User talk:Matthieu

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Dear Matthieu,
Welcome to the IMSLP! We would like to thank you for contributing.

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We're looking forward to your next submission!

Regards, Peter talk 16:59, 22 July 2007 (EDT)



Hi Matthieu. Sorry if my message was brutal, I want to thank you for the nice orchestral material but indeed I saw many errors when comparing with the original score, and my wish is just that this wonderful music should be spread around the world with some exactitude. Thank you to correct. Here are the errors that I saw:

First Violin (noted 'Volini') I.22 'ten' is unseen I.41 div is missing, the first b is natural, the second flat I.45 one horizontal bar to much on the 3rd note in the triplet I.46 div. is missing II.1 - - - upon the notes III.4 dolce is missing III.5 ' is missing as well as in measures 6, 9, 18, 22 & 23 III.24 - on the E III.32 flat before the B would be abvisable III.44 ' before the Vivace is too little III.49 fermata is marked 'longa' III.90 decrescendo is missing III.114 b is marked ten.

Second Violin I.32 C instead of F I.41 & 46 div. I.45 one horizontal bar to much on the 3rd note in the triplet II.1 - - - under the notes II.19 > at wrong place II.22 > are lacking II.41 > at wrong place II.45 > missing on 2nd note II.84-85 high b's and low b's are inverted III.42 second note should be G# III.44 ' before vivace is too little III.49 fermata is marked 'longa' III.54-58 ties are missing between C's III.90 decrescendo is missing

Violas I.42 the notes should appear on the 1st staff I.45 one horizontal bar to much on the 3rd note in the triplets, the same at I.50 II.8 più missing on 2nd staff II.70-71 check! III.27 there is no tie from the preceding bar, have a check III.28 p is missing III.42 E is flat III.44 ' before vivace III.49 fermata is marked 'longa'

Cellos I.44-46 The notes should appear on both staves I.45 one horizontal bar to much on the 3rd note in the triplets, the same at I.50 I.47 The notes are on the wrong staff I.55-56 check! not the same music than on the score I.58 decrescendo is missing II.62 pizz is lacking II.70-72 notes are 1 octave to low III.24 wrong rhythm, check! III.41-44 Notes should appear on both staves III.42 wrong music, check! III.49 fermata is marked 'longa' III.62 f is missing III.76 espr. is missing

Basses I.45 no bars on the triplets for the basses I.50 ties are missing after 2 last D's I.58 decrescendo is missing III.24 wrong rhythm III.41 rhythm equation is misplaced III.58 ppp is missing III.64 - on G III.78 div. is missing III.90-93 B flat instead of D


Dear Matthieu,

Thank you for your submission. The upload was successful, but you did not provide enough source and publisher information. Can we kindly ask you to fill in as much information as possible? Correct identification of a score is absolutely needed to make sure a score is in public domain and does not violate copyright laws. Also, this identification reflects IMSLP's strive to quality and completeness.

Please pay attention to the following items:

  • Scanner:This field should include the name of the scanner, or the website where the file was obtained.
  • Editor: The person who edited the score. This is not always known, usually the editor is printed on top of the first page (e.g. edited by... ; in french revue par... or éditée par...; in German bearbeitet von...). This field can concern the original editor, and in case of a typesetted score, the typesetter.
  • Publisher Information: You can find publisher information usually on the bottom of the first pages of the score. The format for this field is as follows: "<Place>: <Publisher Company>, No. <Publisher's publication number>, <Date>. Plate <Plate number>."

More fields are described in the Score submission guide.

You will find a lot of information on the first pages of the score. If you have problems gaining information, more tips and help are provided at IMSLP:Contributing scores and Historical Publication Info. An example of a good submission is Frühlingsrauschen (Sinding, Christian)

Peter talk 10:28, 16 September 2007 (EDT)


Αγαπητέ Matthieu,

Ευχαριστούμε για την υποβολή σας. Το ανέβασμα των αρχείων ήταν επιτυχές, αλλά δεν παρέχονται αρκετές πληροφορίες σχετικά με την πηγή και την έκδοση του αρχείου. Σας ζητάμε, λοιπόν, να συμπληρώσετε όσο το δυνατόν περισοτερες πληροφορίες γίνεται σχετικά με την έκδοση του αρχείου, γιατί η σωστή αναγνώριση μιας παρτιτούρας είναι απαραίτητη για να σιγουρευτούμε ότι ένα αρχείο ανήκει στον δημόσιο τομέα και ότι δεν παραβιάζει νόμους περι πνευματικών δικαιωμάτων. Επίσης, αυτή η αναγνώριση αντικατοπτρίζει την προσπάθεια του IMSLP στο να κατέχει ένα συγκεκριμένο επίπεδο ποιότητας και ολοκλήρωσης.

Παρακαλούμε να δώσετε προσοχή στα παρακάτω πεδία:

  • Σαρωτής: Αυτό το πεδίο θα πρέπει να περιέχει το όνομα του ατόμου που έκανε τη σάρωση του αρχείου, ή την ιστοσελίδα από την οποία αποκτήθηκε το αρχείο.
  • Επιμελητής: Το άτομο που επεξεργάστηκε/επιμελήθηκε της παρτιτούρας. Δεν είναι πάντα γνωστό, αν και συνήθως οι επιμελητές αναγράφονται στην κορυφή της πρώτης σελίδας (π.χ. στα Αγγλικά edited by... ; στα Γαλλικά revue par... ή éditée par...; στα Γερμανικά bearbeitet von... κλπ). Αυτό το πεδίο αφορά τον αυθεντικό επιμελητή, ή στην περίπτωση στοιχειοθετημένων παρτιτούρων, τον στοιχειοθέτη.
  • Πληροφορίες Έκδοσης: Πληροφορίες σχετικά με την έκδοση φαίνονται, συνήθως, στο κάτω-κάτω μέρος των πρώτων σελίδων της παρτιτούρας. Η μορφή για αυτό το πεδίο είναι ώς εξής: "<Τόπος>: <Εκδοτικός Οίκος>, No. <Αριθμός έκδοσης >, <Ημερομηνία>. Πλάκα <Αριθμός πλάκας>."

Περισσότερα πεδία περιγράφονται στη σελίδα IMSLP:Οδηγός Υποβολής Παρτιτούρων.

Θα βρείτε πολλές πληροφορίες στις πρώτες σελίδες της παρτιτούρας. Αν έχετε προβλήματα με την εύρεση πληροφοριών, μπορείτε να βρείτε βοήθεια στις σελίδες IMSLP:Συνεισφέροντας Παρτιτούρες και Ιστορικές Πληροφορίες Δημοσιεύσεων. Ένα παράδειγμα μιας καλής υποβολής είναι στη σελίδα Frühlingsrauschen (Sinding, Christian)

Peter talk 10:28, 16 September 2007 (EDT)



with your copyright reviewer status. I'm together with Carolus a supervisor for the reviewers, so you can ask me anything. There's also a special page for reviewers: IMSLP:Copyright Reviewers. Cheers, Peter talk 16:30, 30 September 2007 (EDT).

Re: Copyright review criterions for living composers

Hi. For new composers, I always ask on the talk page of the submitter whether they are the composer. Usually, for some reason, most people don't manage to answer this simple question, or they don't know how to reply. If they are the composer, they must put this on their user page. I also ask if they are sure that the license on IMSLP is the one they want, especially in the case they entered public domain as license. And indeed, it is on my mind for a long time that all these composers should better make mention of the license in the pdf itself instead of leaving no traces on their scores, but I must admit I haven't managed to systematically ask this or the make this into guideline. Cheers --Peter talk 14:39, 3 October 2007 (EDT)

Copyright Reviewing

Hi Matthieu! Good work on the copyright reviewing! I just wanted to drop by and say that you don't have to put tags on pages if the autotagger already tagged that page with the correct overall tag (like the non-pd-EU tag for the Juon pieces). The file tags are only for when the file in question has a different status from the work itself. In 90+% of the case the work page autotagger should have done all the tagging needed, since it will tag accurately as long as composer dates and date of publication is given :) The use of file tags are usually because of the editor. --Feldmahler 02:27, 10 October 2007 (EDT)


Matthieu - I see you temporarily blocked the Es ist ein Ros' score. When you look at the score you will see that the typesetter expressly gives Praetorius the credit for the arrangement. In that case, can any copyright be claimed? --Df 14:38, 17 July 2008 (EDT)

Reactivation of the NMA project

Hi Matthieu,

after a long period of negligible IMSLP activity, I am hoping to reactivate the NMA incorporation project. As you were the only other active project member before the closure of IMSLP last year, could I ask you to:

1) update the project page with any of the volumes you've obtained since last year. I've been too busy in real life to have acquired any more, however I am going to start work on obtaining Series II (vol 25 Zaïde) and Series X, (vol 102-105, 4 Handel arrangements);

2) make a posting over at the forum thread asking for volunteers - especially, to help keep it at the top of the thread list (don't bother posting now, it's already at the top :)

3) had you heard of anyone else wishing to help out with the project? Vivaldi seemed keen.

Have a read of the new material I've posted in both places; although we can host at least 30 volumes without any conceivable ramifications at all, the objective is to seek permission for the "whole box and dice" i.e. all 100+ volumes.

Regards, Philip Legge @ © talk 18:04, 30 October 2008 (EDT)

Bolognani editions

Hi Matthieu, Do you happen to know if Mr. Bolognani gave his approval for the posting of his typesets here? I seem to recall that he for some reason was not wanting his items here, but this goes back before the great shut-down, so my memory could be faulty here. I know his site states he uses the CC licenses, but we normally will not post new typesets if the typesetter objects. Thanks, Carolus 02:27, 8 January 2009 (EST)

Pages traduites à insérer


J'ai traduit plusieurs pages en français :

Je me demande comment les intégrer dans IMSLP pour qu'elles deviennent visibles aux lecteurs français.

Je prévois également traduire Help:Page editing.

Sherbrooke 05:48, 18 January 2009 (EST)


Hello Matthieu, I have set up a separate page to coordinate the translation to French: IMSLP:Internationalization/Français. Feel free to adapt the page to your needs. You can also compare with the Spanish page to see how it is organized: IMSLP:Equipo de traducción al español. Thank you very much for your efforts. --Leonard Vertighel 07:44, 23 January 2009 (EST)

Mozart's Divertimento K.136


Thanks for uploading this divertimento - I'm playing from the parts in a gig this afternoon! Two notes though. Firstly, I think the titles are wrong: the parts say K.138, which is the one in F-major and this is most definitely in D-major!

Secondly, I noticed a slight typo in the (hard!) semiquaver runs in the vln 2 part: in bar 59, I think the first two notes should be e,d rather than the other way around (unless I've just been playing it wrong for the last few years!). There may be more mistakes, but that's the one I noticed in the part I'm playing!

Did you typeset this? If so, are there .ly files available somewhere? I'd be happy to fix the typos myself. And also, if that is the case, is there a protocol for uploading "fixed" versions on IMSLP?

Anyway, thanks again for the resource!


Hi Rupert. Thanks you for message. I fixed the typo you mentionned as well as several other mistakes (including an annoying page turn in the Andante in the violin I part). New material is ready for download now. I prepared this typeset for a project with my orchestra that we finally cancelled. As a consequence it has never been proof-read during rehersals. That's why I suspect there might be some other typos. So, if you or your colleagues have noticed other problems with this edition, please feel free to list them and I'll be glad to fix it in due course. Last thing: the source is Sibelius (commercial soft), not lylipond. Cheers, --Matthieu 08:27, 3 April 2009 (EDT)


Just as a note on your wishlist additions, it is my goal to have the complete collections of both Magnard and Ropartz up this year (in addition to my on-going Saint-Saens collection). So it may take some time :) Daphnis 11:01, 30 April 2009 (EDT)

So I obviously wasn't able to fulfill this committment in 2009, but I *WILL* finish it this year. In fact, I'm gathering up all the Magnard scores I can find presently, which brings me to my next point: Which of Magnard's 3 operas is/are most important or well-regarded, if any? The full scores are very hard to come-by, however I will call in some favors and attempt to get at least one of them if you can let me know what, in your opinion, I should focus on. I have the vocal scores for the other 2 operas on their way to me as well as the remainder of his printed works. Daphnis 23:59, 4 January 2010 (UTC)
Great news to start the new year ! Yet a another opportunity for me to congratulate your amazing contributions... and for your tenacity. Concerning Magnard's operas I would say first that any contribution would be wonderfull, but if we want to put priorities I think "Guercœur" is definitely the first piece to consider. Frankly, I cannot compare the musical value of "Guercœur" to "Yolande" or "Bérénice" because I never had the chance to hear a single bar of "Yolande" or "Bérénice" (by the way, I thought that "Yolande" have been completly lost during the fire of Magnard's castle when he was killed, but from what you say I am certainly wrong). By contrast, "Guercœur" has been played and recorded and have never been completely forgotten. This said, I would put "Bérénice" as number 2, because it is one of his last works and it is certainly very interesting. Considering the duration of "Guercœur", I suspect that scanning the full score will be a dreadful job but after scanning all Saint-Saens what can frighten you ?--Matthieu 22:27, 5 January 2010 (UTC)
Hi, Matthieu and thanks for responding. The vocal score to Yolande was published by Choudens in Paris in 1892 and is readily available (my copy is arriving this week). Thanks for the suggestions and I'll do my best to get a copy of the full score to Guercœur. BTW, no need to post this conversation on my talk page as well. I'm watching yours for changes and we can converse on a single page more easily. Daphnis 22:34, 5 January 2010 (UTC)

American Composers - EU status

Hello Matthieu, When you run into a public domain work of an American composer like Harvey Gaul which was published before 1923 by an American publisher, it is probably public domain in the EU as well due to the EU's application of Rule of the Shorter Term. You'll have to use the <!--noautotag--> on those pages along with tagging them "C" for EU copyright status. Thanks, Carolus 14:15, 18 June 2009 (EDT)


Just a quick thanks for the typeset of the Pavane and Chacony, really great work.-- Snailey Talk to Me Email me 02:38, 4 August 2009 (UTC)


Hi - sorry for stepping on your toes a few times with the tagging just now. Are you getting the same screen I am? I see 1-1-1 in the "unknown" row, but there aren't any unknowns left. Strange...-- Snailey Talk to Me Email me 16:57, 15 October 2009 (UTC)

Hi ! No problem for the simultaneous tagging ! But, no I don't see this 1-1-1 in the unkwon row. From what page did you get thiw strange message ?--Matthieu 17:00, 15 October 2009 (UTC)

Lekeu Adagio

Matthieu, Bravo, your typeset looks beautiful, well-considered and executed on many levels. Thanks for letting the world benefit from your hard work. Congratulations and mille grazie! Daphnis 13:55, 23 October 2009 (UTC)

Hi Daphnis, and thanks for your kind message. By the way, thank you too for posting Ropartz's first symphony. Lekeu's adagio was more time consuming than I imagined at the beginning. In fact I started this project just after you posted the original edition. Since I uploaded it, I noticed that some bar numbers are missing. This is a problem with mixing postscript and truetype fonts. It is now fixed (using only postscript fonts). But still, I will upload the corrected version tomorrow because we have our first rehearsal tonight with this typeset and I'm almost sure some typos will emerge...--Matthieu 14:43, 23 October 2009 (UTC)

That seems to be the best way to route out those pesky typos. Wishing you luck, Daphnis 14:52, 23 October 2009 (UTC)

Colette Mourey

Hi Carolus. I've just sent a message (in french) to Colette Mourey and some contribution guidelines. I hope this will save some editing time. Best reagrds, --Matthieu 11:12, 18 March 2010 (UTC)

Much appreciated. Tell her about using the different Creative Commons licenses also. The plain "attribution" allows the Ebay bots to burn her work to CDs and sell it. She should use a minimum of the Non-commercial or Share Alike versions to keep that from happening. Carolus 06:00, 19 March 2010 (UTC)
Another thing: She really should stop describing her items as "PDF". It's quite redundant as the type of file automatically appears on the right side of each file entry. The parts she uploaded for her requiem are a complete mess and I frankly to do have the spare time to spend 2 hours fixing them up to appear in an intelligible format. Parts should be for the complete work - not a separate part for each movement. Her file names are needlessly long as well. She also should understand that she is the publisher and that the English word "editor" is not exactly equivalent to the French "editeur." I will delete the files she's uploaded for the requiem so she can upload again when they are 1) combined into one file per part for the complete work, and 2) correctly described. Thanks, Carolus 20:58, 21 March 2010 (UTC)

I can't figure out why she does not follow the simple guidelines I provided in my message (in which, by the way, I've already noticed her most of the point you mention). My first contact with her was as friendly as possible, but I agree we (read: you in practice) can not afford spending such an amount of time on her case. I'll send her a more directive message. --Matthieu 22:17, 21 March 2010 (UTC)

Faure, Pavane Op.50

Hi Mathieu, I think I need some help here. I'm new on this wiki (started uploading yesterday) and I noticed that you changed the category of my transcripition from 'Flute and Guitar' to 'Guitar and Flute'. What is the convention here: <solo instrument> and <accompagniing instr> or the other way around?

I found more arrangements of other under 'flute, guitar' and 'flute, guitar (arr)' is somebody coordinating this category?

I hope you can help me out here thanks, Henk

Hi Henk. First of all welcome here and thanks for contributing ! Swapping "Flute" and "Guitar" is my mistake since the composer or arranger should always have the last word for this kind of choice. I fixed it. Concerning the page tagging, it is a project on its own : you can have a look at All the best --Matthieu 15:37, 26 March 2010 (UTC)

Thanks Matthieu.


Hi Matthieu, Thank you for uploading all of the great scores. I wanted to ask you about something - could you write me an email at: It's somewhat urgent so please do let me know. Thank you. (-Xiaobao12)

Creative Commons Licenses

Hello Matthieu,

Just a short note to remind you to check through your arrangements and editions here to make sure that you apply the correct CC license. At present, most of your work appears to be under the Creative Commons Attribution 3.0 license. If you do not want the numerous people who sell CDs and DVDs on E-Bay of "all the world's greatest sheet music" to include your works, we recommend that you choose the "Non-commercial" or "Share Alike" versions of the license. Best Wishes, Carolus 23:05, 20 July 2010 (UTC)

Thanks Carolus for mentioning it. I switched everything to "Non-commercial". All the best. --Matthieu 23:06, 11 August 2010 (UTC)

Colette Mourey

Cher Matthieu, Je prends bonne note de vos indications; comme l'année universitaire s'achève, je vais bientôt pouvoir tout relire en détails; j'espère, et dans les normes, vous communiquer aussi la bibliothèque d'une ex-élève de Chopin ( de mes aïeules ) : il y a des indications parfois intéressantes, pour des pianistes. Je compte m'y mettre cet été. Je suis vraiment désolée de vous avoir donné trop de travail, et serai très attentive aux normes dès à présent Bonne musique à tous, et merci à tous de votre magnifique entreprise ! Bien cordialement Colette Mourey

CR for Graupner

Hi Matthieu. Carolus recently decided on a slightly different course of action for tagging these - V/V/C for reasons explained here. Thanks, KGill talk email 15:17, 15 December 2010 (UTC)

Hi ! Thank you for warning me about it. I'll revert it in due course, if not already done. All the best. --Matthieu 15:32, 15 December 2010 (UTC)

Lekeu Adagio Score Corrections

The score looks quite lovely - very good work.

I did some errata on this work (comparing with the 2nd link on this work page) and found 11 minor corrections:

1.) Alto 1, ms 6, bt 3, flip stem 2.) Alto 2, ms 7, bt 3, should read A flat 3.) Vln 4, ms 16, bt 3, should read B flat 4.) Vln 4, ms 39, add pizz. 5.) Vln solo, ms 67, bt 5+, should be legato mark instead of staccato 6.) Alto 2, ms 99, bt 1-2, should read F, E flat (not A flat, G) 7.) Vln 1, ms. 108, bt 4+, remove redundant sharp 8.) Alto 2, ms. 117, add slur 9.) Bass, ms 129, add pizz. 10.) Bass, ms. 135-6, remove 8va 11.) Cello 2, ms 136, move p & hairpin up

Jelederer 02:48, 6 May 2011 (UTC)

Dear Jelederer, thank you very much for checking the score ! I'll fix the errors you mention in due course. If you happen to play this fine piece, let me know. All the best. --Matthieu 07:42, 6 May 2011 (UTC)


Hi Matthieu thank you very much for having uploaded "Guercoeur" of Magnard. I found, by reading it, that page 38 is missing - page 37 was copied two times, probably a mistake by scanning the score. Would it be possible to upload page 38 too?

Hi UgoBerlin ! I'm afraid its not possible directly. The scan was done by the Sibley Music Library. Anyone having a paper copy of the score (which is not my case) would be able to fix it. A good idea maybe, would be to post the problem on the forum and ask for somebody to fix it.--Matthieu 12:29, 11 May 2011 (UTC)

Mozart Divertimento K136

I've spotted a few more typos in the file that I hope you can correct: I've only been through the 1st violin part, so no comments on the other parts. First movement - bar 22 should be crotchet C (sharp), then quavers C (sharp) D ... Bar 82 (still violin 1) the first B should be only one octave above middle C, and Bar 83 the E should be tied over the bar line. In the andante, bar 7, there should be an A grace note before the last quaver in the bar, and similarly in bar 45. Last movement - Violin 1 bar 21 - the last note should be G sharp and in bar 81, the D should tie across to the next bar. Thanks!

Thanks for proofreading. In fact, I plan to rework deeply this edition which I am not particularly proud of. It will be an opportunity to include your corrections. Thanks again. --Matthieu 06:31, 23 September 2011 (UTC)

Adagio Lekeu

Bonjour Matthieu, Ce message au sujet de l'Adagio de Lekeu. J'aimerais en faire une transcription pour orgue, dans l'idée d'un programme combiné avec les trois chorals de Franck. Comme je constate ici que vous avez déjà retapé toute la pièce, je me demande si vous pourriez éventuellement me transmettre un fichier musicXML ou midi de ces pages... j'espère que la question ne vous choque pas, aucune envie de venir cannibaliser votre magnifique travail! Mais la saisie de note étant tout de même fastidieuse sur ordinateur, si j'avais pu copier-coller certaines sections, mon travail de transcription aurait été sensiblement accéléré... Vous pouvez me joindre par mon site web (où vous trouverez aussi des infos à mon sujet), Merci beaucoup de votre prochaine réponse, bien cordialement, Benjamin Righetti

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