This is certainly the wording that Roger McGough has adopted in his recent adaptation. Furry Canary (talk) 06:39, 24 September 2009 (UTC)
replies: text: Pedestrian or not, it's the most-common translation used in the critical literature, so that's the article's title, as per Wikipedia naming conventions. DionysosProteus (talk) 22:53, 7 May 2010 (UTC)
replies: text:  'The Hypochondriac is certainly what we called it when I studied the work for French A-level – one of my literature teachers declaring 'The Imaginary Invalid' to be a feeble translation made by 'some arse with a dictionary but no feeling for language'. And I sat my A-levels well over three decades before the McGough adaptation was staged, so the argument is not a new one. While I understand the rationale for the title of the article, and do not propose to flout Wikipedia's naming convention, I suggest that it would be perfectly reasonable to mention in the text that the name of the play is sometimes translated as 'The Hypochondriac'. There's nothing to say that the most common translation should be represented as being the only translation. Grubstreet (talk)  —Preceding undated comment added 13:12, 25 April 2013 (UTC)
thread_title:  Title 

message: All of Charpentier's music for Malade imaginaire, including the original music of 1673 and the revisions of 1674 and 1685-86, is available on my website "Music and Theater in 17th-Century France" <http://www.personal.utulsa.edu/~john-powell/theater/>98.178.161.155 (talk)John Powell   — Preceding undated comment added 03:05, 2 January 2015 (UTC)
thread_title:  Charpentier's music for Le Malade imaginaire 

message: THEMES IN THE IMAGINARY INVALID  — Preceding unsigned comment added by 164.160.161.230 (talk) 12:16, 20 March 2017 (UTC)
thread_title:  LITERATURE
Talk:Daphnis et Chloé

message: Classical music rarely presents such an aurally vivid sense of sexual arousal and climax
If this is a quote from the source cited, that needs to be made explicit (something like 'joe johnson of abc.net.au says "Classical music rarely...').  If it's an opinion of the author of this wiki article, it should be removed. Also its placement seems odd.  Was it stated in a review of the piece or in a review of the ice skater's performance?  Egoody3 (talk) 00:15, 18 November 2015 (UTC)
thread_title: Opinion or quote?

message: In Part I synopsis: "A little flow shines suddenly from the head of one of the statues." A little flow? which is? Lawrence18uk (talk) 19:04, 31 March 2019 (UTC)
thread_title: Odd sentence 2