Brian Schweitzer wrote:
Actually, what you said was:
Actually, what I said was:
David Gasaway wrote:
Yes, I want to identify the work. When did I ever say that I did
not? (Hint: I didn't.) This is about what goes into the track title.
Not everything needs to go in the track title.
Brian Schweitzer wrote:
(radio edit) or (album edit) is only one of the hundreds of such
version identifications we already have in the database. We also
have such as (no vox), (with vox), (instrumental version), (vocal
mix), (drum mix), (no drums), etc. These all directly address the
instrumentation within the work.
Ugh. What I said was that they do not indicate changes to the instrumentation in relattion to the original composition. Or a variation on the instrumentation provided by the originial composer (which is exactly the case we are considering). None of the examples you cited express those relationships.
You've suggested the annotation is where such identification belongs.
I suggested it is an alternative.
For the two symphonies which WA Mozart wrote,
then later rewrote, identification such as Symphony No. 40 for
Orchestra in G minor , K. 550 "Great" or Symphony No. 35 for
Orchestra in D major, K. 385 "Haffner" just doesn't cut it.
I'm not asking that you abandon full identification of the work. I'm
questioning whether the track title is the best place to do it.
I just saw cooperaa's email. His point is essentially the same one
I'm making. Brenden's comments are in the same vein as well. It is
quite easy to go from "too much information" to "just as much
information as I want".
There again, you make an unsupported statement that is "quite easy" but I don't
see that it is so.
"Finally, on February 15... Mozart then proceeded to rework the score
of K. 385 sent from Salzberg by putting aside the March, deleting
the repeats in the first movement, and adding pairs of flutes and
clarinets in the first and last movements, primarily to reinforce the
tuttis and requiring no further changes in the already existing
orchestration of those movements..."
Sounds like perhaps a bit more was involved than, "hey, I got it,
let's have the clarinets double the oboes!", doesn't it?
Who's arguing that with you? Not me. But I assume you'll want the complete
text quoted above in the track title. ;)
--
-:-:- David K. Gasaway
-:-:- Email: [EMAIL PROTECTED]
-:-:- Web : dave.gasaway.org
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