Quiz: Mystery scores

[J.Z. Herrenberg]

Did I leave too many words in?

You did... 

[Maciek]

435 Mussorgsky Zhenitba (The Marriage)...?

[sul G]

Did I leave too many words in?

[Dax]

438 is Gershwin arr. Grainger - Love Walked in

[sul G]

Right! Both the Gershwin and the Grainger elements are pretty clear in that one, I think. So now work on from that one to find the link with the others. Maybe even work back to the previous batches too. BTW, I have a recording of 438 played by the composer of 437. That's a nice little clue, I think.

[Dax]

438 is also a Gershwin tune (I forget what) but someone else's version
440 is Finnissy? (after Gershwin?)
437 looks like Ronald Stevenson.

[sul G]

Yes
Yes (and Yes)
Yes



(btw, you also said 438 for the Grainger one, but I assume you meant 439)

[Maciek]

Did I leave too many words in?

Is it really so difficult to believe that I could guess an obscure, unfinished Mussorgsky opera based on a generous 17-note sample?

[Dax]

OK - here are a few punts ...

438 is Someone to watch over me - arranged Earl Wild (?)
439 Grainger's version of Love walked in
440 Finnissy's version of How long has this been going on (?)
437 is then presumably a Stevenson transcription - of Grainger? The ragtime girl?

[greg]

Here we are - an unexpected new one:

434

I knew it looked familiar. However, I never could have guessed it- at least Maciek didn't leave me wondering for all eternity.

[sul G]

OK - here are a few punts ...

438 is Someone to watch over me - arranged Earl Wild (?)

Correct. Or, more precisely, Wild's Variations on Someone to watch over me. It's an absolutely superb piece. In this variation the theme is played up high, in an Italian quasi-mandolin trem, whilst underneath famous we hear fragments of Italian opera, as if Gondalas are passing left and right. On this page we have the end of O sole mio, a bit of the Venetian Carnival theme (you know the one, I forget it's proper name), O mio babino caro, the duet from Otello....the whole finishes off with a snatch of Nessun Dorma! A later variation is a particularly incredible melange - the theme turns into a tango, which then turns into Bach - fugue 1 from the WTC1; part of the Goldbergs (I think).... Then all three are made to coexist in a passage of strangely compelling logic!

439 Grainger's version of Love walked in

Yes. I love the 'waggle' here - when played well (eg by Stevenson) it's magical!

440 Finnissy's version of How long has this been going on (?)

Right idea, wrong piece

437 is then presumably a Stevenson transcription - of Grainger? The ragtime girl?

It's Stevenson, and it's Gershwin related, but it isn't a transcription. The nature of the Gershwin link is important, as it's the same link as in my previous recent batches of piano pieces, and as the link in 423 - though I can't believe no one's spotted it yet, as it's blatantly in your face in 423, and as at least 2 of the first 'batch' are pretty well known.

[sul G]

Come on folks, to which other composer does 423 refer, and how do we know?

[Chafing Dish]

Come on folks, to which other composer does 423 refer, and how do we know?

Well, Alban Berg is clearly mentioned in the score, with corresponding pitches. But that doesn't indicate who the compsoer is. Are we looking at one of his students?

[sul G]

Well, Alban Berg is clearly mentioned in the score, with corresponding pitches. But that doesn't indicate who the compsoer is. Are we looking at one of his students?

Well, that's a different matter (though yes, you are). The point is, though, that you're the only person who has mentioned the fact that Berg's name is spelt out here. And the spelling out of composers' name - there's your link....

[Guido]

I was looking for BACH and DSCH!

[Guido]

Have to say, I can't see the BEDG (I'm guessing that the R is Ré = D). I'm probably being a dunce.

[sul G]

Have to say, I can't see the BEDG (I'm guessing that the R is Ré = D). I'm probably being a dunce.

B = B flat (German nomenclature) in l.h.
E next beat, l.h.
D (= R, as you say), above this in r.h.
G next beat, in l.h.

though the fact that the whole name is written below the score was supposed to help you all!

Also, of course, there's the Jawohl, Herr Hauptmann Wozzeck quotation towards the end (on the previous page there's another Wozzeck quotation, Wir arme leut, too). But it's the spelling-things-out that concerns us here and in the other batches. And in the Stevenson too.

[sul G]

Whilst I'm at it, I never gave you this one. Same idea applies - this is a well known masterpiece:

441

[sul G]

And, hey, why not have this one too. Clues are there...

442

[Guido]

Whilst I'm at it, I never gave you this one. Same idea applies - this is a well known masterpiece:

441

adschbeg aebe ababeg...

that must be the chamber concerto of Berg then!

Though he could at least have done: arld scheberg, at eber, alba berg.