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Actually the opposite is the better way to go. Madrigale a quattro voci is a genre more than a title. The actual title is Udite lacrimosi. We'll fix the error and merge the pages - so thanks for the note.

The work is under copyright in the EU until 2020 because of Maeterlinck's death date (1949). It's already free in Canada and the other 50-pma countries. Oddly it looks like it will be entering the USA public domain on January 1, 2019 if no further extensions are added to the present law.

Actually Canada is no problem because the composer died before 1949. All works of composers who died before that year are public domain in Canada, regardless of publication, performance, broadcast, recording or 'delivery' (the last four come into play for composers who died 1949 and later). If no pu...

For starters make sure you're not still logged in on the other browser. This could be one reason you're not able to get in.

There's always Belgium - a country that didn't exist until after Napoleon's defeat - being used for Renaissance composers, etc.

We already have the general designation keyboard to handle the vague cases where it's not clear which instrument was intended. As for designating things like Rachmaninoff preludes for harpsichord, that's not a good idea as they might be very playable on a harpsichord since the later composers tend t...

The important thing to remember about using the P template is that the first publisher field, the one right after the opening P, should ideally match an actual publisher category. Thus, you would need to use "Breitkopf und Härtel" in that field, and use any variant of the name which actual...

There is no problem with using Op.1 as long as there is no competing Op.1 which happens more than we would like with composers (and even moreso publishers) of the era. We also have an internally generated catalog system (IDD numbers in this case) which can be employed in the cases where there are mo...

You will no doubt see a fair number of such cases. The category of collections was only added here about 3-4 years back, partly in response to some pages set up during the WIMA merge (2011-2012), which ended up with so many files they literally crashed. Before the addition of this category, all coll...

Further to Steltz's questions, do the works fall into the conventional three-movement concerto form? The fact that we're referring to works featuring a double bass soloist with an orchestra weighs into the equation as well. Manuscripts, even holographs, are notoriously unreliable for titles - for so...

Why do we need to mention details like the dates of various versions of these on a navigation box? The versions of any given opera are all going to be on the same page, after all. Other than this minor detail, looks perfect - and a very helpful addition.

Yes, in a word. The collection of 55 pieces is not original to the editor so the only thing in play is the edition.

You should be adding your arrangements to the individual pages for the 12 items in Op.5. Yes, if you have scores (only) of a number of the sonatas these can be included on the collection page under the Arrangements and Transcriptions tab, but one of the reasons we've been setting up collection pages...

Generally, if something was published in the 1920s or 1930s, one would logically assume that the composer was at least 20 years old or thereabouts. This is actually a case where the "before 1923" rule of the USA is fairly handy as things published before that year have a very high percenti...

There should be no problem with this. I think the only detail is that you need retain the same license in all cases if your using creative commons.