Hi Geichler. Just a brief note to say welcome to CPDL, thank you very much for your three new editions, I hope you decide to stick around! If you have any questions, the best place to start is the help pages then if you can't find the answer there, feel free to leave a message my talk page and I'll get back to you as soon as I can. Once again, welcome and thanks! --Bobnotts talk 00:38, 18 January 2008 (PST)
Errors in CPDL #18819
Hi Gerd. I'm confused by your addition to the error template on Begrabnislied (Franz Schubert) - as far as I can see, all the text for the sopranos and altos is present and correct. --Bobnotts talk 11:13, 5 February 2009 (UTC)
Adding new editions to existing works pages
Hi Gerd. Thanks for your contributions to CPDL! I hope you don't mind me mentioning one small thing - when you're adding a new edition to an existing works page and your updating the composer page (as you did here), as well as adding the note of the number of editions available, please remove the existing links to score files as I have done in this edit. If you've got any questions, feel free to leave me a message on my talk page. Thanks! --Bobnotts talk 13:07, 27 June 2010 (UTC)
Hello Gerd. Thanks for fixing the life-span so quickly, but I should mention that the wrong one still persists on the page headers for pages after the first page. Best wishes and many thanks for your valuable score contibutions. – Chucktalk Giffen♫ 22:10, 11 July 2010 (UTC)
Thanks for a superb edition of Schuetz's "Die Himmel erzaehlen die Ehre Gottes"
As a choral singer preparing for a performance, and a sometime CPDL contributor, I want to thank you for the wonderful job you did on this edition. It has almost everything I like to see in an early-music edition: original part names, incipits showing the original notation, fidelity to the original rhythmic values, measure lines between staves rather than in them, scrupulous attention to accidentals. ("Almost" because you don't include an ambitus, and an ambitus is very convenient for a choral singer or director. But that is such a minor detail I hate to mention it, even in a parenthesis.) This is beautiful work. On behalf of my fellow singers and myself, thank you.
Jmkelly 14:27, 24 September 2011 (CDT)
Fux - Dicite pusillanimes
Thanks for pointing out that I had uploaded an intermediate version of this. I've uploaded the correct versions and removed the ScoreError message, since it no longer applies, though I've left your comments on the discussion page, of course. If you spot errors in any of my other editions, it's probably more sensible to email me direct, rather than relying on my having chosen to "watch" the page, since I don't always remember. Jamesgibb 04:49, 11 June 2012 (CDT)
Sweelinck Cantate Domino
I've corrected my description and removed your Score Error message. I must say that the note values in the original seem unusual for the period, but perhaps it reflects the change for Renaissance to Baroque that Sweelinck spanned. I've also corrected the composer page to reflect the fact that you've added an edition.
Jamesgibb (talk) 04:18, 27 September 2012 (CDT)
Sweelinck Angelus ad pastores ait
Gerd, thanks for your careful comparison of my edition of this with the Bib Nat facsimile. I agree that the facsimile supports your comment, but my version is based on the van den Sigtenhorst Meyer edition, published in 1957. Since I think most people would agree that he was something of an expert on Sweelinck, I have stuck to his version of Cantus bar 25. I have, however, added to my edition notes to draw attention to the difference, but have deleted your Score Error, since it is not technically an error as far as my source is concerned.
Jamesgibb (talk) 14:20, 27 September 2012 (CDT)
Thanks for your comments. Bars 14 & 38 are clearly errors on my part and I have corrected them. As for your comments on bars 7 & 20, I think "must" is a bit strong! Going to the natural is perhaps more interesting musically and certainly not especially anachronistic. However, I think on reflection that the change in tonality in the middle of a word is more unlikely than not, so I have altered my version to agree with your observations. I have uploaded revised files, so have removed the ScoreError, but left your comments in place on the discussion pages. As the same is true of bars 7 and 20 in the other two editions, I will leave it to you to make appropriate comments on the discussion page for them, Gerd. Jamesgibb (talk) 08:29, 26 October 2012 (CDT)
I did try looking for an original source, but didn't think of the British library! I'll replace the ScoreError message until I have had time to check and alter my edition, Gerd. Jamesgibb (talk) 10:05, 26 October 2012 (CDT)
O sacred head (Hans Leo Hassler)
Hello! It is clearly known that the Composer of German and English translations is Hans Leo Hassler, but Johann Sebastian Bach arranged that melody and used it in different his works with different words. So Hassler must be indicated as authentic Composer of this melody! The Tune also is called "Passion Chorale (Hassler)". And in my edition there are different arrangements of different musicians, not only of J.S. Bach. The original text isn't German, but Latin poem "Salve, caput cruentatum", what is the last part of a big medieval poem "Salve, mundi salutare", now attributed to the Medieval poet Arnulf of Louvain (died 1250). The English text translation has a many variations of different authors. The most used is the text, translated in 1830 from Latin poem by James Waddel Alexander (1804-1859). Alexander's translation, beginning "O sacred head, now wounded," became one of the most widely used in 19th and 20th century hymnals. But there are so many variations of his translation in many stanzas, that it isn't possible to establish, which one would be real original translation. So it isn't correct to call them "contrafactum". I searched through many variants of Alexander's text and found also this one with improved text, where somobody (not me!) changed old pronouns with modern English words. In my edition I used for now Alexander's translation! It is a project to edit in the future this scores also with traditional text. Other well known poet of English translation is Sir Henry Baker (1821-1877). His translation was made in 1861 and is based on German translation. It begins, "O sacred head surrounded by crown of piercing thorn." And there are many variations of text, too. And in 1899 the English poet Robert Bridges (1844-1930) made a fresh translation from the original Latin, beginning "O sacred Head, sore wounded, defiled and put to scorn." In comparison of English and German translations we can see big discordance either with text as well with the number of stanzas... But different authors and their translations can't be mixed. I edited English and not German version score with appropriated Title. How can it be changed? The German Title could be only indicated as Subtitle, put into brackets. Please don't change my edition without consultation first with me and other responsibles admins. Andris Solims (talk) 23:14, 12 March 2013 (UTC)
Hassler Verbum caro accidentals
Wotcher, I don't understand your comment in the description of Verbum caro (a 6; not the version a 3) that the C# s in bars 52 and 61 are editorial. Not only do they appear in my copy of the original but the statement above is not reconcilable with your description of your edition that "musica ficta are clearly marked" (and these, although in your edition, are not so marked) Which of your statements is correct?Cjshawcj (talk) 21:54, 4 June 2013 (UTC) [edit 3 hours later] I see now (miscounted the bars): I was looking at Cantus, you appear to be referring to Altus and Tenor.
Musica Ficta clearly marked means: all accidentals that appear in the original print are in my edition before the note even if they are considered redundant in modern editions. All other accidentals set for divers reasons are above the note. Some of them are musica ficta like the c# in mensur 41 in the Cantus part. Regarding the c# e.g. in the Altus part please take a look at . There is no accidental before the very last minim. It is c, not c#.
Sfogava con le stelle
Gastoldi Introduzione a i Balletti
I found some small errors in your score.
1. In bar 15 the F sharp should not be a new syllable, the syllabla "-gna" should fall on the G, and the text "Questo_è quel inco_a meno" should be shifted one syllable to the right.
2. In bars 16-17 text reads: Questo_è quel inco_a meno, which seems to me wrong. I couldn't find the Italian word inco in any dictionary. I suppose this should be "loco" only the print is wrong and the l was taken for an i and the o for an n. The word "loco" would make sense in the context, and the fact that the preceding quel has only one final l indicates that the following word should start with a consonant, not a vowel. Ameno is one word and not "a meno". This letter means "unless" but is out of place here.
3. In bar 21 I think the text should be gio - ia, rather than goi - ia. Your source may have had it wrong.
4. Bar 44. l'or (the gold) should be lor (their)
5. In the copyright you wrote 2021 instead of 2012.
Hi, Thanks for figuring out the text source for Beati omnes qui timent Dominum, Z 131 (Henry Purcell); I just added it to the text page. It's very easy for this to fall between the cracks (wie sagt man das: durch die Maschen?) unless the person adding the LnkTxt template remembers! All the best, Richard Mix (talk) 06:20, 5 June 2014 (UTC)
Heinrich Schütz: Also hat Gott die Welt geliebt (#23251)
vielen Dank für Deine Arbeit an der Edition, die mir sehr gut gefällt! Gibt es die Quelle Bayerische Staatsbibliothek München, Musikabteilung, 2 Mus.pr. 1419 eigentlich auch als Digitalisat? Die Quelle würde mich interessieren, aber ich kann dafür nicht extra nach München fahren...
Hallo Herr Eichler,
auf welchem Weg kann man Sie denn kontaktieren? Ich interessiere mich sehr für die BC-Stimmen von Schützens Geistlicher Chor-Music 1648. Das MDZ an der BSB hat ja leider nur C.A.T.B.5.6.7 :-( Würden Sie mich mal über meine User-Seite kontaktieren?
Byrd - Viderunt omnes
I was making a correction to my own edition of Byrd's Viderunt omnes gradual (http://www.cpdl.org/wiki/index.php/Viderunt_omnes_(Gradual)_(William_Byrd)) and, looking at your own fine edition, noticed that you interpret the Chorus sequitur direction in the print as meaning Da capo of Viderunt omnes. I think, having thought about this and checked in the Missal where there is no repeat of the text, all that Byrd meant was "Go straight on to the Alleluia verse" (Dies sanctificatus). Perhaps his printers made the mistake of printing Dies sanctificatus as a separate piece and this was their attempt to save the situation. What do you think?
riu riu chiu - typo hiciera
In 'Riu riu chiu'. the last word in the second verse, should be (as far as I learned) 'hiciera' [and not 'biziera']
regards -- yotam
Machet die Tore weit (long version) by Hammerschmidt
Hi Gerd, What is the source for your edition of Machet die Tore weit? Did you have access to the original part books from Fest- und Zeit-Andachten für das Chor? Katierolf (talk) 18:50, 2 October 2019 (UTC)
Rhythmus in Hugo Distler: Ich wollt, daß ich daheime wär
Hallo Herr Eichler,
ich habe eine Frage zu Ihrer Edition von Hugo Distlers Motette "Ich wollt, daß ich daheime wär" (http://www1.cpdl.org/wiki/images/f/f2/Distler_Ich-wollt.pdf).
Vielen Dank erst einmal für die Edition!
Meine Frage bezieht sich auf Takt 7 im Sopran. In Ihrer Edition ist der Takt im Sopran zu lang, nämlich 13 statt 12 Achtel. Ist das auch in Ihrer Quelle so, oder handelt es sich um ein Erratum in der Edition? Wäre die Duole auf der dritten Viertel keine Duole, sondern gerade Achtel, würde der Takt aufgehen. Da ich aber keine Quelle habe, kann ich das selbst nicht überprüfen.
Vielen Dank, und Freundliche Grüße,