lflage/wiki-talks huggingface dataset:
Talk:Suite for Jazz Orchestra No. 2

message: The links given to the explanation no longer work. It is now 14 years since the article was written and the terminology "Jazz Suite No.2" for the "Suite for Variety Orchestra" still seems to be pretty universal in the UK at least, and among various recordings. Therefore, I think that some rewriting of the content is necessary to explain this. Hyperman 42 (talk) 08:39, 1 August 2020 (UTC)
thread_title: Untitled
Talk:Rossini's Rape

message: The result was keep separate from The Great Kat. -- Debate 木 07:50, 14 August 2008 (UTC)
thread_title: Proposed Merger, May 2007
Talk:Cat fugue

message: The key signature on the score is wrong: it is D minor, not G minor; it lacks a second flat, please correct. — Preceding unsigned comment added by 79.148.222.168 (talk) 14:14, 18 September 2010 (UTC)
replies: text: If I recall correctly, it was common practice in the baroque period to omit a flat from the key signature when a work was in a minor key. Graham87 14:56, 18 September 2010 (UTC)
thread_title: Key signature
Talk:Farm Journal

message: *The article was deprodded by DGG and I have subsequently wikified it a bit. However, I cannot see the NYT sources he quoted as they are behind a subscription barrier, but the word cunts are rather low, so these are just notes, not real articles. I doubt this establishes notability. A Google search for "farm journal" and "Douglas Moore" only gives very few hits, most of them related to this very WP page. --Crusio (talk) 23:45, 27 August 2009 (UTC)
thread_title:  Notability
Talk:Symphony No. 2 (Moore)

message: Something not covered in this article is the recording history. I've heard that the first recording was by the "American Recording Society Orchestra" which was a pseudonym used by the Vienna Symphony Orchestra for a series of recordings made under conductor Dean Dixon for the American Recording Society a 1951 non-profit subscription service that offered recordings of classical music by American composers. But I've not located a good source for this fact. If anyone does have a good source for this information it might prove worthwhile adding this history to the article. Graham1973 (talk) 13:43, 1 June 2020 (UTC)
thread_title:  Recording History
Talk:Poème électronique

message: Does anyone know the context or relationship of the pictured Le Corbusier sculpture with the Varèse piece? There needs to be some tie-in if the image is to remain. /ninly(talk) 04:45, 6 January 2011 (UTC)
thread_title:  Le Corbusier sculpture? 

message: The Philips pavilion at the Brussels World's Fair 1958 was not conceived by Le Corbusier, but was conceived and designed exclusively by Iannis Xenakis. "The escape lines" of his outside Philips pavilion are the glissandi lines started in his orchestral piece: Metastasis in 1954; is his architectural signature. 90.96.114.154 (talk) 18:46, 18 September 2018 (UTC)
replies: text: As the article states, the commission was given to Le Corbusier, and Xenakis was working as his "assistant". I know of no evidence that suggests the design was anything but Xenakis's work but, under his terms of employment, Le Corbusier was entitled at the time to take credit for the design. Perhaps this point needs to be strengthened in the article, but it will require a reliable source. (For what it is worth, I know of one source that mistakenly attributes the pavilion's design to Olivier Messiaen!!)—Jerome Kohl (talk) 16:39, 19 September 2018 (UTC)
thread_title:  Not Le Corbusier, but Xenakis
Talk:Holberg Suite

message: I notice there is an external link to the string orchestral version of the Holberg Suite; I'd like to add a link to a piano version of the suite as well. Innerkip (talk) 04:29, 27 September 2009 (UTC)
thread_title: External links

message: It is an example of a piece of nineteenth century music which makes use of musical styles and forms from the preceding century. It can be compared with Franz Liszt's À la Chapelle Sixtine, S.360 (1862) and contrasted with later neoclassical works.
: I'm not sure this is a valid comparison.  À la Chapelle Sixtine is a direct piano transcription of 2 earlier works, Allegri's Miserere and Mozart's Ave verum corpus.  
: I think Prokofiev's Classical Symphony or Ravel's Le tombeau de Couperin would be better examples of works that emulated earlier styles without quoting or being based on specific earlier compositions.  But I'm sure there are examples that predate the Holberg Suite.  --  Jack of Oz [Talk] 02:18, 6 October 2012 (UTC)
thread_title: Liszt comparison
Talk:Violin Sonatas (Grieg)

message: * I expanded the sections on the First and Second Violin Sonatas. I may add more later. I also added some pics of main themes. Someone may want to check the bars I chose for the primary theme of the Second Sonata, first movement. To me, it seems that the primary theme is very elusive and isn't fully realized until nearly three minutes into the piece, just before the secondary theme is presented. If you think the bars I chose for the primary theme are inaccurate, please feel free to remove them.  --AppaAliApsa (talk) 15:22, 10 July 2010 (UTC)
thread_title: Themes
Talk:Falstaff (Elgar)

message: To complete the list of recordings the following should be added: 
Elgar. Falstaff,  Symphonic Study for orchestra in C minor Op 68 +  Romance for bassoon + Grania and Diarmid + Froissart. Andrew Davis cond. BBC Symphonic Orchestra. AMG Classical. 1998.83.50.190.107 (talk) 18:18, 14 February 2010 (UTC)
replies: text: The list is not, and does not set out to be, "complete". It confines itself to those recordings singled out by the BBC and The Gramophone as the most important. There are at least another 15 recordings not mentioned, including A. Davis's. I don't think it would be appropriate to add it, in these circumstances. - Tim riley (talk) 19:08, 14 February 2010 (UTC)
thread_title:  Falstaff (Elgar) recording by Andrew Davis and BBC SO
Talk:In the South (Alassio)

message: Ernest Newman, as early as 1906, said that in the manuscript Elgar quoted lines from Byron's Childe Harold (see here), and if I read Newman's book aright he implies that the Tennyson lines referred to in our article are also written in the manuscript. Michael Kennedy repeats this, and as recently as 2012 a work from the Cambridge University Press – British Music and Literary Context – has also done so. I accordingly added the quotes to the article when revising it over the last couple of days. But the manuscript is now online, courtesy of the Royal Academy of Music, and I'm blest if I can find any quotation from Byron or Tennyson in it. Has anyone got any thoughts on this, and perhaps a suggestion what to do about keeping or removing the quotations from the article? – Tim riley talk 16:19, 21 August 2021 (UTC)
replies: text: Tim, this looks to me like a typical example of droning repeat of an early inaccurate (or maybe inexact source). If Newman said it (subsequent writers will assume) it must be so. But in this case it clearly ain't. And the published score didn't contain quotes from either Byron or Tennyson.(see here). What Newman says is in fact ambiguous: he claims that Elgar took the Tennyson "for a general motto", and that might (or might not) be something that Elgar may have said to Newman in conversation (or could be Newman's own opinion). Imo one cannot clearly construe from Newman that the Tennyson was 'inscribed' anywhere. Newman then says "the manuscript of the score contains a quotation from Byron". TThere could be several explanations for the present situation -e.g. 1) THe score at the RAM seems rather neat to have been a first version,  and great as I believe Elgar to have been, he couldn't have dashed off this ms. pat; the quote could have been in an earlier draft. As the copy indicates that it was these sheets that were sent to the publisher, that would explain why there are no quotes in the published version.  2) Newman may have been mistaken and written out something said in conversation. Whatever, this edition of the ms. clearly doesn't have any quotes and the text of the article should be be amended accordingly imo. And Michael Kennedy and others should check original sources, as you have rightly done in bringing this to light.--Smerus (talk) 19:09, 21 August 2021 (UTC)
replies: text:  Many thanks for that. I concur with everything you say, and have for now commented out the quotes, and unless anyone else adds convincing views here to the contrary I'll delete them permanently in a few days' time. – Tim riley talk 19:33, 21 August 2021 (UTC)
replies: text: And now done. I've added a short hidden explanation in case anyone is ever minded to put the quotations back again. Tim riley talk 14:38, 27 August 2021 (UTC)
thread_title:  Tennyson and Byron quotations in the manuscript
Talk:Introduction and Allegro (Elgar)

message: This article is in serious need of a re-write. The English is often strange and nonsensical and littered with superfluous verbiage. The impression is second-rate. Just read it to see. P0mbal (talk) 23:28, 31 July 2013 (UTC)
thread_title:  Heavy edit or a rewrite is needed 
Talk:Nursery Suite

message: It seems to me that this entire paragraph is subjective and talks about music which can be heard differently by others. I hear a lot of wistfulness in this music, bordering on poignancy; whereas I don't agree with Kennedy that the 'Waggon passes' has a sinister edge - rather IMHO there's a certain exuberance, more genuinely present than in 'The Merry Doll'. I have slightly reworded that passage accordingly. Alfietucker (talk) 08:32, 26 April 2009 (UTC)
thread_title:  'Most of the movements are light...'
Talk:Little Computer 3

message: This list is starting to get a little bit long, and I don't think we can expect this article to maintain a list of every single institution that's using the LC-3 or the Patt and Patel text; I also don't think it's reasonable to split the list into a separate article, as I heavily doubt anyone is going to come to Wikipedia looking specifically for a list of universities using the LC-3 as a teaching language. I'm going to monitor the list and may remove it entirely if it gets too unwieldy. Leave a note here if this seems like a big mistake. GJ 06:23, 20 May 2007 (UTC)
replies: text: The list managed to grow past 25 universities and was taking up a significant amount of space relative to the rest of the article. I've removed the list for now and made a note about the use of the LC-3 in teaching in the article lead. That statement will need a solid citation later, and for that we may be able to extract some of the larger ECE/CS departments from the original list as evidence, but until we reach that point I feel it's best to keep the article related to the architecture. GJ (talk) 01:19, 14 December 2007 (UTC)
thread_title: List of schools using the LC-3

message: Perhaps the information about the toolset availability should be consolidated into one section.  There are two major links of note here.  The one to the McGraw Hill website for the official simulators, and the one for Ashley Wise's page.  Perhaps it should also be noted that the simulator is available for multiple platforms including Windows, Mac, and Linux. --Owner42web 19:20, 21 May 2007 (UTC)
thread_title: Toolset Information
Talk:Romance for bassoon (Elgar)

message: I would like to challenge the statement that there was an arrangement of Elgar's Op 62 Romance for cello and orchestra by the composer (and done as early as stated).  I'm sorry I do not have the CD mentioned to check up on the liner notes.  Who says the arrangement is by the composer?  More on this please, it's interesting.  The idea of it being done for Beatrice Harrison comes to mind, but this is imagination, I do not want to cast assumptions.
The article could also be improved by some re-ordering of the material and adding references to authorities such as Jerrold Northrop Moore and Michael Kennedy, but I hesitate to attempt this myself until the question of the cello arrangement is sorted. P0mbal (talk) 11:23, 17 May 2009 (UTC)
replies: text: The transcription is Elgar's own: "At the same time [i.e. 1910] he made an arrangement of the work for cello; remarkably this remained unheard until April 1985." (Note to EMI CD CDM 7 64726 2 by JLW.) Tim riley (talk) 17:04, 29 May 2009 (UTC)
replies: text: Further to the above, Michael Kennedy (note to EMI CD CDM 5 65593 2) confirms that the cello version is Elgar's own: "James gave the first performance, with Elgar conducting, in Hereford in February 1911. The work (along with the composer's transcription for cello) then seemed to lapse into obscurity..." Tim riley (talk) 17:17, 29 May 2009 (UTC)
thread_title:  Transcription for Cello? 

message: Matthew Dodd has some programme notes about the work, which include ...
"It is dedicated ‘To Mr. Edwin F. James’, who gave its first performance in Hereford in 1911, conducted by Dr. George Sinclair ... Edwin James (1861 - 1921) was the Chairman, Principal Bassoonist and a founder member (in 1904) of the London Symphony Orchestra; he and his younger brother, Wilfred - father of another highly regarded bassoonist, Cecil James - were the two leading players of the Elgarian era. All three of these players played the French ‘Buffet’ instrument, which was played almost universally at that time outside German-speaking countries. Elgar would have had their playing in mind when composing his orchestral bassoon parts, in which, as in this Romance, his fondness for the instrument and understanding of its individual voice is evident."
So it was G.R.S. not the composer who conducted.
P0mbal (talk) 17:06, 18 May 2009 (UTC)
replies: text: According to Michael Kennedy, Elgar conducted the Hereford premiere. (Michael Kennedy, notes to EMI CD CDM 5 65593 2) Tim riley (talk) 17:12, 29 May 2009 (UTC)
thread_title:  Notes about this work 

message: There is also Elgar's "Romance for Violin, Op 1", so therefore it would make sense to revert the title to "Romance for bassoon and orchestra", when there is the possibility of another article on "Romance for Violin (Elgar)", and bearing in mind the existence of the two Beethoven Romances for Violin and Orchestra. P0mbal (talk) 23:25, 29 May 2009 (UTC)
thread_title:  Romance titles
Talk:Sea Pictures

message: The following are my notes copied from the Talk page on Love alone will stay...
I can find nothing that mentions "Lute Song" in connection with "Love alone will stay" in Elgar literature other than in Michael Kennedy's "Portrait of Elgar", which as follows:
Page 311: Index, Solo Songs: "LOVE ALONE WILL STAY (LUTE SONG) 47, 71, 283". 
Page 47: passing reference to 'Love Alone will Stay'. 
Page 71: About Sea Pictures: "One of then, No. 2, 'In Haven' to words by Alice Elgar, had been written as early as 30 May 1897, when it was called 'Love Alone will Stay' and had been published as 'Lute Song' in The Dome in January 1898."  [No, it wasn't]
Page 283: Chrononogical List of Works at the back of his book:  "1897 Choral and vocal: Song, Love Alone Will Stay (Lute Song) (C. A. Elgar), for voice and pianoforte.  Written 30 May 1897.  Publisher: The Dome, 1898. Revised, orchestrated, and corporated into Sea Pictures, op. 37, No. 2, 1899 as In Haven (Capri).
I have The Dome published New Year's Day mdcccxcviii with me here: It is in the Inventory and on page 90 as 'Love Alone will Stay'. 'Lute Song' is not mentioned.  Therefore I removed reference to "Lute Song" from the pages "Love alone will stay" and "In Haven (Capri)". P0mbal (talk) 15:06, 3 January 2009 (UTC)
thread_title:  Love alone will stay & Lute Song 
Talk:Symphony No. 1 (Elgar)

message: Anyone mind if I overhaul this article, referencing from W H Reed's and Michael Kennedy's books about Elgar and elsewhere? I don't want to tread on anyone's toes. I'll start in a few days' time unless anyone objects. - Tim riley (talk) 18:32, 5 April 2010 (UTC)
replies: text: Now finished. - Tim riley (talk) 14:37, 10 April 2010 (UTC)
thread_title:  References and additional material 

message: "Shostakovich stated that, in his opinion, it was one of the greatest symphonies of the 20th century". I cannot find a source for this. Anybody able to supply? - Tim riley (talk) 07:58, 7 April 2010 (UTC)
replies: text: Hasn't this analysis already been done? I'm sure I remember reading in the sleeve notes (many years ago) of one recording that the whole symphony could be regarded as a set of variations on the bass line of the opening theme. (There were about 20 in total?) I was hoping to refresh my memory by reading this article, but... nothing. Did I imagine it? Unfortunately I have limited internet access right now, and probably can't spare the time to look into it. 86.188.237.122 (talk) 14:47, 15 August 2023 (UTC)
thread_title:  Shostakovich
Talk:The Wand of Youth

message: I wonder whether we shouldn't call this article The Wand of Youth Suites.  It's not as if he wrote a complete incidental music, from which he later extracted two suites (a la Bizet's L'Arlésienne).  All he ever wrote initially were some childhood sketches.  Much later he revisited them and created the 2 suites.  Whenever the work is performed or broadcast, it's not called "The Wand of Youth", but "The Wand of Youth Suite No. 1", or "No. 2", or perhaps both.  Essentially all we've ever had are the suites, so shouldn't the article be named accordingly?  --  Jack of Oz [pleasantries] 00:00, 16 March 2014 (UTC)
thread_title: Title

message: I have added a short section on the 1985 ballet based on the suites, but it hasn't remained in the repertory, as far as I can discover, and I am wondering if it is really of enough encyclopedic interest for mention here. Thoughts welcome on this, from Jackof Oz, P0mbal and any other interested editors. Tim riley talk 13:02, 29 February 2024 (UTC)
thread_title:  Ballet
Talk:Entr'acte

message: This article reads like it is written my some some high school drama students using conflicting notes.  —Preceding unsigned comment added by Rotovia (talk • contribs) 09:51, 15 April 2008 (UTC)
thread_title: Untitled

message: Someone has added a notice that "This article may be too technical for a general audience." I see nothing technical about it. What precisely is "too technical"? - Jmabel | Talk 06:13, 10 May 2008 (UTC)
thread_title:  Too technical?
Talk:Furniture music

message: The term "furnishing music" conveys the idea that the music has value. Like rich furnishings. The term "furniture music" makes the music sound boring, and incidental, and disposable. Like the term "wallpaper music" (music that's pleasant but not interesting, so people don't pay much attention to it). The kind of Muzak you hear in an elevator.
I strongly feel that what Satie was thinking of is much better represented by the term "furnishing music". So we should show some taste and leadership, and use that term here. 2601:600:A480:4C20:ADF6:8640:C889:CA96 (talk) 05:24, 7 May 2024 (UTC)
thread_title:  Furnishing music
Talk:Concerto for Violin and Strings (Mendelssohn)

message: How might the young Mendelssohn have learned of the "gypsy style"? Did he
use it in any other composition? What contemporaries did? Marlindale (talk) 01:32, 31 January 2015 (UTC)
thread_title:  gypsy style 

message: The Michael Sternberg book The Concerto doesn't cover this. Marlindale (talk) 19:03, 30 August 2017 (UTC)
thread_title:  Not covered in Sternberg
Talk:A Midsummer Night's Dream (Mendelssohn)

message: This page was made why? Acefredfred (talk) 23:20, 4 June 2008 (UTC)
replies: text: For the exact same reason the page Virtual Magic Kingdom was created. Willi Gers07 (talk) 17:37, 29 May 2009 (UTC)
thread_title: Why?

message: Why no mention of the use of this music in ballets by both Balanchine and Ashton?  It's surely the context in which most people today have heard anything but the Overture and Wedding March.  —Preceding unsigned comment added by 207.181.202.146 (talk) 04:31, 8 August 2010 (UTC)
replies: text: Do you have the details?  Please feel free to expand the article.  --  Jack of Oz  ... speak! ...  07:53, 8 August 2010 (UTC)
thread_title: Ballet use
Talk:Piano Concerto No. 1 (Mendelssohn)

message: Is it possible to cut down on the external links slightly? George8211what did I break now? 20:01, 25 November 2013 (UTC)
thread_title:  External links 

message: This quote: 
...the piano, which is out of its mind, has no intention of paying him any heed either. He sends for holy water and sprinkles the keyboard with it, but in vain—proof that it wasn't witchcraft but merely the natural result of thirty performances of one concerto. They take the keyboard out of the instrument—the keys are still moving up and down by themselves—and they throw it into the middle of the courtyard next to the warehouse. There M. Erard, now in a fury, has it chopped up with an axe. You think that did it? it made matters worse. Each piece danced, jumped, frisked about separately—on the pavement, between our legs, against the wall, in all directions, until the warehouse locksmith picked up this bedeviled mechanism in one armful and flung it in the fire of his forge, finally putting an end of it...Such a fine instrument!'
never appears at the source indicated:  Steinberg, Michael (2000). The Concerto: A Listener's Guide. Oxford University Press. p. 419. ISBN 019802634X. Retrieved 2 August 2019. AlericoM (talk) 21:59, 25 March 2023 (UTC)
thread_title:  Unsupported Claims
Talk:Lobgesang

message: Can anybody translate the lyrics into English ? — Preceding unsigned comment added by 24.37.24.39 (talk • contribs) 03:51, 29 February 2008 (UTC)
replies: text: since 23 October 2013. --FordPrefect42 (talk) 19:40, 24 July 2015 (UTC)
thread_title:  Question 

message: The original article had the source of the line "Alles danke dem Herrn! Danket dem Herrn und rühmt seinen Namen und preiset seine Herrlichkeit" as psalms 105 and 150, however I've been writing program notes for this symphony, and after some searching I concluded that this passage is more likely derived from 1 Chronicles 16:8-10. The Lutherian German text from this passage in the Bible reads, "Danket dem HERRN, prediget seinen Namen; tut kund unter den Völkern sein Tun! Singet und spielet ihm; dichtet von allen seinen Wundern! Rühmet seinen heiligen Namen; es freue sich das Herz derer, die den HERRN suchen!" It would be much appreciated if someone more familiar with the Bible than me can verify this.  —Preceding unsigned comment added by Piatigorsky (talk • contribs) 22:09, 2 June 2008 (UTC)
thread_title:  About the final verse 

message: For some reason that I cannot understand, from the first version of the article until in May 2007 until the revision in November 2011, the text has stated that there are nine vocal movements, and then proceeded to carefully list the TEN movements with their titles; starting in January 2012, the text stated that there at ELEVEN vocal movements, still followed by the careful list of TEN movements with their titles. It seems to me that after seven years, it would be good to have the text state that there are TEN vocal movements, and keep that careful list intact.
My source for this is the score as published by Mendelssohn-Bartoldy; see https://books.google.com/books?id=7EFeAAAAcAAJ, p. 198-223. On page 198, the section, numbered 10 in this article, clearly begins with the correct phrase, "Ihr Völker! bringet her dem Herrn Ehre und Macht!" At 223, we have the final words of that section, and nothing follows; we are at the end of the book, so there is no eleventh vocal section.
Poihths (talk) 23:04, 28 April 2015 (UTC)
thread_title:  There are 10 vocal sections, not 11. 

message: are heavily redundant, since they both feature the complete German text. --AndreasPraefcke (talk) 19:14, 15 June 2015 (UTC)
thread_title:  Sections "Structure" and "Text"