On 26.01.2009 Kim Patrick Clow wrote:
What's the HWV number, I don't recall that specific title.
It's around BWV 340, the title is, as far as I know "Sinfonie diverse",
though they are unconnected orchestral movements.
I'd like to use some of them as interludes. It's not really very
importa
On 26.01.2009 Kim Patrick Clow wrote:
What's the HWV number, I don't recall that specific title.
Never mind, I found them, and they aren't particularly useful.
Johannes
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Johannes Gebauer wrote:
>
> Although I agree I think this price is more for performers than for
> researchers, isn't it?
Doesn't seem to be, no:
http://www.haendelfestspiele.halle.de/en/festspiele/haendelpreis/preistraeger.html
If performers are the only qualification, then next year I will
su
On 26.01.2009 Kim Patrick Clow wrote:
I have no idea, but often these prices are given more for a life's
> achievement, than for a particular thing the person did. In the case of
> Savall I guess he did do a lot for Early Music.
Well that's really ashame since there are several notable Handel
On Mon, Jan 26, 2009 at 3:04 AM, Johannes Gebauer
wrote:
> I have no idea, but often these prices are given more for a life's
> achievement, than for a particular thing the person did. In the case of
> Savall I guess he did do a lot for Early Music.
Well that's really ashame since there are sev
On 26.01.2009 Kim Patrick Clow wrote:
Thanks Johannes, I had heard about this from one of the involved
parties this weekend,
and they were quite relieved the matter was settled. I do have a
question for you though on a different mater:
why was Jordi Savall given the Handel prize from the city of
On Mon, Jan 26, 2009 at 12:59 AM, Johannes Gebauer
wrote:
> the BGH, the highest civil court in Germany, just confirmed a decision
> against the Singakademie regarding Vivaldi's opera Montezuma. The point the
> court made is that the Sing Akademie could not prove that the opera had not
> already b
Dear Kim, and all others interested,
the BGH, the highest civil court in Germany, just confirmed a decision
against the Singakademie regarding Vivaldi's opera Montezuma. The point
the court made is that the Sing Akademie could not prove that the opera
had not already been in wide circulation a
At 2:49 PM -0600 1/11/09, Noel Stoutenburg wrote:
Christopher Smith wrote:
I have seen many times companies putting out
reprints of century or centuries-old
manuscripts with no changes except for the
strongly-worded copyright notice threatening to
torture your first-born if you so much as thi
On Jan 11, 2009, at 3:49 PM, Noel Stoutenburg wrote:
Christopher Smith wrote:
I have seen many times companies putting out reprints of century
or centuries-old manuscripts with no changes except for the
strongly-worded copyright notice threatening to torture your first-
born if you so muc
Christopher Smith wrote:
I have seen many times companies putting out reprints of century or
centuries-old manuscripts with no changes except for the
strongly-worded copyright notice threatening to torture your
first-born if you so much as think about making a copy. There has to
be a law agai
Hi all:
I know there is some interesting research going on with "intellectual
copyright" issues in the 18th century, when I find out more, I'll post
some information. I will mention that when Christoph Graupner died,
the Landgrave of Darmstadt prevented Graupner's estate possession of
the manuscri
At 8:56 AM -0500 1/11/09, Christopher Smith wrote:
On Jan 11, 2009, at 5:51 AM, dc wrote:
All of Minkoff's facsimiles have a very restrictive copyright
notice. Not only do they state the facsimile can't be copied, but
also that it can't be transcribed, even partially. I'd be curious
to know
On Jan 11, 2009, at 1:10 PM, Blake Richardson wrote:
There has to be a law against fraudulent copyright notices, isn't
there?
Nope, there's not. You can claim copyright on the Mona Lisa if you
want.
Doesn't mean it has the force of law, though, but no one can do
anything to
you for sayi
> There has to be a law against fraudulent copyright notices, isn't there?
Nope, there's not. You can claim copyright on the Mona Lisa if you want.
Doesn't mean it has the force of law, though, but no one can do anything to
you for saying so.
This whole public domain thing is a big issue. Disney
At 11:51 AM +0100 1/11/09, dc wrote:
Kim Patrick Clow écrit:
I asked the music reference librarian at the NYPL about this. Saur
Verlag does not own copyright on the music as far as the NYPL is
concerned and U.S. law) because the music is public domain and you
can't copyright a photographic repro
>On Sun, Jan 11, 2009 at 5:51 AM, dc wrote:
>
>> All of Minkoff's facsimiles have a very restrictive
>copyright notice.
>> Not only do they state the facsimile can't be copied, but
>also that it
>> can't be transcribed, even partially. I'd be curious to know
>how much
>> of this is bluff.
On Sun, Jan 11, 2009 at 5:51 AM, dc wrote:
> All of Minkoff's facsimiles have a very restrictive copyright notice. Not
> only do they state the facsimile can't be copied, but also that it can't be
> transcribed, even partially. I'd be curious to know how much of this is
> bluff...
>
I can tell y
On Jan 11, 2009, at 5:51 AM, dc wrote:
Kim Patrick Clow écrit:
I asked the music reference librarian at the NYPL about this. Saur
Verlag does not own copyright on the music as far as the NYPL is
concerned and U.S. law) because the music is public domain and you
can't copyright a photographic r
On Fri, Jan 9, 2009 at 12:57 PM, John Howell wrote:
> If, indeed, a company that does not actually own either the manuscripts
> themselves or a copyright in those manuscripts created microfiches from
> them, it triggers still other questions: Do those copies constitute a
> modern publication? (
At 8:44 AM -0500 1/9/09, Kim Patrick Clow wrote:
Good Day:
I am curious about the copyright situation with the Berlin
Sing-Akademie reproductions. I know of a friend in Europe who has
asked permission to publish editions of 3 items in the collection but
only given permission for one. The situati
On 9 Jan 2009 at 21:43, Johannes Gebauer wrote:
> On 09.01.2009 Daniel Wolf wrote:
> > In the case of public domain works by well-known composers, if the works
> > are of any artistic merit, it is very hard to argue for any delay or
> > restriction in publication of source materials, and an argu
On 09.01.2009 Daniel Wolf wrote:
In the case of public domain works by well-known composers, if the works are of
any artistic merit, it is very hard to argue for any delay or restriction in
publication of source materials, and an argument against more open access to
the raw data should be equa
On 09.01.2009 Kim Patrick Clow wrote:
I am curious about the copyright situation with the Berlin
Sing-Akademie reproductions. I know of a friend in Europe who has
asked permission to publish editions of 3 items in the collection but
only given permission for one. The situation in the United State
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