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Due to the different copyright regulations existing in Europe with respect to U.S. and Canada it is possible that some scores (typically tagged with the [EU] status at IMSLP) are public domain in the EU but not in the U.S. or Canada. This kind of scores cannot be made available at IMSLP.

IMSLP-EU is an autonomous initiative that has been undertaken in Europe to allow European users to access scores that are public domain in Europe but not in the U.S. or Canada. This is possible because IMSLP-EU servers are physically located in Europe (currently, in The Netherlands), so scores that are in the public domain in such territory can be freely used by anybody. This would be very beneficial for all users located in Europe and in other countries where similar copyright regulations apply.

IMSLP-EU is not affiliated with IMSLP, being a completely independent and autonomous initiative. Complete separation between IMSLP and IMSLP-EU is intended to avoid confusion between the respective roles, areas of competence, and applicable regulations: IMSLP follows U.S. and Canada regulations only, while IMSLP-EU follows EU regulations only (with reference to their specific application in The Netherlands).

The IMSLP-EU score catalogue is integrated within the Petrucci Music Library: there is no difference when searching IMSLP-EU scores with respect to IMSLP scores, as both sets are indexed in the catalogue of the library. However, when a score at IMSLP-EU is going to be downloaded by a user, a special page is presented so as to inform and warn the user that he/she is leaving the IMSLP context and entering the IMSLP-EU context, where different regulations apply. The same special page provides a PayPal link for donations to IMSLP-EU: being completely autonomous with respect to IMSLP, IMSLP-EU needs independent funds to cover its operational expenses.

As of today, about 1500 scores are available at IMSLP-EU. Further scores will be available in the future, depending on submissions from users. Submitting a score for IMSLP-EU can be done the same way a submission is done for IMSLP: the copyright review process will take care of checking the public domain status of the submitted score, that will be managed either by IMSLP or by IMSLP-EU accordingly.

We hope that this initiative will be appreciated by users located in Europe and in other countries applying similar copyright regulations.

Totally awesome. Thanks to both Feldmahler and Choralia, and any others involved in bringing this to fruition.

Regards, Philip

PS And go Netherlands!

When I got to http://imslp.eu and click on Petrucci Music Library, it brings me back to imslp.org/wiki/Main_Page. Is this right, or is it supposed to be a completely different website?

@pml: re: your ps -- I assume if you've been following that, then you have also got ideas for a Vuvuzela concerto (pitched in Bb, of course)!!!

steltz wrote:When I got to http://imslp.eu and click on Petrucci Music Library, it brings me back to imslp.org/wiki/Main_Page. Is this right, or is it supposed to be a completely different website?

This is right: all IMSLP-EU scores are searchable through the Petrucci Music Library, like any other scores at IMSLP. There is no dedicated front-end to search IMSLP-EU scores: IMSLP and IMSLP-EU catalogues are integrated within the PML web interface.

Would it be asking too much that digressions/discussions concerning football, etc. take place under "Off Topic"?

How is complete separation possible when the one site links to the other. I'm not complaining, but just slightly worried about the legal aspects.

Lyle,

I’ve split the topic off as you asked.

I’m curious as to the legal foundation as well as the practical matter that the site refers (EU) downloads to the imslp.eu image server. I notice the new (EU) tag means that quite a variety of works have now escaped the [TB] jail, such as the HCRL editions of Joseph Haydn’s symphonies, but also included in that number are many of the scans from the Neue Mozart-Ausgabe, which has the practical effect of making it both possible and practicable to reactivate that project to incorporate all of the 86 volumes currently in the public domain in Germany, and would help to close a number of large remaining gaps in IMSLP’s coverage of Mozart’s œuvre. (Most volumes would have been blocked from download until the 2060s or later under the previous arrangements, which was one of the main reasons for putting the project on ice.)

However, and especially being a copyright reviewer, I would like to know what special issues need to be considered for files uploaded to IMSLP-EU.

Regards, Philip

The big thing of course pertains very much to editions like the NMA (NBA, etc.) issued more than 25 years ago. They are free in the EU, also in Canada due to the odd Canadian version of rule of the shorter term (it's basically a RoST with a specific exemption for NAFTA countries - USA and Mexico). Germany's law is 25 years, and no other EU country has a law mandating a greater term length for urtext editions (Italy's is only 20, for example). The 93/98 EU Copyright Directive states that member countries can optionally protect such editions for a maximum term of 30 years from publication. Therefore, I think you should tag any items less than 30 years old with a "C". There would also be a wider potential number of sound recordings available, as the EU term is presently 50 years from publication. However, please take note that the EU politicians have already gone through the first stage of increasing this term to 70 years, which will probably be retroactive.

Hi Carolus,

By retroactive, do you mean capable or inserting items that have already fallen into the public domain back into copyrighted status? And only recordings?

Regards, Philip

PS: I notice among the NBE volumes, Hugh Macdonald’s score of Les Troyens (maybe not items from the supplement) would certainly be hostable on IMSLP·EU. (Along with: Symphonie fantastique, Grande symphonie funèbre et triomphale, Huit scènes de Faust, La damnation de Faust vol. I, Requiem, Te Deum, Songs for solo voices & orchestra)

Yes, that is exactly what I mean. The increase in copyright term from 50pma to 70pma was retroactive in most (not all) EU countries. Since I have left a message with Hugh MacDonald and await his response, please refrain from posting his Berlioz editions at IMSLP-EU for the time being - just as a courtesy to him. (It might be a bit of a shock to have me asking for his blessing when the editions are already up!) If he's amenable (and helps to persuade Baerenreiter), we might be able to have them on the main server as well, which would be a very nice thing.

As I said, This is why we need IMSLP-Canada to cater the bulk of composers who died *between* 50 and 70 years ago. For example, Dohnanyi will enter PD in Canada and 50+ country next year, but we will *not* be able to publish any of his post-1923 works without IMSLP-Canada, because these works would be copyrighted in both USA and Europe!

IMSLP-Canada will again be an independent entity from IMSLP-Pertucci, and will be chaired by a Canadian citizen residing in Canada. Feldmahler will *not* be officially involved.

Actually, I am not so sure that Canada would be such a good idea for this in the long run. There is a lot of lobbying and pressure being applied by the huge US entertainment companies for Canada to extend its copyright law to 70pma. If that happens (which is a possibility), it would be better for there to be a server located in a country with a 50pma term where there is less chance of term extension via bribery.

How about China? Nearly all of the SE Asia (incl China, Japan and Korea) have life + 50. The political environment in SE Asia is much less sympathetic to these copyright bastards.

If you worry about press-freedom in mainland China, how about Hong Kong?

It has very similar copyright laws as Canada

http://en.wikipedia.org/wiki/List_of_co ... ght_length

I gather that a number of IMSLP contributors reside in Hong Kong.

If you are looking for a place where copyright term is likely to stay as life + 50 yrs, I think you should look in Asia.


What do you think?

kcleung

If I might add my £0.02 worth, having an IMSLP in Canada might help to give some leverage to lobbyists campaigning to keep Canadian copyright laws the same. Though I doubt it would have much an impact in the face of US pressure, it is still a little defeatist to give up before we've even started.

Does anyone know if any volumes of the new Berlioz edition (and specifically, the operas) are eligible to appear, or are in the works to appear via imslp-eu?

Thanks.

Ed