User talk:Schissel

Hi Eric: the string trio op.2 does not load the player, but since I contacted you the quartet does. The trio still reads "javascript needed for audio or video playback". I have left the page open for a few good moments, and have tried from three different computers. Thanks for your help! User:EFerreri Ernesto

Conversations before 2010 are in User_talk:Schissel/archive1.
Conversations up to (part of) September 15 '10 are in User talk:Schissel/archive2.
Conversations up to October 20 '10 are in User talk:Schissel/archive3.
Conversations up through November 19 '10 are in User talk:Schissel/archive4.
Conversations up through January 3 '11 are in User talk:Schissel/archive5.
Conversations up through February 17 '11 are in User talk:Schissel/archive6.
Conversations up through March 31 '11 are in User talk:Schissel/archive7.
Conversations April 1 to 21 2011 are in User talk:Schissel/archive8.
Conversations April 22 to May 10 (early May 11) 2011 are in User talk:Schissel/archive9.
Conversations May 11 to early June 16 2011 are in User talk:Schissel/archive10.
Conversations June 16 to July 20 2011 (and some undated comments I never got around to dating) are in User talk:Schissel/archive11.
Conversations July 21 to August 22 2011 are in User talk:Schissel/archive12. (I try to keep most of these archive pages ca. 10–12k. text, give or take.)
These are probably not all concluded, but feel free to continue them here if and as necessary...



You may want to consider archiving your user talk page (It's getting long!). There are two common methods:

  1. Quick and easy: Make the page User talk:Schissel/archive1 and move all of your old, inactive conversations there. Then make a link at the top of the page under a section "Archive Pages for this user page" with the date of the first comment to the date of the archive (example: 5 February, 2007 - 17 December, 2021). Repeat when necessary.
  2. What Peter and I do: make the page User talk:Schissel/archive and add the conversations. Then, add a level one heading (only one equals sign) that says the same as you would title the link in the above method (i.e. Archive 17: December 52, 1980 - January 0.5, 200, B.C.E.). I actually put mine in a table (you can see if you go to my talk page and then the archive). Have fun!

P.S. You may have noticed that this is the same message I sent to KGill, Generoso, etc. a while ago. What can I say? I'm lazy :).-- Snailey (_@/) Talk to Me Email me 01:38, 15 September 2010 (UTC)

ReRe: Gamba Sonata, BuxWV 268 (Buxtehude, Dietrich)

Dear Eric, I've just discovered by chance your notes on KGill's page. I think I know what you mean (hopefully). I also know from painful experience what it means to decipher sometimes quite cryptic manuscripts. Do you think I should refrain from such projects (re-editions) in future? Frankly, I never feel quite comfortable with that. Regards --Ralph Theo Misch 22:26, 23 August 2011 (UTC)

Thanks for your answer! You are right. I'll have to do some soul-searching (is that the right term?). All the best! --Ralph Theo Misch 23:11, 23 August 2011 (UTC)
P.S.: Did you already discover SBB's rss feed? At first glance it is often not clear what lies behind it. Here, for example there are autographs of some Schubert-Lieder. --Ralph Theo Misch 23:37, 23 August 2011 (UTC)

Brian's Gothic Symphony

Hi Eric! I guess one of these days I'll get myself set up for posting scores to the US server but in the meantime I thought you wouldn't mind uploading Brian's Gothic Symphony to it. It has been decided over here that it is PD-US thanks to failure to register for copyright back in 1932 (and we've now confirmed there was no renewal in 1960). PML has already posted a file here that will need to be moved over as well. My cleaned-up copy of the symphony can be found here. The company that reprinted it removed the original publication information and I have removed their information as it contained a copyright warning that is invalid for the U.S. Many thanks! --Cypressdome 03:09, 24 August 2011 (UTC)

Brahm's left hand wasn't a such monster

Anh.4/2 : It's impossible to play with only one hand, I promess you Eric ! It has to be re-tag for piano --Squin 16:55, 25 August 2011 (UTC)

Largo in F

So what do I think about quartets with 2 violas? On a sample of one, definitely a lot of potential although there's a slight danger the violin might start to sound like an interloper. Down to particulars, I really enjoyed it! (certainly far more than Bendl's adagio yesterday, bow-droppingly dull). The parts would benefit from a little more attention, most importantly the violin which is one measure short (presumably a rest, about bar 30). The dynamics are sometimes a bit vague, particularly in the second half, also lacking a few complementaries, and the parts don't always agree as to where to play piu lento and where tempo primo. When do I get to play the rest...? Matesic 13:30, 27 August 2011 (UTC)


I apologize for making the move without doing more research -- Grove mentions no opus number and many online sources indicate the overture as Op.71 ... Calling my move "uninformed" is the comments field is rude, though ... I am not "uninformed" Massenetique talk email 11:41, 31 August 2011 (UTC)

Enjoyed your Largo.

Hello, This is [EFerreri] wanting to say that your quartet was very enjoyable.

Please, you need not be modest about your work. It has flow. And your performer played most sympathetically. Keep at it I say. EFerreri

William Mason Op.15 vs. Op.13

Hi Eric! I think I have a probable explanation for this thanks to the Handbook of American Music and Musicians which lists Mason's works by opus from 1 to 43. The Valse de Bravoure from 1854 is actually opus 5 not 15 (the publisher must have made a printing error) which better fits chronologically as opus 4 was published in 1854 and opus 6 in 1856. Opus 15 is the Ballade et barcarole published in 1864 and the real opus 13 is entitled Monody. Clavierstücke. --Cypressdome 03:43, 2 September 2011 (UTC)

Sneewittchen and the maidens Robinson

Hi Eric! I see you added some information to Abt's Sneewittchen. Seeing "Klavier-Auszug" made me think piano reduction/vocal score but now having seen the libretto at BSB it confirms piano only. Makes sense in a way as Abt seemed to understand the market for his music. As for Mary A. Robinson being the same Robinson whose poetry was used in the Hahn work I have to disagree. The LOC has about a half dozen books published from about 1878 to 1899 that Mary A. Robinson translated from German for American publishers. Agnes Mary Frances Robinson (1857-1944) was a Francophile English poet whose work was set to music by Hahn. I've seen on Google books at least two works of hers that were contemporary with the Abt publication in which she is identified as A. Mary F. Robinson. I'll be updating the pages momentarily. Thanks for keeping me on my toes! --Cypressdome 23:22, 2 September 2011 (UTC)

Yarra Waltzes

Since this was part of a series, you might want to keep an eye out for any other parts that were part of it, especially if we already have the piano arrangement! :-)) Steltz 07:02, 3 September 2011 (UTC)

Thanks for the heads-up re. the IArch template -- it works beautifully! Massenetique talk email 09:14, 4 September 2011 (UTC)

RISM online

Hi Eric. You may already know about RISM online, but I've only recently stumbled across it. It's really useful for identifying the original instrumentation in renaissance, baroque and classical works, and I've set up a template to link some of the manuscript scans from libraries to their entries on RISM.

Anyway, I just wanted to pass that on in case you hadn't seen it before, as it seems to be a well-kept secret (from me at least) :-) — P.davydov 10:05, 4 September 2011 (UTC)

Podlaska Digital Library template

Hi Eric! We now have a template (PDL) for the Podlaska Digital Library. All you need to input is the number after "docmetadata?id=." We also have a corresponding Category:Scores from Podlaska Digital Library. I could only find three works from there on IMSLP. Enjoy, --Cypressdome 22:53, 4 September 2011 (UTC)

Selected pieces (Blagoy, Dmitry)

Hi Eric. I've split this file into its constituent parts, and resurrected the original pages, which means this page can be deleted. But when there's a compilation like this, it is the correct procedure to create individual pages for each of the constituent works, even if they only contain a cross-reference to the page for the compilation — P.davydov 11:50, 11 September 2011 (UTC)


Hi Eric, I anwered you at my talk page. Good night! --Ralph Theo Misch 00:13, 22 November 2011 (UTC)

Molbe work list

Hello Schissel: Thank you very much for rewriting my Molbe list. Regards WB

Hermann Op 15

Thanks for the va part; it's beautifully clear. I have contacted the libary and they are going to upload the original va part.

Abt worklist

Hi Eric! Unless my eyes deceive me the 200s have been completed. Thanks for all your contributions. Still a long road ahead! --Cypressdome 04:44, 20 December 2011 (UTC)

LOC template

Hi Eric, It seems that the LoC template can't point to an item in the LoC's old Memory of the Nation section. So for Abt's Op.72 I did put the reference as a regular external link. I'm not happy with the current solution, i.e. pointing to the LoC's root directory... − Pierre Ch. 20:37, 22 December 2011 (UTC)

Hi Eric (and Pierre)! I have also been giving some thought to the LOC template recently. In its current state it can only link to some items found by searching through the LOC's Performing Arts Encyclopedia and then only those that have "ihas" in the url (so the huge Sousa collection is blocked since it uses "sousa" in its place). All of the LOC items from the following American Memory collections use a "handle" permanent url: Band Music from the Civil War Era (ex., African-American Sheet Music 1850-1920 (ex., and Music for the Nation (ex. As you can see all of them share "" which makes the creation of a template easy. There are some items found through the Performing Arts Encyclopedia that do have "handle" urls but it appears that the majority do not. Nevertheless, I think it's safe to say that the majority of items from the LOC posted here are from the Music for the Nation collection. I would suggest converting the current LOC template so that the one variable input by the user would link to items with "handle" urls and we can just let items found through the Performing Arts Encyclopedia be linked, if so desired, through a link in the notes field. This will "break" the template for any item that currently includes the variable but I doubt there are many. This arrangement might work out better for the Sousa collection as a template to be used in the notes field (kind of like the Sibley Project template) could be created that links to the item on the LOC and also to an IMSLP category for Sousa scores from the LOC (just an idea). What do you think? Thanks! --Cypressdome 01:45, 23 December 2011 (UTC)
Sounds great! − Maybe it is possible not to break the links that do currently work? For example, { { LOC|xxxx } } could stay for the "ihas" items and then { { LOC||zzzz } } could work for "handle" URLs. Does that make any sense? − Pierre Ch. 09:52, 23 December 2011 (UTC)
Yes- introducing multiple variables could indeed work as with the DU template (though I imagine somewhat difficult to program in this case- I don't know?...) - or perhaps a LOC2 template Eric 13:10, 23 December 2011 (UTC)
Well, I was just toying with the template. The problem is that variable 2 doesn't "build upon" variable 1 as it does in the DU template. We want the LOC template to be either the url for variable 1 or the url for variable 2 (which urls are mutually exclusive) or if no value is specified for either then the default url for LOC. As best as I can figure out that would require a third variable whose default value for no input would be the LOC website while the default values for variables 1 and 2 would be empty for no input value. Anyway, I'll try that arrangement when I get off work. Back to the grind for now! --Cypressdome 21:06, 23 December 2011 (UTC)
I just altered it into a 3 variable template. It still breaks the existing template but I can't see any way around it. Variable 1 sets the url for "ihas" scores, variable 2 sets if for "handle" scores, and variable 3 provides the default LOC url. In order to suppress variable 3 from populating you must input a character in that field. If you just input {{LOC}} it gives you the default LOC url. Perhaps we should seek feedback/suggestions from others with more experienced in template creation. If it is decided to keep the template as it is now I'll input some documentation on its use. --Cypressdome 00:29, 24 December 2011 (UTC)

Category:Dachs, Michael

Hi Schissel,

Wikipedia says that Michael Dachs died in 1941 but the Directory of Composers for Organ says 1940 -> Dachs M. What is right? --TobisNotenarchiv 20:48, 30 December 2011 (UTC)

Sonatina in E flat major, Wq.108 (H.462)

Hi Eric, thanks for your help! --Ralph Theo Misch 00:13, 4 January 2012 (UTC)

Category talk:Martinenghi, Giovanni

I'll confirm my thesis tomorrow.... --Ralph Theo Misch 01:19, 4 January 2012 (UTC)

Lo! → Messa solenne (Petrali, Vincenzo). All the best! --Ralph Theo Misch 01:08, 5 January 2012 (UTC)

Casella, Sicilienne et Burlesque

Dear Eric, this does indeed have to be tagged for burlesques, since the tagging rules say "If a work's title includes more than one of the above terms (e.g. "Prelude and Fugue", "Romances and Songs" or "Valse-Scherzo") then a separate tag should be given for each term ("preludes ; fugues" . . ." I've re-tagged it. Steltz 08:10, 4 January 2012 (UTC)

Apologies, then, I think you are right -- reading too fast, again! I've reverted it. Steltz 15:29, 4 January 2012 (UTC)

L.L. Scaife

Hi − Yesterday I did found on WordlCat: (i) 1 song composed by "L.L. Scaife" − (ii) 1 song translated by "L.L. Scaife" − (iii) 1 song attributed to "Lauriston L Scaife" − then I see that this a attribution is probably a librarian's one: the source seems only to say "translated by L.L. Scaife" again... − Pierre Ch. 08:35, 6 January 2012 (UTC)


(moved from user page here)

Thanks for adding Trzech Budrysow. Mon is the biggest name after Chopin in Poland. As for Wilhelmowi Trosehelowi, the owi suffix is the masculine singular dative case ending for nouns. (to William) If you feel keen, there's plenty of Padereweski (d 1941) in Pomorska (Gdansk) library. Regards WilliamBunting (00:45, 9 January 2012 (UTC))

Abt work list and Debrecen University project

Hi Eric! In case you hadn't noticed I declared the Abt work list to be no longer under construction. Could one ever declare it to be finished? I finally got through all the HMB links and other Hofmeister publications. I'm sure I've missed some WoO works as there seemed to be quite a few published after his death but then you wonder if some of those could be individual songs from previously published collections. Anyhow, out of at least 623 works assigned an opus we only lack information on 65 by my count. Not bad considering the majority of those missing are early works. Thanks for all your contributions.
If you are interested I'm starting a new project focused on the scores from Debrecen University. As you know many of their scores are already here but aren't identified. Also, could there be a less helpful way to post scores than the method used at DU? You can see it in an almost-ready-to-go-live state at User:Cypressdome/Sandbox2. Your help is always appreciated. Thanks! --Cypressdome 05:29, 11 January 2012 (UTC)

Abt - Du und I

Well, congratulations for the Abt work list − you both did a great job!
Eric, do you have a link for the Du und I text reference? BTW, I try to keep track of the Abt uploads from LoC there. − Pierre Ch. 21:47, 12 January 2012 (UTC)

RE: another interesting RSS feed

Dear Eric, many thanks for the tip! But if I follow the link, I see no titles. Or I do not understand the nature of things? All the best! --Ralph Theo Misch 23:02, 19 January 2012 (UTC)

Thanks for your help! It does not work properly, but I'll make it (hopefully). --Ralph Theo Misch 00:40, 21 January 2012 (UTC)

Abt: Agathe

Thank you for moving it to the right place. Sorry I only went half way, but I didn't know that it would be so straightforward to locate Agathe amongst the masses of opus numbers of Abt songs. The piece had been uploaded to the Richards page without any link to Abt, and I spotted it while uploading something else. I think there are a large number of straightforward arrangements and transcriptions residing solely on the arrangers' composer pages, and I think it is really useful if they can be shown as arrangements and shown both on the pages of the arranger and original composer. It took me a long time to figure out how to do it though!

"Selections" is not a tab-level division

...but actually a 4-equal sign. For example, under the tab "Full Scores" for any large opera (or "Parts", "Vocal Scores", "Arrangements and Transcriptions"), the four-equal divisions are typically "Complete" (or "Complete Opera"), followed by "Selections" (meaning more than one), followed by "Overture" and all the other individual pieces from the larger work. The 3-equal signs 'should' be limited to the ones listed above, plus "Piano Scores" and "<instrument> Scores", "Librettos" and "Books." We had a real problem starting with the WIMA uploads for a while as some of the WIMA folks wanted to create tabs for every 10 items in a huge collection. Tabs are really designed for different formats in which a given work appears. The one (sort of) exception to that rule is "Arrangements and Transcriptions" which can be in any format ranging from orchestra to solo instrument. Carolus 05:22, 24 January 2012 (UTC)

Kullak's translator

Hi Eric! My understanding is that Parsons also translated the notes that appear at the bottom of the first page of many of the scores in Kullak's Chopin edition which is why I included him as translator on all those pages that don't actually include the editorial preface. Thanks, --Cypressdome 02:46, 25 January 2012 (UTC)

I know in the one or two instances in which I posted music from a ballet I just included the author whose work the ballet was based upon in the notes field and left librettist blank. That seemed to satisfy those higher up. Also, didn't mean to swoop down on you but I'm a Recent Changes addict! --Cypressdome 03:08, 25 January 2012 (UTC)


Thanks so much for your help with Corsin. I'm about to add a manuscript for solo harp that is by Corsin, so I think that is good evidence to support that this is harpist Louis-Joseph Corsin that died in 1822. James

Michel Rondeau's arrangements

Michel Rondeau has sent me an email referring your talk comments regarding his brass quartet arrangement of the carol tune 'Away in a manger':

> Hi Christian.....I’m starting to get mixed signals on entering
> the following comment from third person sending me
> messages......since when do we give info on the ‘original work’? is it
> not the new work we are entering?......strange comment!......MR

When I have a look at the score and at the IMSLP work page I don't see an obvious solution of the problem. Michael's arrangement is rather a new composition like the numerous organ chorale preludes on beloved tunes than a mere setting of an original choral composition. And I tend to agree on the characteristics 'modern' (which is about as concise as terms like 'baroque' or 'romantic')

If the work page contains only information on the original composition - which is not in IMSLP - I believe IMSLP users might feel somewhat confused.

Maybe the right thing to do is to change the work page to a Rondeau composition. This would be an obvious solution for this particular arrangement. Unfortunately we can't necessarily do that with all Michael's arrangements. They vary from real compositions to mere adaptions - including all kinds of mixed cases.

PS How do I CC Michael (or other IMSLP users) to a talk posting like this? --Reccmo 17:32, 9 February 2012 (UTC)

As to since when- that's the guidelines/rules here, so since always. A page's description gives the information for the work that the page is about - eventually, hopefully, the page will contain a copy of a first edition, or something, but even if not, it contains as much information as possible about the original work, even if all we have are arrangements.
This is a major problem for high volume WIMA contributors like Michel Rondeau and Albert Folop. Here is Michel's comments to the remarks I've posted here
> Christian.....yes I agree.....there are way more composition in those
> arragements than arranging itself......the Torelli scores are good
> example of arranging......or the Scarlatti scores are more arrangement
> than composition.....I am not inclined to research on original
> compositions.....this could become a life sentence!
Similar requests to Albert Folop from the IMSLP staff has caused him to suspend his WIMA/IMSLP transfer activities. It's crucial that WIMA contributors like Michel and Albert take care of transferring their own scores, or else they'd most likely never be transferred. If information on the arrangements from these high volume contributors is unacceptable I suggest that they omit filling these fields and just upload their scores --Reccmo 21:50, 9 February 2012 (UTC)
(Consider e.g. Symphony_No.8,_Op.137_(Spohr,_Louis) where I uploaded Pappalardo's arrangement because it's better to have something rather than nothing, as a rule- but the work page information at the bottom is about the Spohr symphony itself, not about the chamber arrangement of it. As to how to CC people, inform them that the conversation is going on that mentions them- there's actually a template for that, I'll have to look it up and get back to you quickly...! - and then "watch" the talk page on which it's happening. :) Thanks! Eric 17:42, 9 February 2012 (UTC) (we do quite a number of things almost as placeholders in a way- we had pages for Dvorak's symphonies that for ages on end contained just the - I think - flute and cello parts, not the scores; it was a few years before anyone had scanned in/uploaded the scores for any of them, as I recall. Etc. But they did contain those parts and information on the symphonies at the bottom. Works for me. :) )
Far as I know since this is a collaborative site one really only needs to enter enough to prove/confirm (accurately :D ) that the original was not in copyright and a couple of other things (who wrote it, etc.) - there's a bit of minimal information, then others can fill in the rest. It's that the work page information field belongs to the original work and not the arrangement that is at issue... How much one fills in is a different question. Eric 21:57, 9 February 2012 (UTC)
See Michel Rondeau and Reccmo's talk pages for my take on this. Part of the problem is the sheer volume of stuff being added. There is still a lot of cleanup to be done on Rondeau's page in terms of moving things to the correct composer, etc. Neverthless, it's more important that we get things uploaded (provided the WIMA contributors don;t make such a mess that the cleanup is really time-consuming). We can do the needed cleanup later easily enough in most cases. Carolus 03:33, 10 February 2012 (UTC)

Gerson, Quatuor pour deux Violons, Viola et Violoncelle

Hello Eric.

A few days ago the Royal Library, Copenhagen received for scanning the copy of Gerson, Quatuor pour deux Violons, Viola et Violoncelle preserved at the State Library, Aarhus, Denmark.

This string quartet turns out to be G. 63, string quartet in A Minor. On the front page the (potential) bottom information on edition number and printing year is hidden by a label glued on by the Copenhagen publisher and music store, Lose (ældre). I don't know from where Jens Egeberg, responsible for the music digitizing at the Royal Library, has the publishing year, 1828. I'll ask him.

Jens Egeberg writes to me that he has found the publishing year, 1828 in an authoritative bibliography, Dansk musikfortegnelse : en dateret katalog over trykte danske musikalier by the late Danish scholar and publisher, Dan Fog, see --Reccmo 10:33, 17 February 2012 (UTC)

I've uploaded the scan to IMSLP.

BTW - I'm preparing a modern edition of G. 14, string quartet in G Minor (not G Major as stated in the IMSLP work page until a few minutes ago). --Reccmo 10:30, 16 February 2012 (UTC)

Offertory (Abt, Franz)

Yes, the genesis of several works of this comprehensive publication by Mrs. Ashford is not always clear. Regards --Ralph Theo Misch 23:59, 21 February 2012 (UTC)

Dulcken, Juvenile Songs

Hi, Eric, I didn't see the question, but I did think about that clock . . . in the end my decision was based on the fact that a third musician would not be needed. The appropriate tag would probably be "toy", except that then it would come up as "for 3 players". It's like a clarinetist doubling bass clarinet; it's one player, and the two different doubling parts don't get tagged separately unless there's a separate player on the bass clarinet part. Steltz 15:10, 4 March 2012 (EST)

I think I was a little bit thick on this one -- I assumed it was an actual clock. In fact, probably the obvious instrument to do two different pitches imitating a clock would be wood blocks (some Leroy Anderson comes to mind, but I can't think of the title). How about v perc pf? Steltz 03:31, 5 March 2012 (EST)

Edward Solomon

I see the LOC mine continues to yield interesting treasures. They also have the vocal score to his Virginia; or, Ringing the Changes which unlike Claude Duval has no subject listed on the bibliographic record so the only way to know it was there would be to know that such an opera existed and to go looking for that specific score. I guess that guarantees much traffic on the LOC website from the likes of us miners. --Cypressdome 19:51, 4 March 2012 (EST)


Hello Eric. Two of my audiofiles read "need javascript for playback". They are the classical quartet and string trio op.2. Do you know what that means? How do I remedy this? (I hope that I have notified you on the proper portion of your pages!) Best, Ernesto User:EFerreri 22:52, 5 March 2012 (EST)

Grimm symphony - date of 1874

If you look at the title page of the symphony (page 3 of the PDF, with the decorative border and the dedication to Richard Barth at the top), you will actually see the date of 1874 at the bottom of the page. I had all my sources lined up saying 1875, but faced with such an obvious date staring me in the face I felt a bit silly putting down anything different. Then again, this is why I prefer not to be a copyright reviewer - that way others can double-check for me!

Would it be easier if we amateurs did not attempt to add anything to the Sibley downloader, and let those with more knowledge and resources at their disposal do all the date-checking? (in line with the principle of "better to remain silent and have others think you are a fool, than to open your mouth/ keyboard and remove all doubt"??) Aldona 17:48, 9 March 2012 (EST)

No apology necessary - feel free to correct anything in my uploads that isn't right. Still learning my way around all the ins & outs of the copyright system. Aldona 18:02, 9 March 2012 (EST)

Re: Küffner "op.75"

Oh, wow, that's a bit embarrassing for me! Can't believe I didn't notice that! Thanks so much for getting it fixed.JP3 10:39, 21 March 2012 (EDT)

Keep a lookout

It appears we have a very determined vandal/spammer tonight. I have to leave now, so please keep an eye open for this character - who has repeatedly created new usernames and copied the same spam-page. Thanks, Carolus 00:09, 25 March 2012 (EDT)

Good thing you took a look at that Albert Studie - it's a "faksimile" of a printed score! Thanks, Carolus 01:15, 26 March 2012 (EDT)

London Town (German, Edward)

I have a copy of this prepared, but it's in copyright outside of America due to the librettist. Carolus recommended I ask you how to upload it only to the American server. Cheers! Adam Cuerden 20:05, 13 May 2012 (EDT)

A question from Antonella

Hi, Schissel!
Please, a friend of mine uploaded six files of music some day ago, but they do not appear on his page. May you explain me why? The page is:,_Canzone_e_Danza_%28Dall%27Albero,_Claudio%29
Thank you very much for your help.


Dear Schissel, I looked for the upload and it seems me that the autor did the right one. He logged him and than he uploaded the files from the workpage of the piece. Please, can you explain me what happens? I do not find the pieces but if I try to upload them once again, a message inform me that the music already exist.
Thank you very much for your attention.
--Antonella 19:49, 12 October 2012 (EDT)
Dear Schissel, now it is all ok! The problem was because I did not understand a message. Excuse me for the trouble and thank you very much for your kind help. Best regards. --Antonella 20:57, 13 October 2012 (EDT)