lflage/wiki-talks huggingface dataset:
Talk:Fantasia on a Theme by Thomas Tallis

message: The orchestra is not really divided in three parts. The "string quartet" consists of the leaders of "orchestra 1" and thus are not spatially separated from it. The score asks for spatial separation of "orchestra 1" and "orchestra 2" if possible. 80.221.10.91 (talk) — Preceding undated comment added 18:54, 29 April 2008 (UTC)
thread_title: Orchestration

message: Is the title of the entry wrong? The cover of the music says "Fantasia on a Theme by Thomas Tallis", but the MP3 has the same name as the entry.Rhonabwy (talk) 05:52, 26 October 2008 (UTC)
replies: text: Wow, impressive. Willi Gers07 (talk) 20:18, 19 June 2009 (UTC)
thread_title: By or Of?

message: Hi guys... the page states that it's difficult to listen to the piece not thinking of the acoustics in a church. That's just not true. I'm listening to the piece at the moment and I can definitely see how this sounds like an organ now, but before visiting this page, I didn't think of a church at all. That's just someone's random opinion. 84.157.246.80 (talk) 04:08, 24 December 2009 (UTC)
replies: text: That part had no citation of a source so I removed it. I think of the countryside when I hear the piece, and I'd lay money on most other listeners - particularly British listeners - doing the same. Anyway, it's gone and should stay gone until it's supported with a source Ceadge (talk) 22:07, 29 March 2010 (UTC)
thread_title: Reminiscent of a church?

message: On its website, Faber & Faber state: "On the cusp of the hundredth anniversary of its premiere at the Gloucester Three Choirs Festival, Faber Music is proud to publish a much-needed new edition of Vaughan Williams’ Fantasia on a Theme of Thomas Tallis.  The new edition corrects the original engraver’s mis-interpretations of many of Vaughan Williams’ intentions and other mistakes in the Curwen Edition, to give a clearer score, which combined with a new set of parts with new rehearsal numbers, will give greater clarity and understanding to the work’s many followers." 
Shouldn't the article refer to this and clarify what exactly these "mis-interpretations" and "mistakes" consist of? Philipson55 (talk) 16:21, 6 March 2014 (UTC)
thread_title:  New Edition (2010) 

message: great article! thanks for this great info. --Sm8900 (talk) 22:12, 7 June 2016 (UTC)
thread_title:  great article 

message: Did Elgar comment on the piece, after the premiere? If so, is there a quote worthy of inclusion? Andy Mabbett (Pigsonthewing); Talk to Andy; Andy's edits 21:26, 21 December 2023 (UTC)
thread_title:  Elgar
Talk:Flos Campi

message: 'Fulcite me floribus' surely does not translate to 'Stay with me flagons'. 'Floribus' means 'with flowers', not 'with flagons' (flasconibus). I have edited it.
Deonyi (talk) 12:35, 20 February 2019 (UTC)
replies: text: Thinking again, I have realised that in the KJV the translation is 'flagons'. This isn't a direct translation of the Latin, but I suspect it is what is intended, given the name of the piece. I have undone my edit.
Deonyi (talk) 12:38, 20 February 2019 (UTC)
thread_title:  Translation
Talk:In the Fen Country

message: The article refers to The Fens in East Anglia as the inspiration/setting for the piece; however, on page 87 of 'The Cambridge Companion to Ralph Vaughn Williams', a reference is made to several compositions of Williams (Harnham Heath; Boldre Wood; The Solvent; and In The Fen Country) as being set in the region of New Forest, in the County of Hampshire. 
Considering that, at the age of three, Vaughn Williams moved to the County of Surrey, adjacent Hampshire, and his probable familiarity with the fens and heaths of the New Forest area, would it not be possible that Hampshire, rather than East Anglia (though the NorFolk Rhapsodies do help give the area credence) is the actual source of inspiration? 
Thank you for your time and consideration,
Arm46 (talk) 16:57, 3 November 2015 (UTC)
replies: text: It's an interesting thought, although on pg 88 of the same book Alan Frogley talks about the inspiration of the work being about "the wide flat vistas of the Fens" in the context of the Cambridgeshire and Norfolk Fens, so I think the interpretation in the article is the most accurate. RVW collected folk songs in places like Cottenham, Fowlmere, etc while at Cambridge and also in the area between Wisbech and King's Lynn at the time he was writing the work, so would have known the area well. I guess as a "symphonic impression" it's whatever you imagine it to be, though, after all the London Symphony is really a "Symphony by a Londoner" isn't it? Rob (talk) 00:29, 4 November 2015 (UTC)
thread_title:  In The Fen Country
Talk:The Lark Ascending

message: The work sounds very Chinese in melody. Does it have any Chinese influence? Badagnani (talk) 07:51, 30 January 2009 (UTC)
replies: text: I remember reading somewhere that RVW was also influenced by Chinese melodies and that this one was reminiscent of one that he was likely to have heard. I wish I could remember the source I found it at. 130.56.65.24 (talk) 02:10, 1 October 2009 (UTC)
thread_title: Chinese influence?

message: Is there any evidence to support the statement about RVW's arrest as a suspected spy? — Preceding unsigned comment added by 62.30.196.143 (talk) 
:Oh, bleh. Let's see - it was added to the article in 2009, so we're going to have to find a source which pre-dates that. DS (talk) 15:09, 11 November 2012 (UTC)
replies: text: Found a mention of it in a 2007 review (at the Independent) of Tony Palmer's 2007 "O Thou Transcendent" (a documentary about Vaughan Williams), so I'd say that's good enough. DS (talk) 15:47, 11 November 2012 (UTC)
thread_title: RVW's 'arrest'

message: Just added a source for the Times review: 
For five years the article said: 
 
Funnily enough; quite a few websites also use the incorrect supreme, which gives a slightly different impression of the reviewers' opinion. -- Hillbillyholiday talk 21:26, 11 September 2013 (UTC)
thread_title: Serene

message: Congratulations to everyone who has worked on this - I picked up a comment on Radio Tree just now about when LA was written and was confused. This page really helped. Fantastic!!!! 08:35, 17 September 2014 (UTC)
thread_title:  Wikipedia is wonderful
Talk:The Wasps (Vaughan Williams)

message: "The March Past of the Kitchen Utensils is also quite charming..." Isn't this to little strict to objective facts? At least it could be given as: similarly, the March Past of the Kitchen Utensils is sometimes performed separately, for often being considered quite charming... No, obviously I cannot really accept this quite here. --Trombek Bombek (talk) 19:45, 6 June 2013 (UTC)

message: Since some have objected to "drive-by" editors changing articles without discussing it first, I wish to point out an error in the opening paragraph of the article. It is stated that The Wasps is "Vaughan Williams' first of only three forays into incidental music." In actuality, he wrote a fair amount of incidental music. By my count there is, in addition to The Wasps, music for seven plays, most written in 1913, plus some music for productions of four more that did not occur. And then there are scores for three radio productions. Do you wish me to amend the statement in the article?
Rgrames (talk) 05:30, 15 October 2021 (UTC)
thread_title:  Error found in article
Talk:Le bourgeois gentilhomme (Strauss)

message: Re the recent name change from Le Bourgeois gentilhomme to Le bourgeois gentilhomme:
: I raised this general question last month @ Talk:Le Bourgeois gentilhomme, then I got further advice at the Wikipedia Language Reference Desk, which satisfied me the upper case B in Bourgeois and the lower case g in gentilhomme are both correct.  See:
:* Talk:Le Bourgeois gentilhomme#Capitalisation
:* Wikipedia:Reference desk/Archives/Language/2011 April 19#French capitalisation of adjectives and nouns in titles.  --  Jack of Oz [your turn] 02:17, 17 May 2011 (UTC)
replies: text:  Jack, the question of capitalisation of French (and sometimes Italian) titles has been raised again and again on the Opera Wikiproject talk page.  Here is the latest discussion, with links to earlier discussions, which themselves link to yet earlier discussions: Wikipedia_talk:WikiProject_Opera/Archive_102#Capitalisation_of_French_Italian_operas.  Hope you have a few hours to spare! --GuillaumeTell 17:41, 17 May 2011 (UTC)
replies: text: This was a rare example of a title that didn't follow our guidelines (until it was changed). --Kleinzach 22:49, 17 May 2011 (UTC)
replies: text:  What troubles me is that we have an opera called Le bourgeois gentilhomme that's based on a play called Le Bourgeois gentilhomme.  Does that not trouble anyone else?  Are those who are happy with this aware that 'Bourgeois' is a noun and 'gentilhomme' an adjective, and not the other way around as appearances might have it?  --  Jack of Oz [your turn] 09:11, 18 May 2011 (UTC)
thread_title: Name change
Talk:Oboe Concerto (Strauss)

message: We currently say:  
* Strauss had been requested to compose the concerto by John de Lancie, an American GI who in civilian life had been the principal oboist of the Pittsburgh Symphony Orchestra and visited Strauss' home while stationed in Germany after World War II.
I've just read a slightly different take on this.  Michael Shmith (yes, Shmith, not Smith - he's the son of Athol Shmith), writing a travel piece in The Age on 18 February 2006, says:
* ... Garmisch-Partenkirchen ... where, after the war, occupying American soldiers encountered a tall, imperious figure in the driveway of his villa, who announced "I am Richard Strauss, the composer of Der Rosenkavalier.  The Americans left him alone, apart from one soldier, an orchestral musician in civilian life, who commissioned ... the Oboe Concerto.
So, it looks like de Lancie didn't actively seek Strauss out in order to commission the work, but just happened to stumble across him while a GI.  He would obviously have known Strauss by reputation, but do we know whether he'd long harboured a wish to commission this work, or did the idea come to him purely because their paths happened to cross?  I guess it doesn't really matter - he did commision it and the concerto was written.  But saying "he visited Strauss' home while stationed in Germany" doesn't seem to give quite the right flavour to the story.  Any ideas?  --  JackofOz 03:56, 25 September 2007 (UTC)
thread_title: How the commission came about

message: "where Strauss was living in April 1945, following World War II" 
World War II wasn't over in April 1945.  Even V-E Day wasn't until May 1945 and V-J Day in September 1945.  World War II wasn't over until V-J day; no part of the war was over in April 1945 2601:249:8700:CC20:759B:D7A1:46CB:AA1A (talk) 22:46, 29 September 2023 (UTC)
replies: text: Thank you for spotting that - fixed it. Antandrus (talk) 22:58, 29 September 2023 (UTC)
thread_title:  WWII dates
Talk:Yakov Vilner

message: The Alekhine story is credited to an unreliable source.  A better source should be found.  I am not sure that this story is verifiable.  We should check what Edward Winter says about it.  (He has written quite a bit about Alekhine.) 24.196.147.87 (talk) 05:30, 13 August 2008 (UTC)
thread_title:  Alekhine story is unreliable
Talk:Run Saber

message: As a reader casually familiar with all three games, I find this statement quite difficult to parse—those games are all quite different, beyond the obvious similarity that all are action platformers of some kind. Should the line read "The gameplay has elements similar to Strider, Valid, and Psycho Dream," instead? 108.36.234.79 (talk) 07:48, 26 March 2024 (UTC)
thread_title:  "The gameplay is very similar to Strider, Valis and some elements of Psycho Dream."
Talk:Wesendonck Lieder

message: I've presumptively removed some of the detail about the above, as a potential copyvio concern. The source no longer works, so I cannot tell whether or not it actually is CV. Fine for it to go back in, if it can be re-sourced/appropriately paraphrased. [Text below.] KJP1 (talk) 06:03, 22 February 2024 (UTC)
thread_title:  [[Jeffrey Ching]] version
Talk:Album for the Young

message: In the list of pieces on this page there is a piece called "The Wild Rider". This, rightfully or wrongly, is more commonly known as "The Wild Horseman". Should something be put about it? Darth Newdar (talk) 16:19, 8 November 2008 (UTC)
thread_title:  The Wild rider 

message: We use English titles where appropriate.  I'd rather see this moved to "Album for the Young", with the original German title in brackets.  --  JackofOz (talk) 16:14, 9 April 2009 (UTC)
replies: text: No objections after 18 months, so I moved it.  --  Jack of Oz  ... speak! ...  11:41, 19 October 2010 (UTC)
thread_title: English title
Talk:Cello Concerto (Schumann)

message: Yo-Yo Ma recorded a set of five, in Yo-Yo Ma discography, which in addition to the three mentioned in the article, have those of Saint-Saëns (also Romantic, making 4 such) and Haydn's second. Aside from recordings, I don't know references to cite. Marlindale (talk) 21:33, 2 March 2016 (UTC)
thread_title:  "Greatest" cello concertos
Talk:Symphonic Studies

message: In August 2008, Smerus changed the title from "Symphonic Etudes" to "Études symphoniques", the rationale being "This is what Schumann called them".  That's OK as far as it goes, and it did at least correct the Etudes to Études.
I'd like to move it again, to the English title "Symphonic Studies".  It is routinely referred to as "Symphonic Studies", although "Études symphoniques" is also used when necessary to refer to the title as originally published.  German and Russian composers frequently published their works with French titles, but that has never stopped anyone from using an English title.  The French wasn't meant as an epithet, such as Tchaikovsky's or Beethoven's Pathétiques.  If Schumann had chosen a German title, we would naturally translate it into English.  We refer to Beethoven's 5th Symphony as such, not as "Fünfte Symphonie" or whatever the German is.  We call Brahms' Ein deutsches Requem - "A German Requiem".  So how about it?  --  JackofOz (talk) 21:44, 8 March 2009 (UTC)
replies: text: No objections after almost 5 months, so I've moved it.  --  JackofOz (talk) 01:03, 19 July 2009 (UTC)
thread_title: Title

message: "French: Études Symphoniques" - in French, wouldn't the adjectival second word (or second words generally, if not a proper noun) usually be lower-case, most-cases? Schissel | Sound the Note! 01:14, 2 May 2013 (UTC)
thread_title: French Title

message: There is still another that has never been published, so far as I know.  (This is confirmed by the first external link here.)  Anyone know whether that one is still extant or has ever been published?  Kostaki mou (talk) 20:24, 23 October 2018 (UTC)
thread_title:  " Johannes Brahms restored the five variations that had been cut by Schumann." 

message: :The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.
The result of the move request was: moved. Unnecessary disambiguation, the possibility of confusion with Prokofiev and Strauss' work is very slim, and even if it could happen, a hatnote would suffice in disambiguating the articles. (closed by non-admin page mover) – MaterialWorks 12:50, 11 June 2023 (UTC)
replies: text: Symphonic Studies (Schumann) →  – No other work entitled "Symphonic Studies" or "Symphonic Etudes" could conceivably meet Wikipedia's standards for notability. Schumann's name serves no disambiguating purpose here and so there is no need for it to figure in the article's title. SaryaniPaschtorr (talk) 12:28, 4 June 2023 (UTC)
thread_title:  Requested move 4 June 2023
Talk:Symphony No. 2 (Schumann)

message: Does anybody know if the main subject (this plyed by horn) of the first movement was an inspiration for Bruckner to write his "Romantic" symphony (no.4)? I found opening themes of both symphonies very similar.  —Preceding unsigned comment added by 195.128.243.22 (talk) 21:26, 24 March 2010 (UTC)
thread_title:  Question 
Talk:Symphony No. 4 (Schumann)

message: Weren't there three versions - the third version, prepared for the 1853 Rheinland festival (and finished in that year) (premiered along with the op. 123 cantata; see Daverio 1997, I think) was the one that was published, not the 1851 version? I may be mistaken here... Schissel | Sound the Note! 14:24, 23 December 2008 (UTC)
replies: text: Schumman reviewed the symphony in 1851 and Breitkopf und Härtel published it in 1853. Reference: Daverio, Booklet of Complete Symphonies, Gardiner, Archiv. --Jdiazch (talk) 13:51, 21 January 2009 (UTC)
thread_title:  1841, 1851 - 1853
Talk:Federation Shield

message: Was a similar tournament held in 2007? Should a mention be inserted that this was a kind of replacement for the European Nations Cup (rugby league)?--Jeff79 (talk) 08:31, 28 December 2007 (UTC)
thread_title:  Other Years 
Talk:Bandini (film)

message: *Print.
*HT
*Shahid • Talk2me 21:50, 26 February 2022 (UTC)
thread_title:  Reviews
Talk:Banjeaurine

message: Swain vs Swaim. I had begun to "correct" the name Swaim to Swain, because I had only encountered his name as  Samuel Swain Stewart. After checking, I found  that others have tracked down an obituary and his gravestone,  both of which have his name as S. Swaim Stewart.  I am leaving links to those records, to show others that his full name was Samuel Swaim Stewart. Jacqke (talk) 12:23, 22 February 2020 (UTC)
thread_title:  Samuel Swaim Stewart
Talk:Baryton

message: Neither appears in the article.  — Preceding unsigned comment added by 74.95.43.249 (talk) 22:55, 21 January 2016 (UTC)
thread_title: Tuning? Range?
Talk:Bazantar

message: *Oppose deletion. Placement of tag is disruptive. Badagnani 19:32, 26 June 2007 (UTC)
thread_title:  Deletion proposal 
Talk:Thaddeus Golas

message: Consciousness or Spirituality?
:hummus or baba ganouj?  — Preceding unsigned comment added by 99.37.157.5 (talk) 06:11, 12 August 2012 (UTC)
thread_title: Untitled

message: BAD ARTICLE, no donut! seriously, this needs to be rewritten massively. I rewrote the article on his main work.Mercurywoodrose (talk) 04:12, 13 August 2012 (UTC)
replies: text: Done. removed the OR content, left it bare bones, from the sources available, and noncontroversial statements. build up with sources, if you want to add anything back. and NOT his publishing site, which is entirely devoted to promoting him.(mercurywoodrose)50.193.19.66 (talk) 21:10, 13 August 2012 (UTC)
thread_title: POV edits
Talk:Capricorn Concerto

message: In the booklet that accompanies NAXOS 8.559135 Samuel Barber "Capricorn Concerto" it states "Allegedly each member of the Capricorn household, Barber, Menotti, and Chip, Menotti's adopted son, is represented by a theme."
but checking in Wikipedias own article on Chip Menotti, http://en.wikipedia.org/wiki/Francis_Menotti
Chip was born in 1938, and would have been a young child at this point.  It was in the 1960s that Menotti started working with Chip, and 1974 before Chip was adopted.
The weasal word "Allegedly" in this case seems to be a writer's fantasy.  Was Chip really part of the Barber/Menotti household in Capricorn in the years 1943-1944??
The same NAXOS booklet has Samuel Barber "Born and raised in Westchester, an upscale suburb of New York City."   I believe Mr Barber was really closer to the neighborhood of Philadelphia.  —Preceding unsigned comment added by Diaphora (talk • contribs) 14:11, 11 October 2009 (UTC)

message: In "Samuel Barber: The Composer and His Music" by Barbara Heyman, Oxford U Press, 1992 ISBN19-506650-2, page 244.  "The title of the concerto led some to seek extramusical events in the score.  [...] to Sidney Homer's query whether there was a program, Barber wrote, "there is no program for Capricorn Concerto. Just cheerful noises!"  A curious article in a Philadelphia newspaper, however announced that residents of Capricorn were represented in the concerto and offered as proof facsimilies of the copyist's score with programmatic captions" Heyman's footnote give the source for this as Philadelphia Evening Bulletin, 18 Jan 1947. "the source of the manuscript is not revealed. Holographs at the Library of Congress present no evidence of such titles."   According to the Philadelphia article the three people represented were Barber, Menotti, and Horan [a guest in residence at the time].  I don't see pushing on this issue, just let it be abstract music.  —Preceding unsigned comment added by Diaphora (talk • contribs) 19:27, 20 October 2009 (UTC)
thread_title:  program?
Talk:Bulbul tarang

message: All contributions to Wiki by this IP were made within three hours. All edits highlight the importance of long para here, describing Imtiaz Hussain as the "best known living" artist. Not found searching Google with "bulbul tarang", nothing notable about his accomplishments.
67.169.126.106 (talk) 21:10, 19 May 2008 (UTC)
thread_title: 77.8.254.114

message: Can anyone please provide the proper spelling for the instrument in Hindi and Urdu? MatthewVanitas (talk) 16:47, 17 July 2011 (UTC)
thread_title:  How to spell this in Hindi and Urdu? 

message: Listening to a radio program on BBC, I believe I heard this instrument, described as a typewriter with strings, called a “Benjo” (with an E.)  John “Film Fan” (talk) 19:54, 11 March 2024 (UTC)
thread_title:  Also known as?
Talk:Buzuq

message: Discussion of the infobox that just showed up is at Wikipedia talk:WikiProject Musical Instruments. __Just plain Bill (talk) 23:13, 18 November 2007 (UTC)
thread_title:  Infobox 
Talk:The School for Scandal (Barber)

message: I feel the word "Overture" should appear somewhere in the title.  
We would never write "In 1931 Barber wrote The School for Scandal", would we?  That would suggest it was an opera or a ballet, or maybe even a symphonic poem.  The fact that it's a concert overture needs to be made explicit.  
Grove V has, under Barber's Orchestral Works, Overture to Sheridan's 'The School for Scandal' (1932), but that's a little unwieldy for a WP article title.  Thoughts?  --  Jack of Oz  ... speak! ...  00:04, 24 October 2010 (UTC)
thread_title: Title

message: No idea as to the best article title.
Not sure if it's not too much irrelevant information, but the New York City premiere, under Barbirolli, was given March 30 1938 (see ). 24.59.51.98 (talk) 17:22, 1 July 2020 (UTC)
thread_title:  Additionally
Talk:Flourish, Mighty Land (Prokofiev)

message: The Background section makes a couple of assertions that should be supported with citations and maybe other material as well.
In the first paragraph it says The short duration was obviously a disappointment for the Soviet authority, which had expected something in a grandiose manner.   I don't know if this statement is true in any absolute sense, because the music, although typically performed in less than 10 minutes, certainly has a powerful feel.  However, i imagine that that sentence was the party line in the West, so it shouldn't be hard to find a reliable source (in the sense of the wikipedia) to back it up.
I think the same thing is true of a sentence in the second paragraph The cantata, with much first-rate music (as with his other political works), has been unjustly neglected purely for its pro-Communistic lyrics.  This should also be supported by a citation.  And it would be even better if those lyrics could be part of the article.  As it stands we have only the (translated!) title.  The title suggests a natural, healthy national pride, but nothing about economics as far as i can see.
Son of eugene (talk) 04:45, 3 May 2020 (UTC)
thread_title:  Citations to support the Background section would be helpful