-- noosphere 05:01, 22 May 2006 (UTC)[reply]

I'm really glad you caught the typo/scribal error on the Thomas Hales (dramatist) article. The problem was probably my handwritten notes from the research I did. It's easy enough for me to miss my own /r/. Geogre 11:45, 31 May 2006 (UTC)[reply]

Welcome from the Opera Project, the most dynamic arts project on Wikipedia (apparently)! Thanks for joining, and I hope that you enjoy editing the opera articles. If you need any help, leave a message on the project talk page, or mine. Best, Moreschi 17:09, 16 July 2006 (UTC)[reply]

Hello Folatin, I absolutely respect your vote but like to answer to your question "Ponchielli more influential than Verdi?". I confirm this: Ponchielli's operas (especially the last: Marion Delorme) were the model for the composers of the "giovane scuola" (Puccini and Mascagni, who were his pupils at Milan Conservatory of music, Leoncavallo, Giordano and Cilea). The free structure of the melody, the orchestration (see, among the many examples, some great themes accompanied by the harp in La Gioconda, Cavalleria rusticana and Manon Lescaut), the form of the romanza, the renounce to the form of the Cabaletta (still present in Verdi's Aida and even Otello: "Sì pel ciel marmoreo giuro"), the strong veristic effects in Marion Delorme, the Intermezzi sinfonici (Il figliuol prodigo: act IV - Marion Delorme: act II (first version only) and act IV), the acts closed by the typical orchestral perorazioni, the many orchestral (instead of vocal) melodies, everything anticipates the language of those younger italian composers. I agree that Verdi's Falstaff was very influential on Puccini, Wolf-Ferrari and the "Generazione dell'Ottanta", but his former operas show are formally and stylistically far from the operas of Puccini and Co. I love Verdi's operas but think he was more influenced (Donizetti, Mercadante...) than influential. Bye --Al Pereira(talk) 15:22, 27 July 2006 (UTC)[reply]

Hi. You clearly know your stuff! I feel a bit embarrassed now that I doubted your claim. I'm no great expert on this era in Italian opera. I suppose I meant Verdi's influence was wider in a much vaguer sense, with composers like Benjamin Britten claiming him as an inspiration. But I suppose that's more for Verdi's compassion towards his characters than for the actual sound his music makes.

I'm sorry I couldn't vote for Ponchielli on such a short list of composers because people would probably question the absence of Mascagni, Leoncavallo, Boito, Giordano, Cilea and so on, were he included. I've had to sacrifice plenty of favourites myself and the Talk Page is beginning to resemble a massacre of some of the world's finest composers. I would push for Cavalli very strongly once we have some articles on him. He was the most popular opera composer of the 17th century and I think his works are of high quality. As it stands, the list has no Italian-born composers between Monteverdi and Rossini, which is a ridiculous situation. Cheers --Folantin 17:01, 27 July 2006 (UTC)[reply]

Hello, do you have any desire to point your keen eye and keyboard to Concerto delle donne? It's undergoing peer review now, and I'd love to get as many eyes as possible. You can comment at Wikipedia:Peer review/Concerto delle donne. Mak (talk) 22:41, 2 August 2006 (UTC)[reply]

Well, I'll have a look but I don't think I'm sufficiently qualified to make a judgement --Folantin 10:11, 8 August 2006 (UTC)[reply]

Thanks for the note. It's no big deal. All I wanted to do was calm things down, and he wound up getting me wound up. I will do my best to reference the list, as I said - I'm not doing to much else on WP anyway, bar getting Opera to GA status. Oh, and I'd like to say bravo for all your brilliant work on annotating the list. I can't remember who did Puccini, but since when is he not verismo? But hey, I'm not a "serious musicologist"; maybe you could explain that to me. Cheers, Moreschi 10:40, 10 September 2006 (UTC)[reply]

If you can't provide a complete source including page numbers, do not edit this article while the discussion concerning NPOV issues is going on. Thank you Musikfabrik 23:26, 14 September 2006 (UTC)[reply]

If you can't edit articles without making grammatical sense, then please try to refrain from doing so. Also, please try to avoid pursuing personal vendettas by leaving SHOUTY messages on talk pages. It's very silly. Cheers for your co-operation and have a good one --Folantin 11:37, 15 September 2006 (UTC)[reply]

Fascinating info. Thanks. Moreschi 09:32, 16 September 2006 (UTC)[reply]

It's nice that you're adding sources, but can you please do it all at once, instead of one at a time? It's more polite to those who wish to view history, among other reasons. ♫ Melodia Chaconne ♫ 11:55, 16 September 2006 (UTC)[reply]

I do appreciate all of the attention. If you have any other questions, [you can certainly ask them directly. Paul Wehage is one of our most active composers, performers and his research has lead to any number of interesting discoveries in the field of French music. His orchestrations of works by Germaine Tailleferre and research on her life, the six works that Jean Françaix wrote for him--(including an opera...but of Françaix will never be good enough for your list, obviously), his recordings of Pierre Vellones, Antoine Tisné (actually I have to write that article, since he was a Grand Prix de Rome....you won't accuse me of having a POV agenda if I include him, will you?), Steve Reich, Gian Paolo Chiti and through the work of Patricia Adkins Chiti's (opps, another article I have to write....She's a noted Mezzo-soprano and musicologist who's on the European Music Council and on the International music council...of course, this is all entirely POV to add her too, isn't it?) Adkins Chiti Donne in Musica foundation in Rome concerning women in music, any number of premièred of works by notable women composers, including Gloria Coates, Joelle Wallach, Pascale Jakubowski (oops another article to write....oh, all of this is just flooding POV into this work, isn't it?), Irina Loudova and many others.

Of course, all of this is just self-grandizing hidden ads for publications and certainly has absolutely nothing to do with music history. After you finish with Musik Fabrik (strange, they don't have an article....Why do you suppose that is??), you can then go after Boosey and Hawks, Music Sales, Alphonse Leduc, Presser, and any number of publishers who DARE to put articles here simply because they happen to work with people who write music, make recordings, play concerts, do research....I'm supposing that you'll probably not want to bother Ricordi, the Centre de Musique Baroque de Versailles or Oxford University Press (although they're only doing high school level choir music these days, since it sells better) if you want to keep your favorite pets on the site....

Of course, you can just chuck all of this out with yesterday's trash, since it's just these nasty people trying to take advantage of the system here to produce ads for themselves. It couldn't possibly be important and if it is, nobody will notice anyway, will they? Other than the European music council, the International Music council, various performers, composers and scholars whose names you might recognize (or not), people like this - [1] whose case has been making the rounds in International New Music Circles. You might be surprised who sent me this....

If course, NOTHING is as important as being able to use the phrase "lavish splendor" whenever you wish and to be able to decide among the "happy few" what is important and what is not. And of course, it's worth it to do anything to be able to get back to doing this, even if it means that musical content does not get documented. I quite understand. Musikfabrik 13:02, 16 September 2006 (UTC)[reply]

To answer your specific question, this pseudo is not one person. This nickname is obviously connected to Musik Fabrik (this was never hidden, from the first edits made on this pseudo), but is used by a number of people to make edits of materials out of our office. You will note that not every composer on our roster has an article on this site. However, Paul Wehage, as our artistic director and main researcher, is central to this work. I am not Paul Wehage, although he does edit out of this pseudo from time to time--he wrote the articles for the category of works by Germaine Tailleferre, for example. He did not write his own article, nor did he add the information in the article by David W. Solomons or any other phrase associated with him. In any case, the sources for his article were Jean-Thierry Boisseau's "Histoires de la Musique" (L'Harmattan 2004), the liner notes for the recordings listed under discography, and the repertoire list which comes from the Second edition of "Saxophonists and Their Repertoire" (Londeix et al Indiana University Press 2005). I believe that between the sources, the publications, the recordings and the work on other composers with established reputations, he more than fulfills WP:NOT

The article on Germaine Tailleferre is a word-for-word quote from our website, although this is not a problem since we wanted to get the information out. Musikfabrik 13:17, 16 September 2006 (UTC)[reply]