Stefan, as you dig up this old message and re-post it for all and sundry, I feel compelled to clarify the following:
I did not personally post the piece in question, and had nothing to do with it landing on the www. (I'm usually trying to be careful about what little I post on the net, and that it should also be as "correct" as possible). The piece referred to was a private Stringwalker file, sent to a fellow luter, (who asked to see it) which in its original form was error free, but somehow got corrupted when passed on and converted from Stringwalker to Django without being checked! This strangely happened completely without my consent. In hindsight I can understand that Herr Reyermann reacted to it, although the way in which he chose to do it was, in my view, rather questionable. (He later allowed Thomas Shall to post a GIF or JPG of the original Conradi facsimile on Thomas' homepage) I've just returned, after being away for a fortnight, and will spend the rest of the day going through 574 unread lute-list messages in my in-box, many apparently concerning the annual recurrent copyright question. Hope to get wiser, avoid any eventual flame-wars and am looking forward to a reaction from those in-the-know to the interesting question you're posting. Best Regards Göran ----- Original Message ----- From: "Stefan Ecke" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: 11. desember 2003 14:00 Subject: Restrictions in using library sources | Dear lute list members, | | during the recent discussion on facsimiles, copyright and so on | somebody mentioned that one normally has to sign a contract with | the library owning a original source, restricting what one | may do with the copy. | | I wonder what kind of restrictions you have experienced. | I would classify restrictions in these groups: | - Restrictions concerning the copying of the facsimile for private | or public purposes. | - Restrictions in copying or editing the music itself (not the graphical | original) | - Restrictions in performing the music. | | Also, has anybody been completely denied to obtain a copy from | an original source, because there was already a modern edition? | This situation seems to exist, as one can see from a posting | by Albert Reyerman form April 2002, that I copied at the end of | this message. | | My last and most important question: did anybody every question wether | such restrictions might be illegal in case of public libraries? For | instance, can a University really decide to give the right to publish | one of their sources exclusively to one person? | | Best wishes, | Stefan Ecke | | | This was Albert Reyerman's mail: | | > Date: Thu, 18 Apr 2002 12:36:08 +0200 | > To: [EMAIL PROTECTED] | > From: Albert Reyerman TREE EDITION <[EMAIL PROTECTED]> | > Subject: copiyrights | > | > | > Open letter to Goeran Corona ( and others, to | > whose it may concern) | > | > | > by Albert Reyerman | > TREE EDITION | > | > | > On the lutenet there is a recent dicussion on | > copyright. | > I would like to make a little contribution to that | > | > discussion | > (please forgive me for my poor English). | > | > Why do I write this open letter to Goeran Corona? | > I believe to have two very good reasons: | > 1) it seems, that Goeran Corona has stolen his | > work from other peoples work and labor | > This is illegal. | > 2) Goeran Corona has made an extremely bad job on | > his transcriptions. | > He serves the people looking for high quality lute | > music very badly. | > | > As an example: I found two pieces on the web, ent. | > | > by Goeran Corona: | > RONDEAU and PRELUDE by CONRADI, two pieces for | > Baroque Lute, | > transcribed probably by him using a tablature | > setting program. | > | > I know, that these two pieces come from the | > publication: | > Johann Gottfried Conradi: Neue Lautenstücke, | > Frankfurt an der Oder, 1724. | > now in the posession of The Leipzig Music Library. | > | > This is the only known source today. | > | > I have been in Leipzig yesterday and asked the | > director of the Music Library wether she had given | > | > the | > original print to Goeran Corona for making | > facsimiles or had given permission to publish the | > pieces. | > The answer was: of course not. | > The only one to hold the publishing rights for | > Conradi is TREE EDITION. | > | > So I ask you, Goeran Corona: | > - where you did you make your transciptions from | > (you didn´t have access to the original source) | > - if you made it from other sources e.g. a | > facsimile by TREE or whatsoever: | > please show me your publication permit. | > (anybody can see the TREE publication permit as a | > .pdf file attached to this email) | > | > First reason: Goeran Corona has got no permission | > from TREE to publish these pieces: | > I ask him and the | > people who publish the web site to REMOVE | > the files from the | > website IMMEDIATELY!!! | > | > The second reason is equally serious: | > I compared Goeran Corona´s transcription to the | > original. | > In the RONDEAU, which is a very small piece | > fitting generously to a single page | > I found 31 mistakes!!! Mr. Corona is even unable | > to put the bar lines into the correct place: | > in this small pice he six times set a bar line to | > the false place!!! | > | > In the PRELUDE there is NO measure without | > mistakes: the first measure has 10 !!! mistakes. | > | > Bad work, Mr. Corona. Very bad work.> | > Don´t forget to remove the files, at least | > untill May 1rst, 2002 | > The Leipzig Music Library is not amused. | > Libraries are institutions with influence. And | > lawyers. | > | > | > Waiting for yours answers | > | > Albert Reyerman | > TREE EDITION | | | |
