IMSLP Forums

Perhaps this topic has already been discussed elsewhere, but I've not yet come across it on the forums.
Would it be possible to clarify and standardise the titles used on IMSLP to describe composers' works, adding--where necessary--further details? I find it a bit frustrating at times trying to locate a particular work when the title is something like Sonata in E Minor with no mention of the instrumentation, opus or catalogue number, or year of composition. It would also be helpful if works of the same category were consistently referred to in the same way; as things currenlty stand, sometimes we find, for example, Cello concerto and at other times Concerto for cello and orchestra (perhaps the form should precede the instrumentation). Rather than merely sorting works alphabetically, they could be first sorted according to instrumentation and then placed in alphabetical order. Maybe there should be some guidelines regarding titles for all those uploading material. I'm probably being pedantic here, but most music libraries, archives, museums,conservatoria etc. necessarily have to adopt some such criteria when cataloguing their holdings.
Florio

We've actually had a number of discussions about this, and the works of some composers are in far better shape than others in this regard. When dealing with pieces with generic titles like Sonata and Concerto, it's generally far better to use Piano Sonata or Violin Concerto than a vague Sonata in D minor. However, listing a full instrumentation should not normally be the function of a title. The formal, full-dress titles of some works can be quite absurd, with tortured constructions like Quintette in E-double sharp minor for Ocarina, Piccolo Clarinet in E-flat (or Flute, or Oboe, or Violin), Alto Saxophone in E-flat, Tuba and Toy Piano 'De Profundis', Op.896ter. That's what instrumentation categories are for - which is yet another issue we've discussed several times. Wherever possible, an opus or catalog number should be included as part of the title listing to aid in precise indentification. Sometimes - especially for 18th-century composers with long catalogs of generically titled Concerti, Sonatas, Symphonies, etc. - it's helpful to include the the key of the 1st movement, though this is not needed in cases like Beethoven or even Mozart, where the long-standing system of opus numbers or Köchel catalog numbers is sufficient.