Quiz: Mystery scores

[Guido]

here's a little one from a score that I have been looking at today.

[lukeottevanger]

Beethoven Triple Concerto, I think

[(poco) Sforzando]

LO 224 (hard, so I've left the name in again) and 225 (easy)

224 is from Les Heures Persanes by that "other" French impressionist, Charles Koechlin.

[(poco) Sforzando]

Just one from me so far. Shouldn't be hard.

[Mark G. Simon]

Well, it sure looks like a Schubert piano sonata to me, probably one in C major.

[lukeottevanger]

It is, it's the unfinished one, 'Reliquie' D840

[(poco) Sforzando]

It is, it's the unfinished one, 'Reliquie' D840

Bien sur (related to the Schubert thread, where some perceive Schubert as unable to construct a Beethovenian development section). And I want credit for 224! 

[lukeottevanger]

Noted....

(Nice of me to leave in the title again, wasn't it?  )

[Symphonien]

No 4 looks like Murail to me. I'm ploughing through my 4 CDs of his music, and there are many similar passages. If it's not him, someone tell me and save me hours of spectral botherment!

Murail it most certainly is. One of his most famous works, I think, although my knowledge of him is fairly limited.

I will have to take a look at some of your scores later Luke! If other people don't guess them all first in the meantime...

[lukeottevanger]

Of mine, no 219 is a major, major piece (though actually quite a short work), whose opening bars (I thought) are epochal and infamous. To look at even more than to hear. I'm sure most of you know it.

Murail - well, Au dela du mur du son had many passages which sounded like this. But his most famous pieces are things like Gondwana and Terre d'ombre, I suppose.  I guess the latter, for now.

[karlhenning]

Though I take part all too seldom, I always enjoy this thread.

Just saying.

[lukeottevanger]

Pleased to hear it, Karl. 

I've said it before and I'll say it again - this thread is Sean's great gift to mankind 

[lukeottevanger]

(related to the Schubert thread, where some perceive Schubert as unable to construct a Beethovenian development section)

Be that as it may - and of course he was well able to do so if he wished, as this example demonstrates - he's certainly able to construct a Schubertian one, which, to be blunt, is what I look to him for. For Beethovenian music, I tend to go to Beethoven, strangely enough. It is not written anywhere that Schubert (or anyone else) always has to be Beethovenian to qualify as a great composer, and the implication from certain people on that thread - that all music must be judged by Beethoven's aesthetics - is misguided to say the least.

[greg]

Murail? Wait, which one?

[lukeottevanger]

Why, this one of course? Who else could it be?

[(poco) Sforzando]

Be that as it may - and of course he was well able to do so if he wished, as this example demonstrates - he's certainly able to construct a Schubertian one, which, to be blunt, is what I look to him for. For Beethovenian music, I tend to go to Beethoven, strangely enough. It is not written anywhere that Schubert (or anyone else) always has to be Beethovenian to qualify as a great composer, and the implication from certain people on that thread - that all music must be judged by Beethoven's aesthetics - is misguided to say the least.

It was so written by Mr. Premont there:

In my opinion his movements in sonata form e.g. generally lacks contrast and drama. As you know, the point of the sonata form as designed by its inventors is the contrast (in the exposition) and the "fight" (in the development section) between the first and second theme. You find this in the music of Haydn, Beethoven - even Mozart, and many others, but very seldom in the music of Schubert.

Meanwhile 219 - some piece of total serialism?
220 - looks Messiaenic. (But not Messianic.)

[lukeottevanger]

It was so written by Mr. Premont there:

Yes, I know, that's the sort of one-size-fits-all post I was refering to when I said 'the implication from certain people on that thread - that all music must be judged by Beethoven's aesthetics - is misguided to say the least.' Your Schubert illustration is useful as proof that Schubert could compose that way when he wisehd to - my point, though, is that he doesn't have to do so to be considered great - the type of writing we see in other sonata movements of his may not conform to Beethovenian norms, coming as it does from a different aesthetic, within which it works perfectly, but that doesn't preclude its being great music.

Meanwhile 219 - some piece of total serialism?

Some piece, he says! Some piece....?! I ask you....

220 - looks Messiaenic. (But not Messianic.)

It does, doesn't it...

[greg]

Why, this one of course? Who else could it be?

hahaha

[Guido]

Mode de valeurs et d'intensités is 219 - surprised he didn't get that, given that he recognised that it was a piece of total serialism.

you are right on the Beethoven - the slow movement of which is one of the most beautiful of any I know. Not complicated but just a gorgeous Cantabile line over the orchestra, and using the cello in that middle/high register, rather than violin is a stroke of genius.

[(poco) Sforzando]

Mode de valeurs et d'intensités is 219 - surprised he didn't get that, given that he recognised that it was a piece of total serialism.

I don't know everything . . .