User talk:Vaarky

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Notes to Self

See Vaarky/Sandbox, Vaarky/Reference, Vaarky/RecentRenPostings

Privacy policy

Hi Vaarky! I saw your interest in page ChoralWiki:Privacy_policy. In fact, looking at the logs I saw that this page was created by a spammer on 27 December 2007 and deleted by Robert on the same day; it was recreated 4 days later by the spammer and this time blanked by Robert. So it has never held any information of value, that's why I deleted it. If you wish to work on this page even so, the easiest way would be to copy for instante the text from http://wikimediafoundation.org/wiki/Privacy_policy and make the appropriate changes. Thanks —Carlos Email.gif 16:07, 27 July 2008 (PDT)

Thanks for the information. That's the same place I was thinking of starting. Will try to get you folks a draft soon. --Vaarky 17:08, 27 July 2008 (PDT)
  • Posted by: Vaarky 15:34, 8 August 2008 (PDT)
 Help 

Note to self: text of California's Online Privacy Protection Act, effective July 1 2004; and a summary


NULLRequests

Hi Vaarky, I made the changes you suggested to those two Request pages, but after they were moved, their talk pages became inaccessible, so I am replying to you here instead. —Carlos Email.gif 12:18, 29 August 2008 (PDT)

Thanks, Carlos. --Vaarky 09:14, 30 August 2008 (PDT)
Does this mean any time you move a page, all the Talk discussion associated with it is lost? If so, is there a way to fix that? I will minimize moving things unless I hear otherwise. --Vaarky 02:12, 6 September 2008 (PDT)
No Vaarky, the problem was only with the Requests talk pages, that were inaccessible because of a server misconfiguration that has already been solved (see here). Usually when you move a page there is an option (checked by default) to also move the talk page, if it exists. —Carlos Email.gif 03:13, 6 September 2008 (PDT)

Rod Mather

Hi Vaarky! When editing Rod Mather links, please replace the old links by

  • [{{website|Rod Mather}} {{net}}] PDF and MIDI files.

instead of

  • [{{website|Rod_Mather}} {{extpdf}}] [{{website|Rod_Mather}} {{extmid}}] .<br>

Note that the underscore can be used interchangeably with the space character.
Thanks! —Carlos Email.gif 04:42, 15 October 2008 (UTC)

Reply by: Vaarky 04:46, 15 October 2008 (UTC)

 Help 

I defined the variable with the underscore in it, and apparently space and underscore are not interchangeable in that context. I'll just change the variable to Mather (redoing the pages) and punt on the question of underscore versus space.

You were right, in this context the character used surprisingly does make a difference! In other templates, I've been using both characters with no problem, but the parameter is used to form links; in this case it's used as a test inside the {{switch}} function; that probably explains it all. Thanks_again! :) —Carlos Email.gif 05:21, 15 October 2008 (UTC)

Reply by: Vaarky 05:23, 15 October 2008 (UTC)

 Help 

That's why I work hard to avoid spaces in variables--it can lead to complications if nested or not escaped properly.

Link to Psalm

Hi Vaarky. In this edit you added a link to Psalm... did you mean to add a link to a particular Psalm page? I'm afraid I don't know what you were trying to do otherwise I would put it right. --Bobnotts talk 21:04, 20 October 2008 (UTC)

It links to multiple verses, a link to each of which can be found on the Psalm page. What's the best way to link in such a scenario? --Vaarky 22:52, 20 October 2008 (UTC)
These have to be treated "by hand" ... I've fixed the links (and corrected the wrong citation for one of the three Psalms in the score). -- Chucktalk Giffen 02:04, 21 October 2008 (UTC)

Mundy

Hi Vaarky! You did a nice reworking on the Mundy page. I would only suggest that in such situations you try to use a lot the 'Preview' button until you come up with a satisfactory result, and only then click on Save. That's what I usually do and it works fine for me. If you use Firefox, there's no risk of loosing your additions by a power failure or whatever, because it keeps the page history even in these situations. And if you don't like a change you've just previewed, you can always click on the back button and return to a previous stage. Regards, —Carlos Email.gif 15:10, 20 November 2008 (UTC)

 Help 

Hi, Carlos--thanks for the feedback. I am a habitual document saver and did not realize that I wouldn't actually be losing my edits in Firefox. Very useful to know.

Deleting score page disambigs

Hi Vaarky. I notice you've been deleting these since we agreed they were too much to handle for every composer, and I support this. I wonder, though, if you agree that it would be a good idea to check what information is on the disambiguation page and add that to the appropriate score pages? This disambiguation page details 3 score pages on CPDL by Josquin using the text Ave Maria, but not all of those pages link to each other. I think it's a good idea for us to include a link to other settings of the same text as the work on a given score page so that users can quickly go to those other settings if the page they've arrived at isn't the one they wanted. This would work rather like the Wikipedia system of "This article is about the American basketball player. Did you mean the British one?" I generally think this text should appear right at the top of the page like on this page and this page. Do you agree? --Bobnotts talk 22:55, 24 February 2009 (UTC)

  • Posted by: Vaarky 23:47, 24 February 2009 (UTC)
 Help 

I agree that it is good to include that type of notice on the score info page. However, mentioning the exact number could convey incomplete info with the illusion that it's complete if, say, a fourth different Ave Maria setting by Josquin turns up on CPDL and we say there are exactly three.

So I think it would be even better to leave the count as "more than one" and also reference the composer page, such as"

"Note: CPDL has more than one setting of Alma Redemptoris Mater by Tomás Luis de Victoria. For the setting for double choir, SATB.SATB, click here. To check if there are other settings, please see the composer page for Tomas Luis de Victoria."

If you're in agreement, I can go back and fix that up this weekend.

At some point, I thought we had agreed that 3 or more works with the same title by a composer merited a disambiguation page. Did this change? And, if so, when? It is not so difficult to establish and maintain these disambiguation pages if there are some agreed upon standards: when one sees a composer page with at least the minimum number of works with the same title, then a disambiguation page is created. What's the problem? -- Chucktalk Giffen 04:59, 25 February 2009 (UTC)

Reply by: Vaarky 05:28, 25 February 2009 (UTC)

 Help 

Here's some of the recent discussion about it: Archived talk:Alma_redemptoris_mater_(Orlando_di_Lasso) What are your thoughts?

José Uruñuela

Hi Vaarky, thanks for revising his biography, the text is looking great now! :) —Carlos Email.gif 05:24, 12 May 2009 (UTC)

Glad to help if I can. -- Vaarky 05:28, 12 May 2009 (UTC)

Text categories

Hi Vaarky, it's my understanding that people searching in Category:Icelandic texts are looking for pages that really contain texts in Icelandic. If they want to find works in Icelandic (with or without text included) they will search inside Category:Works in Icelandic (where Lofsöngur is already categorized). What do you think? —Carlos Email.gif 04:41, 20 June 2009 (UTC)

Reply by: Vaarky 04:54, 20 June 2009 (UTC)

 Help 

Thanks for taking a look. I will remove the Textx category and add the Works category for that page.

Douglas Leedy compositions

Hello,

I am Douglas Leedy's publisher (MaterialPress.com) and engraved the score of Dido's Lament from his ms.. Leedy asked to put online here as I cannot handle the colume of choral publications. You do not need to correct the "ng" (in "mang- na") in the text, as he wishes a classical pronuncitation (not a renaissance as one supposes for Willaert) which requires the "ng" sound on the written "g" before an "n". Leedy is a scholar of classical pronunciation so I would defer to him in this case, above and beyond his instructions in the score.

He has since made some changes in the score which I will soon incorporate in a new version here. --DJWOLF 04:31, 04 July 2009 (UTC)

Reply by: Vaarky 15:43, 9 July 2009 (UTC)

 Help 

Thank you very much for clearing that up, and welcome to CPDL. I'll make a note on the discussion page for the piece as well, in case anyone has questions in the future and doesn't check this talk page.

Included/excluded

(relocating this from my user page to my talk page) In this edit, does 'incl.' mean 'included'? In fact, we have 673 requested score pages plus 471 completed, more than a thousand in total. I wish you the best for holidays, if any (I leave tomorrow). Claude 18:12, 9 July 2009 (UTC)

Thanks for the catch. Already fixed. -- Vaarky 02:35, 10 July 2009 (UTC)

Thank you =) and a suggestion

Thank you so much for the reply...(about adopting Bach's page and how to respond a score request) I think this kind of guides should be posted in a help page...because, like in my case, I want to do much things here but I don't have a clue on how things are done, I suppose there are others who feel the same but are more shy to ask for help... =) I also suggest adding a help section explaining what are templates...and other names which seem weird to some persons.

I also noted that some special pages are translated to other languages...but not Spanish...I know there is a huge amount of potential users who don't use the site because they don't speak a word of English...I live in Argentina and where I live there is a lot of choral activity...many of the conductors I know have this problem I mentioned. I suggest the site but they can't use it... If what you need is just a Spanish speaking volunteer, count on me!...thank you again...Saniakob 06:13, 10 July 2009 (UTC)

Thanks for the suggestions. I'll look into integrating it into the help system. Thanks also for your interest in helping with Spanish translations. Carlos has just recently posted some information about this on your talk page, and it looks like you've already started working on it. Appreciate your help! -- Vaarky 06:03, 11 July 2009 (UTC)

Hi, Vaarky

Thanks for your recent post on my talk page. I've just started this summer contributing to CPDL and have effectively taught myself quickly to read mensural notation in order to transcribe from source. I'm currently working on music from the Dow partbooks (MSS 984-988, copied by Robert Dow in the years 1581-1588), which reside in the library of my (now recent!) alma mater, Christ Church, Oxford, where I was the Organ Scholar to the Cathedral there, and reading for a music degree, over the past 3 years (I left this summer and am off to Westminster Cathedral to be Organ Scholar there).

The stuff in these partbooks is great to work from, not least since it's in beautiful script - very clear and with very, very few textual errors. Moreover, the music within is superb. There's a lot of stuff in more authoritative sources (i.e. Tallis and Byrd, especially in their prints), but there's an equal amount of stuff that survives only in single source i.e. this one! It's this stuff that I'm largely concentrating on at the moment, but I've included a number of other multi-source pieces just to get them onto CPDL where noone has done so before.

Composers I'm dealing with/have dealt with at the moment include: Byrd, Tallis, Tye, Mundy, Parsons, White (inc. Portio mea, which I gather is a favourite of yours!), Tailer, Strogers and even the continental composers Ferrabosco I (although a later resident in England) and Lassus.

I'm a big fan of Renaissance polyphony, as you can imagine(!), helped by my education and background (see my user page). As a Catholic, I find the English stuff most interesting, particularly the pieces that disguise (if at all) texts concerning the Babylonian captivity and the plight of Catholicism in England (Byrd's Ne irascaris, Quomodo cantabimus and Tallis' Lamentations and Derelinquit impius etc.).

During my time in Oxford, I set up an 8-voice vocal consort with the choral scholars and lay-clerks at Christ Church, and we put on a concert of Byrd, Tallis, Sheppard, Biebl (Ave Maria!) and Take 6 transcriptions! We were determined not to be another crappy barbershop group, so we combined the awesomeness of the English Renaissance with the awesomeness of Take 6 arrangements (which I had to transcribe when I should really have been working...).

With the same group at the end of last term, we got together a load of Franco-Flemish polyphony by composers we'd either never heard of or heard of and not sung. In 4 hours in an overheated squash court (we needed a venue with an acoustic, and everywhere else was booked up!) we got through Machaut, Dufay, Binchois, Busnoys, Ockeghem, Josquin, Isaac, Obrecht, Brumel, Richafort, Verdelot, Willaert, Arcadelt, Clemens non Papa, De Rore, Vaet and Regnart. Terrific stuff, and often overlooked by those pesky Teutonic historiographers under the umbrella title of 'Palestrina'...!

Thus, to answer your question about my favourite pieces of polyphony, I'd have to go with the following (in no particular order):

  • Byrd - Ave regina caelorum (a5) (unpublished and potentially spurious, but confirmed as authentic in the past decade) and Ne irascaris (both parts)
  • Tallis - Lamentations (at original pitch, please!)
  • Verdelot - Si bona suscepimus (Morales wrote a great parody Mass on this great motet)
  • Obrecht - Salve regina (a4) and Missa Je ne demande (a parody of Busnoys' chanson)
  • Brumel - Lamentations
  • De Rore - Infelix ego
  • Willaert - Missa Christus resurgens (a parody of Richafort's motet)
  • Isaac - Missa De Beata Virgine (a6)
  • r (Lhéritier) - Surrexit pastor bonus
  • Ferrabosco I - Lamentations
  • Victoria - Requiem
  • Clemens non Papa - Ego flos campi (don't we love it!)

Hope this is of use! A prize if you can find legal, public-domain editions of all of these, because I certainly can't (apart from only 5 of the pieces listed above).

Also, I studied Classics at school, and thus have a working knowledge of Latin and Greek. Throw any translation requests my way if you're stuck yourself. Although the majority of Latin translations can be gleaned from cross-referencing with e.g. Biblical references and works from other writers, it's always nice to know that there are a number of elusive texts out there that need the necessary treatment!

Best,

Edward Tambling 11:50, 13 August 2009 (UTC)

Reply by: Vaarky 02:11, 17 August 2009 (UTC)

 Help 

Glad I asked, thanks. Many of these are pieces I have not yet encountered. I will see if I can track them down, and I am looking forward to getting acquainted.

I appreciate and am eagerly looking forward to your work on editions from the Dow partbooks, especially the pieces that survived only in that source. Thank you for sharing with CPDL!

Yes, CPDL Brumel Lamentations
No, but my local lib has it Byrd Ave regina caelorum (a5) (unpublished and potentially spurious, but confirmed as authentic in the past decade)
Yes, CPDL Byrd Ne irascaris (both parts)
Yes, CPDL Clemens non Papa Ego flos campi
No Ferrabosco I Lamentations
No Isaac Missa De Beata Virgine (a6)
Yes, free elsewhere and also on CPDL L'Heritier Surrexit pastor bonus
Yes, sang Richard Mix edition not yet on CPDL Obrecht Salve regina (a4)
No Obrecht Missa Je ne demande (a parody of Busnoys' chanson)
No Rore Infelix ego
Yes, CPDL Tallis Lamentations (at original pitch, please!)
No, but my local library has it Verdelot Si bona suscepimus (Morales wrote a great parody Mass on this great motet)
Yes, CPDL Victoria Requiem
No Willaert Missa Christus resurgens (a parody of Richafort's motet)

Impressive! Actually, the Brumel is on here (Brumel Lamentations), and I've only just learnt of the L'Héritier's presence on CPDL as of yesterday.

Best,

Edward Tambling 13:51, 25 August 2009 (UTC)

Reply by: Vaarky 15:23, 25 August 2009 (UTC)

 Help 

I'll update the chart above. The Brumel on CPDL has only 2 verses, 2.8 and 2.11, so I thought it was incomplete -- were other verses not set? Thanks.

No, there are only two non-consecutive verses of the text (although in a continuous musical setting) set by Brumel. This is the complete set of Lamentations by Brumel. Not the most tortured music, the likes of which we've come to expect from the likes of Tallis, Byrd, J. Mundy, Parsley and Ferrabosco (the elder)!

Reply by: Vaarky 18:14, 29 August 2009 (UTC)

 Help 

Thanks very much! I'll make a note on the score page that this is believed to be all that was set by the composer.

Edward Tambling 14:54, 29 August 2009 (UTC)

I've got the Obrecht SR a 4, if I can only upload it... Richard Mix 21:17, 24 August 2009 (UTC)

Reply by: Vaarky 21:40, 24 August 2009 (UTC)

 Help 

Hi, Richard--very nifty, thanks! Did the link to the discussion in the forums help? I am away 8/25-30, but please post details about teh nature of the snag you are encountering in the forums and someone else should be able to help in the meanwhile. I'll check in when I get back. Thanks again.

Wow, the backlog must be down to about zero now! I figured out already that the normal gap between most file upload dates and completed submissions was measured in months, which encouraged me to keep filling out the form. There's a question about whether to merge or split here. Richard Mix 23:34, 4 October 2009 (UTC)

CPDL file format validation project

Hi. Yes, I work on Wikipedia, however, only as an editor. I don't know anything related to the MediaWiki code and this system, so I can't help you. And, sorry, Neither I know someone who works with MediaWiki. However, maybe you could find someone through browsing categories of users on Wikipedia (this one could be). I think, this is all how can I help you. Regards, --Tomaxer 13:32, 24 August 2009 (UTC)

Reply by: Vaarky 21:41, 24 August 2009 (UTC)

 Help 

Thanks for the reply and add'l pointers. Will check into this further in early September when I am back to having e-mail access.

Nice job!

Hi Vaarky, congratulations, you did very well in your first two additions! Just note that page "User:Username" should redirect to "User:Real Name" while in the talk pages it's the opposite: "User talk:Real Name" redirects to "User talk:Username". Also, to create the page "User:Real Name", just click on the red editor name in a works page, and paste {{subst:user page}} in the page that opens. After that, just save the page and edit it again if you have any more info to add to it. Regards, —Carlos Email.gif 03:51, 8 September 2009 (UTC)

Thanks, Carlos. I'll go make those changes for the user account. One other question: how do you coordinate when multiple people are on the alias? By group replying to the alias indicating which ones you're planning to take? -- Vaarky 03:58, 8 September 2009 (UTC)
Hi, Carlos--can you check me on Charles Thompson to make sure I understood right on the user and talk page redirects? Tx. -- Vaarky 16:13, 8 September 2009 (UTC)
Hi Vaarky, the directions were now correct! You just forgot to add "User" to the redirects, and because of that they were pointing to pages in the main namespace instead of in the user namespace. Another tip: when creating/changing redirects or when creating a new short page as the one with {{subst:user page}}, try leaving the edit summary field in blank: an automated summary is created for you! —Carlos Email.gif 17:32, 8 September 2009 (UTC)

Missa 'Orbis factor' (Gregorian chant)‎

Hi Vaarky. You put a cleanup note on another page with duplicate score entry to the above so I've merged them. --Bobnotts talk 14:26, 12 September 2009 (UTC)

Edit to Thomas Appleby

Hi Vaarky. In this edit, you added a cleanup notice to Thomas Appleby, that a catalogue number needs to be assigned. But to what? The edition we have of his Magnificat is already catalogued correctly... --Bobnotts talk 19:10, 28 December 2009 (UTC)

My error, now removed. Thanks Rob. -- Vaarky 04:51, 30 December 2009 (UTC)

If I was being pedantic...

... I'd revert your recent change of my edition of Tallis' O salutaris hostia from 'motet' back to 'hymn', as it's a hymn to the Blessed Sacrament. However, I'm not that fussed, and it does fit into the category of motet, along with everything else! Well done for spotting it anyway, and it (I'd imagine) is more de rigeur of CPDL to have a consistency across the board. 'Motet' is fine.

Am having this edition performed tomorrow evening during Vespers and Benediction at Westminster Cathedral - during the elevation of the Blessed Sacrament, naturally!

--Edward Tambling

Reply by: Vaarky 00:30, 31 January 2010 (UTC)

 Help 

Thanks for the note. This subject brought up the issue that CPDL tried to cram liturgical function and musical genre into the same category. I think there is emerging consensus that it's a floor cleaner *and* a dessert topping, and that multiple categories need to appear to cover these areas (in this case, hymn and motet). You might be interested in the discussion at Talk:A solis ortus (Gilles Binchois). Your input is welcome and I'm certainly no expert, so we'll be figuring out something that I think will reflect your wanting it to be labeled as a hymn. I think once we understand whether we should have multiple entries within genre for this type of situation, or split this type of content into multiple categories besides genre, we'll go back and apply them across CPDL. Please do contribute your thoughts on the subject!

And congratulations on the performance of this edition!

I've opened up a topic at the forums on these issues, which arose from recent discussions on Talk:A solis ortus (Gilles Binchois). – Chucktalk Giffen 02:29, 31 January 2010 (UTC)

Re: Lassus URL

Hi, Vaarky,

Thanks for pointing out the wrong link on the page for my edition of Veni in hortum meum. I must have just had the wrong URL on my clipboard when I hit Ctrl+C! The link was actually to another site from which I intend to purchase facsimiles of the Cantiones Sacrae (1575) by Byrd and Tallis. Lucky it was this site and not another, n'est pas? HOW embarrassing!

I've restored the link and all should be well now - let me know if anything else comes up.

Best,

Edward

Mergers

Hi Vaarky, when you merge two pages, could you please add a link to the remaining page in the summary, when you delete the superfluous one? (something like "see [[Title (Composer)]]"). This way, in the future if we for some reason find this deleted page, we'll know where its contents have gone into. Thanks! —Carlos Email.gif 06:04, 17 April 2010 (UTC)

Will do in future--tx for alerting me. -- Vaarky 06:06, 17 April 2010 (UTC)

Dows and down'ts

Hi, Vaarky,

Thanks for setting up that page for the Dow Partbooks - I was going to get round to doing that myself, but things are piling up here at the Music Department of Westminster Cathedral...! I'll tweak the page a bit and eventually get round to filling in the rest of the page - I might even put up the instrumental pieces in the back of the books if/when I get round to editing them. I'll also put in another column which will number the pieces as they appear in the books (like the Eton Choirbook page has), and make that sortable like you've done for the other columns already - that's quite an important aspect of the layout of the collection.

Of course, it shouldn't matter that the CPDL editions won't necessarily all be from the Dow Partbooks per se (a lot of the Byrd an Tallis is duplicated in their original publications, as edited for CPDL by David Fraser). What the key is is that this page should provide a guideline to the content of the books and the sort of pieces within, the nature of the collection.

I've recently purchased from DIAMM a set of facsimiles of the Dows, and therefore have not left the house since these arrived! Very tasty indeed, and will help enormously with my transcribing (where I had been using internet images previously). A similar facsimile of the Eton Choirbook is on its way. DROOL.

Next editions currently in my Dow pipeline - O bone Jesu by Robert Parsons, and the 5-part Lamentations by Robert White. Time is the only issue now... Must start burning the candle every which way!

Best,

Edward Tambling 19:47, 23 April 2010 (UTC)

Gah!

The inimitable David Fraser has beat me to the first upload of the White Lams a5! Not to worry, as I was nowhere near finishing mine. I've got a bit more to do in terms of text underlay and ficta treatment, and will post a downward transposition for men's voices at any rate. Reading the intro to my Dow facsimiles, there may be a move to make facsimiles of the next-best (i.e. most complete and presentable) partbooks in the UK, namely those Gyffard badboys. More on that story later... As I said, I'll do a bit of a cleanup on the Dows page when I get the chance.

Best,

Edward Tambling 09:08, 27 April 2010 (UTC)

Google translator

Hi Vaarky,

I noticed that you've been requesting translations for a couple of works with texts in modern languages, and I was wondering if you already know Google translator. It does a quite good job with most modern languages, you should give it a try. See for example how it translates Huub de Lange's Salut Reine:

Hi Queen, Mother of mercy;
our life, our sweetness and our hope, hello.
To you we cry, banished children of Eve.
To you we sigh, mourning and weeping in this valley of tears.
O you, our advocate, turn your gaze toward us merciful. (i.e. merciful gaze)
And after this exile, show us Jesus, the blessed fruit of your womb,
O clement, O loving, O sweet Virgin Mary.

In this case you'd only have to replace Hi/Hello with Hail to get the whole meaning. I know it's not always that perfect, but it's certainly faster than waiting for somebody else's translation :) The link to it is here.

Regards, —Carlos Email.gif 23:00, 25 June 2010 (UTC)

Reply by: Vaarky 00:01, 26 June 2010 (UTC)

 Help 

Hi, Carlos--

Thanks for your note and suggestion. I'm familiar with a couple of online translation tools. My goal is slightly different...

I aim to take just a moment in passing to tag the score so anyone familiar with the original language can find which works could use translation at any given moment if they have free time. I do this primarily for Latin, since a friend of mine who is a retired Latin scholar sometimes provides translations for CPDL, esp. for interesting Latin texts that do not come straight out of the Bible which has readily available translations all over the place.

I think there is value in CPDL offering translations of high quality, rather than automated translation output. For example, you propose leaving "O clement" which is another example of why the automated translation result is not high quality.

I think there is insufficient value in taking time to manually paste an inferior automated translation that anyone can grab for themselves by using the same automated tools. If we're going to offer low-quality automated translations, let's just put a link to an automated translator on the score description page rather than manually pasting the output for each piece.

Speaking of which, I've been thinking of asking whether it would be possible to automate putting NoTranslation/English on every score page that has Latin text but doesn't already have this tag. Any idea?

As always, I'd appreciate your thoughts.

Oh, I was not suggesting that the result of online translations were to be pasted into works pages; I just thought you were adding the requests because you planned to sing those works, in which case an automated translation would be able to give you a glimpse of the meaning in a timely manner. By the way, The Free Dictionary states that clement is also a synonym of merciful (Google was not totally wrong :)
With respect to your suggestion, I need to run some tests to know if the same result can be achieved without using the template NoTranslation, by using DPL instead. That would be a lot more practical and faster.
Carlos Email.gif 01:15, 26 June 2010 (UTC)

Reply by: Vaarky 01:27, 26 June 2010 (UTC)

 Help 

To clarify, I didn't mean that Google was wrong about clement, just that not it reads as an awkward use of English and is not how a high quality translation would put it.

Thanks for being willing to ponder potential automation regarding translation. It occurs to me that a good approach might be to use DPL to allow users to create a search query that checks on the fly to let them know which pieces could use translation from one specific language into another. It could take the two languages as input from drop-downs chosen by the user, then check if each piece is in X language and does not contain Y language translation. Or is this too demanding on the servers? This avoids bloating pages unnecessarily with tags about which languages could still use translations of that text. It's a more dynamic way to keep up with the addition of new languages or with the unpredictability of knowing which language combinations people will care about besides Latin/English.

CPDL #21700

Vaarky, I'm not sure what you mean by your cleanup notice on A Prayer (Karol Mikuli). Could you explain? --Bobnotts talk 15:06, 27 June 2010 (UTC)

Hi, Rob. Thanks for checking. Two separate PDFs were uploaded, in different languages but the same composition (with a note from the contributor in the download logs to pair them). Only one of them got an addscore form and has a CPDL score # assigned. I wasn't sure if they each need a CPDL score # or not. I am guessing they do, but wanted a second opinion. -- Vaarky 16:30, 27 June 2010 (UTC)
Thanks Vaarky. Yes, they belong on the same page and need separate catalogue numbers. I've sorted it out now, as well as changing the title of the page to the original Polish title. --Bobnotts talk 17:43, 27 June 2010 (UTC)

Missa de profundis (Luis de Stoa)

Hi Vaarky. Any news on this? --Bobnotts talk 10:07, 13 February 2011 (CST)

Hi, Rob--Thanks for pinging me on this. I did have some correspondence with Luis. I checked my archives, and had updated the page with as much information as I got from Luis as far as I can tell. It would help for someone who can write in Spanish to contact Luis, so I've asked Carlos if might be able to help and sent the prior correspondence. -- Vaarky 10:43, 14 February 2011 (CST)

Willaert: Nazaraeus vocabitur

Hi, I see you've added a placeholder for this motet on Willaert's page. Are you editing a score? So am I. I'll be interested to see what you come up with.

Best,

Jmkelly 21:51, 30 March 2011 (CDT)

Reply by: Vaarky 22:15, 30 March 2011 (CDT)

 Help 

It's not a score I'm working on. It was just a placeholder (similar to the way I tried to add some known works by Obrecht to his composer page). I love Willaert and it's great that you're working on an edition. Thanks for your note!

Pierkin de Raedt

Ah, yes, a parody Mass on the motet by Richafort, I believe. It seems to have been included in the complete Richafort edition by CMM (contents and sample pages available here), but I don't know anything more about it. Hope this helps! Edward Tambling 12:17, 19 June 2011 (CDT)

I've recently purchased this edition (though not yet sung it), thanks! -- Vaarky 01:52, 30 September 2011 (CDT)

Spem in alium

Dear Vaarky,

I've recently come across a source of (among other things) de Mantua's Spem in alium. I'll prepare it up, and, if time permits, also do the Palestrina Mass which uses the motet as its basis.

With all best wishes,

Edward Tambling 14:07, 29 September 2011 (CDT)

That would be wonderful, thank you! I've sung over 1,000 different Renaissance motets and have been really wishing for this. -- Vaarky 01:54, 30 September 2011 (CDT)

Score requests

Hi,

Do you know if this actually get carried out and replaced the given link? I get a bad name special page when testing the request submission link... Richard Mix (talk) 02:07, 27 December 2013 (UTC)

Reply by: Vaarky (talk) 17:48, 27 December 2013 (UTC)

 Help 

I am not sure, but I believe that change was not made and that the error you're seeing may be for a different reason. I've posted here in the forums to inquire.

Happy new year!

Acknowledgements section

Nice idea! :) —Carlos Email.gif 14:43, 5 February 2015 (UTC)

hard copy catalog

Hi,

Thought you might like this idea User:Richard Mix/Library. Do you know any other Bay Area resources I should check against redundacy? Richard Mix (talk) 23:34, 18 August 2018 (UTC)


Reply by: Vaarky 11:56, 1 September 2018 (UTC)

 Help 

Great idea! It would also help to indicate for each how many copies you have total. I only know of choralarchive.org and mine, plus what works individual ensembles (e.g. Bay Choral Guild, St. Gregory's in SF) happen to have sung.

I should do similarly for at least some of my editions, but things are hectic. I might create a similar one at some point. Meanwhile, feel free if you like to put a note on that page telling people they may also wish to ask user Vaarky, who typically has 8 sets of sacred Renaissance pieces in Latin, mostly motets.