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Latest news: the Biber Requiem, Mozart Great Mass in C, KV 427 (417a) and the Borodin Polovetsian Dances are finished (aside from some corrections to the latter that became evident in rehearsal).

Unfinished projects as of 20 July 2009

Yes, I know I have way too many irons in the fire... tell me about it...

Berlioz, Requiem, Te Deum, and other large choral works: for the full scores of this, and other gargantuan Berlioz scores, go across to IMSLP. IMSLP seems to be a better venue for full scores, whereas the vocal scores and other material of specifically choral interest will gradually appear here.

Biber, Missa Salisburgensis: on hold for forseeable future. If I were to attempt another movement, say the Gloria as I’d speculated earlier, it would still remain an an unfinished project even then (why go to the trouble of getting the instruments you need for it, if not to perform the whole work). It was also something of a lure to promote a big Biberfest here in Melbourne that has long since fallen through. Hence you may consider any further movements from this monster to be on indefinite hold. (There's one significant erratum in the Kyrie that must be fixed: one of the bass soloists loses an entry at “Christe eleison.” It’s easily fixed since there’s an exact repetition of the same entry in the continuo, and several bars later on.)

Brahms, Schickalslied : on hold, especially as there is now another edition on CPDL. There should be a slight revision of the German Requiem vocal score, occasioned by needing to remedy some small but significant lacunæ in the organ part that make it unsuitable for playing without the horn and trombone parts that my co-editor Andrew Raiskums had allocated in his arrangement. (And the odd cautionary accidental that might be of assistance.)

Brian, Symphony 1 in d, »The Gothic« The UMP-HBS vocal score has been handed over to the publishers for a potential performance in Brisbane in 2009. For my manifold sins I contributed some 200 bars of piano reduction.
Brian, Symphony 7 in C : not much of the critical edition work has been done yet, only the first movement, and I have had no news from the proof-reader in England. If it takes less than the six years it took for HC Robbins Landon to prepare his critical report for Mozart’s last three symphonies, I’ll be a very happy chappy.

Bruckner, Mass in E minor (1882 version, full score) : again on hold. Low priority unless someone shouts at me.

Brumel, Missa Et ecce terræmotus : performing version complete, but not tidied up to my standards of perfection. There was to have been a critical edition, but that might have to wait for another lifetime.

Handel, Dixit Dominus : The good news: Kalmus want to publish my edition! The bad news: I have to make a realisation of the keyboard continuo before they will. You know how much I like doing that. I might even fix the two or so problems people have informed me exist in the parts.

Horsley, Suite from Euterpe : on hold, however this project may be handed over to the Horsley scholar, Richard Divall.

Mozart, K 427, Great Mass in C/minor : the entire work was completed in full score and published on IMSLP in late February. I have subsequently (whilst rehearsing the work) discovered a number of minor errors which have now been corrected in both full and vocal score. I'll be revising the vocal score here at CPDL again very soon. A good deal of work has been done on the orchestral parts, which will probably appear post-performance... sometime in the next few months. I still haven’t figured the organ bass (have a look at the multiple quadruple suspensions in the Qui tollis at the Mozarteum website if you want to break your brain).
Mozart, K 479, Maurerischer Trauermusik : typeset FS done, FS and Px to be published over at IMSLP. Sometime this decade...
Mozart, K 522, Ein musikalischer Spaß : typeset FS done, FS and Px to be published over at IMSLP. Ditto...
Mozart, K 543, Symphony in E flat : 1st and 3rd movements done, 2nd movement needs to be put in, finish revising finale.
Mozart, K 626, Requiem urtext : need to add figured bass (I love doing figuring almost as much as doing keyboard realisations; see above). One minor underlay error and an addition to one of the appendices.

Monteverdi, 1610 Mass : on hold. The Sop 1 part was the only one completed to my satisfaction, so the others S2/A/T1/T2/B and bassus generalis still need work. There’s another typeset out there, fortunately.
Monteverdi, Orfeo Acts 2–5, 1610 Vespers : I had hoped to get these really well knocked off sometime in 2006. It didn't happen. In the meantime, refer to Sabine Cassola’s excellent typeset of Orfeo. Various people have done individual movements of the Vespers here, but no one’s attempted the whole publication. While it would be nice to have this all ready by the quatuorcentennial, it’s a lot of work.

Palestrina, 2 masses without Credo : adding the Credo to these two otherwise-complete masses is on hold. The Hanson-Dyer library has now changed its rules, and even staff cannot borrow works from the “Complete Editions”, so I can no longer take items like this from the library.

Schubert, D 759/797·1, Symphony in B minor, have finished revision of the completion movements (Scherzo and Finale), so next go back and revise the familiar movements, the Allegro moderato and Andante con moto. You can see most of the FS on IMSLP.

Vicentino, L'antica musica (weird Renaissance music utilitising 31 notes to the octave!): on hold. No one's been interested in performing these crazy things for 400 years, so I figure it can wait.

Philip Legge@ Φ

P.S. Like the new fancy signature?

Broken link

Hi Philip

One of the links to your busking book on Come again sweet love doth now invite (John Dowland) seems to be broken. Just thought I'd let you know. Bobnotts 04:42, 26 January 2007 (PST)

Ta, it was case sensitivity between "Come again" and "Come Again" that was the problem. Philip Legge @ © Φ 21:46, 18 February 2007 (PST)

Incorrect Link

Hi Philip,

Thanks for putting the TUMS songbook stuff on line. I used to sing in QUMS, and would love to be able to sing some of these songs again in a new choir. I was looking at "Lo How a Rose", but your edition seems to point to a different piece.

John.

Hi John,
I remember your name - did you go to Sydney Choral Festival in 1992? "Lo How a Rose" occupies the bottom half of the second page of score, after the Canzonetta by Vecchi. You might want to try downloading the entire PDF at TUMS Busking Book which has the table of contents, and you can pick and choose which bits you want to sing :)
Best regards, Philip

Brahms Requiem minor correction?

I think in the first movement, bar 130 there should be a precautionary natural on the C in the bass and pedal part Jonathang 18:46, 9 January 2009 (UTC)

Quite right too. I'll pick that up when the next revision is rolled out (see above). Regards, Philip Legge@ Φ 01:40, 4 April 2009 (AEDT)
Hi Philip, I spotted few differences (errors?) with respect to the editions available at IMSLP. I added the usual discussion page with details to the work page. Max a.k.a. Choralia 19:06, 30 December 2009 (UTC)

Those bots

Hi Philip, this especific malformed edit in the date you complained about wasn't made by a bot but through sql queries (direct changes to the database). This method is somewhat more limited than using a bot and I knew some pages could remain with leftover characters, but considering that more than 2000 pages were changed, a margin of 1% of error is acceptable (can you imagine doing all these edits by hand?). Regards —Carlos Email.gif 17:32, 3 April 2009 (UTC)

Hi Carlos, "complained" is a little strong. Actually one of the mis-edits (one using the {{NoComp}} template) was perpetrated by CHG, who had unwittingly introduced a typo in the spelling of "Psalm".
BTW, was the bot targeting date & month or year links specifically? If not, I'll reinstate the 22 September 2000 date linkage... Philip LeggeΦ talkEmail.gif 22:23, 3 April 2009 (UTC)
Hi Philip, sorry if it sounded like an overreaction, sometimes I get lost in the nuances of your language. About your question, yes, the edit was intended to remove all red links related to dates, because they were cluttering the list in Special:WantedPages with links to pages that will never be created. So please don't reinstate the links. Thanks! —Carlos Email.gif 01:44, 4 April 2009 (UTC)
Links removed :) Philip LeggeΦ talkEmail.gif 01:40, 9 May 2009 (UTC)
Mea culpa and apologies for the typo. -- Chucktalk Giffen 12:42, 9 May 2009 (UTC)

Your new templates (and a request for advice)

Hi Philip, your new templates for accidentals look great, thanks!
Changing the subject, I noticed that in one of your edits you changed a couple of "a 4", "a 5" etc. to "à 4" with a grave mark. I'm not a musicologist, but I like studying languages, and from my limited knowledge of them I concluded that only French works should use the à in the title, because in Italian the grave accent is never used in this situation. So, we have "à quatre", "à cinq"; but "a quattro", "a cinque". What do you think of this approach? —Carlos Email.gif 04:51, 9 May 2009 (UTC)

Reply by: Philip LeggeΦ talk @ mail 05:08, 9 May 2009 (UTC)

 Help 

Hi Carlos!

This is one of those bugbears which I (personally) try to be consistent about, in terms of my own “house style”. It effects music editions acutely, since this form is used all over the place for instrument doublings: German scores will normally use “zu 2” as opposed to the French “à 2”, and since Italian is the predominant language of music, there is an argument that the Italian form should perhaps predominate...

However, my view is that the use of the grave accent – while incorrect for Italian – is a useful visual reminder that the letter “a” applies to the number of voices, not to the work title itself. My scores normally use à 2 (or even up to à 54!), and I strive to be consistent. In other places I’ve used forms such as 8vv to indicate, say, 8 distinct choral parts in a work that might have instrumental and vocal parts à 16. I don't believe there's a CPDL house standard for this yet, is there?

Regards, Philip

Ah... "a 4", "a 5", et seq. have always bothered me a bit, but never enough to raise the issues of whether to use grave accents with French works and what to do with works in Latin or other languages. I think I had felt that leaving things alone (without accents) was safer, since it wouldn't complicate things too much for us and also because many of us do not have keyboards with these accents available (making typing "à 4" more difficult). Perhaps others will want to weigh in on this. -- Chucktalk Giffen 12:42, 9 May 2009 (UTC)

Heinrich Biber

Hi Philip, thanks for fixing the Requiem entries in Biber's page, I messed things up when I moved the available links up to the top. :/ —Carlos Email.gif 08:09, 12 May 2009 (UTC)

Hi, Philip--does your recent Biber Requiem score complete this request? I don't know German well enough to be certain about whether the request should be marked completed or not. -- Vaarky 16:18, 9 July 2009 (UTC)

Reply by: Philip LeggeΦ talk @ mail 22:52, 20 July 2009 (AEST)

 Help 

Hi Vaarky,

It’s now (provisionally) complete, since the entire work can now be performed as is – though the continuo part isn’t completely realised (it is however figured; oh the pain…) and there might be a few places where the instrumental parts would be better cued than they are presently (i.e., not very). If someone lets me know they’re going to perform from it, it might help me to tidy up the few remaining loose ends.

BTW, there’s nothing German in the score – it’s strictly Latin (and three pesky words in Greek).

Regards, Philip

Reply by: Vaarky 00:13, 7 September 2009 (UTC)

 Help 

Thanks! I wish I had occasion to sing it with instruments. I've been fortunate to sight-sing through the piece for fun with a piano supplementing the instrumentation. Nifty piece of music!

splitting Schutz Das Ist into two different works?

  • Posted by: Vaarky 00:07, 7 September 2009 (UTC)
 Help 

It has been proposed that Das ist je gewißlich wahr (Heinrich_Schütz) be split into two different score pages. I don't know enough to have an opinion, but there appears to have been no discussion either way and I thought I'd ping you in case you have an opinion.

Mozart Requiem request

Hello, I'm trying to make a chamber scoring of the introit & Kyrie of Mozart's Requiem. Do you happen have a source file readable by Sibelius 3 that you'd be willing to share? Richard Mix 01:06, 2 October 2009 (UTC)

Cantique de Jean Racine

Hi Philip, I identified three small differences (errors?) between your edition of the "Cantique de Jean Racine" by Fauré with respect to an edition by Raf Ornes and a score available at IMSLP. Please check the associated discussion page for details. Just to let you know, should you like to correct it. Max a.k.a. --Choralia 21:11, 12 November 2009 (UTC)

Dixit Dominus by Handel

Hi Philip, my choir is going to perform this work. Initially we studied using your edition, then the director decided to purchase a batch of Carus Verlag scores, so I had the opportunity to compare this commercial edition with yours. There are several differences, and I expect that most of them are editorial. However, I added the complete list of differences to the discussion page associated to this work, so that, if any difference is actually an error, it can be identified. Thank you very much for this score, I suppose that preparing it was a HUGE work, as it is being a huge work for us to learn it. Max a.k.a. --Choralia 18:30, 28 November 2009 (UTC)

P.S.: Conquassabit, bar 32: I erroneously reported a difference on the third note, while it was on the fourth. --Choralia 15:10, 30 November 2009 (UTC)

Slightly OT

Hi Philip. My question actually relates to the Petrucci library, but since I'm reluctant to go through the hassle of making yet another login-with-password on its forums, I thought I'd ask here. I published the pdf file of a Bicinium by Coclico today, which went fine. When I wanted to upload the Finale file (.mus) though, I kept getting a message that the type was not accepted. Still, I'm under the distinct impression that I did upload mus-files in the past. Has anything changed, or did I mess up? Regards, joachim 12:50, 15 February 2010 (UTC)

Hi Joachim,
you are correct, it was previously possible to upload .MUS (and some other typesetting formats), however I suspect Feldmahler has recently deprecated this, so that only image and document types are allowed (pdf, png, jpg). There's been ample discussion about file formats, midi files, MusicXML and open source formats, but the general view was that PDF was the de facto standard for sheet music.
It's still possible to attach source files to PDFs using the (Pro?) version of Acrobat rather than the Reader, or a free (but buggy) utility like the PDF Toolkit (pdftk), if you wish to make the source available with the PDF; I’ve started doing this with my most recent typesets so that the Sibelius file is an attachment to the PDF.
Regards, Philip LeggeΦ talk @ mail 20:58, 15 February 2010 (UTC)

Scherzi musicale

Hi Philip,

I'm confused (and hope you might already know the answer) about the relationship between Scherzi musicali (Claudio Monteverdi) and Scherzi musicali cioè arie et madrigali (Claudio Monteverdi). Is the 1632 just an augmented reissue of 1607, as Malipiero's Scherzi & canzoni title implies, or is it really a different collection, as IMSLP's choice of SM Book 1 seems to be trying to say? Richard Mix (talk) 19:44, 23 April 2014 (UTC)