User talk:Agarvin

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Welcome!

Hi Allen, welcome to CPDL, thank you very much for contributing these thirteen editions and for creating Works pages for them. You made a few minor mistakes, as not pasting the "Music files" section into the pages, besides adding a link to them from the composer page. Everything was otherwise perfect. The pages were corrected and are now available. All the best, —Carlos (talk) 19:28, 17 January 2013 (UTC)

Marenzio: Madonna sua mercé

Hi Allen, As I was checking some Marenzio scores on CPDL, I watched your edition of Madonna sua mercé. This is a madrigal which I sang some 20 years ago. I sang tenor, and so I found an error in the tenor part of your score. Namely: in bar 6 the first note should be an E rather than a D, giving an A minor chord, rather than a dissonance (a 7th) with the soprano.

You did this score with Lilypond, right? I wonder what makes such a large file (440 kB for 3 pages is rather big.) Were you using the point-and-click feature of Lilypond? Imruska (talk)

Casulana's 1st book 5vv

Hi Agarvin,

Thanks for your attention to Maddalena Casulana's page. I'm confused, though, because IMSLP hosts 5 partbooks, including alto. What am I missing? Cheers, Richard Mix (talk) 00:36, 10 September 2024 (UTC)


Hi Richard, Thank you pointing that out! I was in the mood yesterday to do set a bunch of different madrigals, and when I looked at scans I had present, I saw I was missing the alto partbook. I checked Sartori's Nuovo Vogel (1978) and it listed only 3 sources (A-Wn with C,T,5, PL-GD with T,B,5, and I-VEaf with 5), so I assumed the alto partbook was lost. Even Agar's 1998 Gardano Printing Firms 1569-1611 doesn't list any additional print sources, so I just wrote it off as a lost partbook, I posted it there without checking any further. I'm not familiar with the library RUS-Mrg, but I'll add a note in both my copies of those, and will change back the note I added. Agarvin (talk) 01:09, 10 September 2024 (UTC)
Thanks for the details: one was already pretty confident you know what you're doing. The lesson I guess is never to lose hope! Richard Mix (talk) 23:32, 10 September 2024 (UTC)
Oh, it turns out this made international news 2 years ago, that I missed at the time! [1] Laurie Strass was the one who found them. I've set first piece from the collection, and will to get the rest set in the coming months. Agarvin (talk) 18:11, 13 September 2024 (UTC)

Senfl

Hi again,

I'm so delighted to see all the Senfl Lieder. Is there a chance you could underlay more than the first verse only, though? It's that, much more than clefs and partbook format, that keeps us from singing from facsimiles. Richard Mix (talk) 00:57, 19 April 2025 (UTC)

Hi Richard... I can try. But I'm not very good at German underlay: I had a single semester in college (37 years ago) and I don't have a good feel for it. And the Ott collections give almost no guidance! The 1534 is *all* editorial: none of the parts offer any text. I just revisited it because I decided I wanted a little break from Italian madrigals (I've been mixing it up with baroque Italian lately). I'll give it a try. Agarvin (talk) 01:59, 19 April 2025 (UTC)
Fair enough, as I'm learning by tussling with some other Ott Lieder myself! ;-) Richard Mix (talk) 22:12, 24 May 2025 (UTC)

Byrd Libera me

Dear Allen, I was just giving my edition of Byrd's Libera me Domine et pone me a thorough revision (and boy, did it need it), and of course took a look at yours, and I see you have in the Tenor part a series of editorial E flats (or not) from bar 25 until the end of the Prima pars at 49. Now the way I read the Tenor partbook (and admittedly it's not absolutely clear) is that the flat before the E in 25 is actually a partial key-signature (which it clearly is on the next line, bar 38, as it's not there before an E). For your edition, this would mean that all the Tenor Es from 25 until 49 would be flattened - which would avoid the rather eye-watering clash in 27, as well as the requirement for you to put in all those editorial flats. What say you? DaveF (talk) 18:07, 24 May 2025 (UTC)

Hi Dave: I think you're absolutely right on the interpretation of that: the sharpening of the E at the end of 34 (over pugnet contra me) makes more sense, plus the clash at 27 (I think I probably just put that down to Byrd's love of throwing false relations in before). I've uploaded a corrected version. (Sorry for delay in responding: I've been at a workshop the past week). Thanks for the correction! Agarvin (talk) 15:27, 2 June 2025 (UTC)