Works with many different segmentations

musicbrainz
classical
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#1

Hi!
I’m currently trying to clean up Schütz, and I have run into a problem several times:
Some of his works, especially the oratorios, do not have a default segmentation like others, there are no clear movements so everyone splits it his own way:
As an example, the split of the Johannes-Passion on
https://musicbrainz.org/release/0d3ff72f-0c20-4d0c-badf-b88ca2d5058c and
https://musicbrainz.org/release/12ec71e4-341d-4ab6-85ea-f217e2b2b924
Now I’m wondering how to handle this correctly: should I split the work into its tiniest possible bits and then each recording will have several works per track (I did this with the Matthäus-Passion https://musicbrainz.org/work/363d7924-59c2-413b-a2bf-638ab0584a89 and ended up with parts that were about 3 seconds long sometimes) or should I just keep the whole work and make only partial recordings of anything? The first seems better on the pure data standpoint, but it is a real pain to enforce and maintain. How do the Wagner specialists deal with it? I noticed this on the Wagner operas as well.

Also, I noticed that on Schütz (and I guess on others) there is a tendency to replace the composer by the performers in the recording artists before a work is added. This makes it impossible to do what I’m trying to do (go to the Schütz page, go to the recordings tab and process everything that is there). Is there a way to clean up a composer that does also spot recordings where the composer has been removed as a recording artist?
If not, is there a way to, when I go through the latest edits for Schütz, to spot the recordings where the composer was replaced as a recording artist without a work being added (maybe an userscript) without going to the page of each recording to check?
Thanks,
Dorian


#2

Generally, for cases like these, I just use partial for the whole work. For example, Liszt’s Piano Sonata.


#3

I’m wondering if it still makes sense for works of the scale of an oratorio. It seems that the opening and closing choirs are consensual and well identified, maybe I make a work for the opening, one for the closing and one for the bulk.


#4

I did this with a couple of operas, and it is, as you say, a real pain.

That seems a sensible approach: choose the divisions that are pretty much universally acknowledged, and don’t try to subdivide further.

It’s still probably inevitable that different recordings, and different editors, will choose to divide the work into different sections that overlap. This is unfortunate from the point of view of the work entity, which won’t have a clean division into sections and subsections, but I don’t see an easy solution.