Quiz: Mystery scores

[Guido]

violon=bass
cello=little

violoncello = little bass

[Maciek]

That won't work on me. I know it's a fish, OK?

[Guido]

Curses, you saw through my insidious plan. Foiled again!

[sul G]

I'm afraid this reticence on my previous scores leaves me no alternative. I will continue to ply you with new ones. Now, as with one of my most recent ones, some of these have current relevance on the board, being the subject of threads of the last couple of days. So, the longer they are left the harder they will be to track down....

447, 448, 449, 450

[sul G]

451, 452, 453, 454

[sul G]

455, 456

[sul G]

I must say my 455 is just a jewel of a piece, a flawless exquisite gem - so fresh, genuinely inspired and contemporary sounding, yet from a most unlikely source, almost as if the composer wrote it in spite of himself. It's pretty well-known within its genre, too. Once it's identified I ought to make sure you can all hear it too....

[sul G]

And maybe just to give a little kickstart to those new ones:

447 - quite well known composer, I have spoken to her on the phone.
448 - Maciek ought to know, though I used to live nearer this composer than he may have done...
449 - very famous composer, this piece (part of) the subject of a recent thread
450 - very famous composer
451 - very famous composer
452 - discussed recently on current thread
453 - fairly famous composer
454 - discussed recently on current thread
455 - fairly famous composer
456 - famous composer, the instrumentation is the key here.

[sul G]

First list, part one
and
First list, part two

Second list (one long part)

Third list (one long part)

Fourth list



Set by Guido

55 - Faure - D minor Trio - (Mark)
56 - Stravinsky - Four Russian Songs - (Luke)
57 - Barber - Canzonetta - (Luke)
58 - Moeran - Serenade - (Luke)
59 - ? -

Set by Luke

401 - Mendelssohn - Sonata op 6 - (Sforzando)
402 - Mendelssohn - Fantasia on the Last Rose of Summer - (Sforzando)
403 - Schoenberg - Variations - (Sforzando)
404 - ? -
405 - ? -
406 - ? -
407 - ? -
408 - ? -
409 - Janacek - Cekam Te! - (Guido)
410 - Janacek - Souvenir - (Sforzando)
411 - Janacek - Violin Concerto - (Guido)
412 and 412a - Kurtag - Jatekok - (Guido)
413 - ? -
414 - ? -
415 - Wall Street Rag - Joplin (Mark)
416 - Medtner - Sonata Reminiscenza - (Sforzando)
417 - ? -
418 - ? -
419 - Janacek - Moravian Folksongs (for piano) - (Maciek)
420 - ? -
421 - ? -
422 - Tippett - Concerto for Orchestra - (Mark)
423 - ? -
424 - ? -
425 - ? -

CLUES to the above!

Then two batches, each united by the same type of connection - which, it has been discerned, is to do with the 'spelling' of composers' names in the score
Batch 1:
426 - ? -
427 - ? -
428 - ? -
429 - ? -
430 - ? -
Batch 2:
431 - ? -
432 - ? -
433 - ? -

and then

434 - Langaard - Music of the Spheres - (Maciek)
435 - Mussorgsky - The Marriage - (Maciek)
436 - Horatio Parker- A Star Song - (Johan)

...and another batch of piano pieces...
437 - Stevenson - ? - (Dax)
438 - Wild - Variations on Someone to Watch Over Me - (Dax)
439 - Gershwin/Grainger - Love Walked In - (Dax)? -
440 - Gershwin/Finnissy - ? - (Dax)

441 - Berg - Chamber Concerto - (Guido)
442 - ? -
443 - Reger - Clarinet Quintet - (Mark)
444 - ? -
445 - ? -
446 - ? -
447 - ? -
448 - ? -
449 - ? -
450 - ? -
451 - ? -
452 - ? -
453 - ? -
454 - ? -
455 - ? -
456 - ? -


Set by Maciek

93 - ten Holt - Canto Ostinato - (Dax)
94 - Tchaikovsky - Un poco de Chopin - (Luke)
95 - Szymanowski - Prelude and Fugue - (Luke)
96 - ? -
97 - ? -
98 - Stojowski - Cello sonata - (Luke)
99 - ? -
100 - Chopin - Sonata no 3 - (Luke)
101 - Szymanowski - Violin Sonata arr cello - (Guido)

[Maciek]

Ha, ha, ha! I love it how you always give the same clue for Panufnik (448)!

I don't recognize the piece but I'll see what piano recordings I have and do some checking.

[sul G]

Ha, ha, ha! I love it how you always give the same clue for Panufnik (448)!

Well, firstly it's clearly the most important biographical fact about him. And secondly, we need to get some impetus with the old identification!

[sul G]

In honour of the thread du jour, a few more. Some of these are sickeningly easy, and I haven't even attempted to erase any clues, so it's first come first served. And there's one hiding in there that doesn't belong.

457, 458, 459, 460

[sul G]

461, 462, 463, 464

[sul G]

465, 466, 467

[sul G]

  Shocked and surprised. Most of these are easier than easy, honestly. Just remember what the most active thread was yesterday...

[Guido]

457 Wind Quintet
461 Serenade
463 String Trio

All by Schoenberg. I feel guilty trying to get these as I have't even heard the scores...

[sul G]

461 isn't the Serenade - and on this one (and this one only) I must admit to a little bit of trickery. We can't have them too easy, can we? But yes, it is by Schoenberg, as are all but one of these new ones. And it's one of his best-known scores. So not that much trickery.

[sul G]

As a string player you owe it to yourself to hear the String Trio. It's one of the great chamber pieces, full stop, and at the time it was written must have been among the most extreme string writing around (one of the lesser-remembered innovatory sides to Schoenberg's little collection of innovatory sides, this). So grab a copy of the score, too. The page I quote was chosen not for the technical challenges - it's not one of the harder ones - but because it includes a bit of everything, including one of the magically lyrical and virtually tonal passages with which this mostly rebarbative score soothes the ear now and then.

[Guido]

Am listening to it as we speak courtesy of the Schoenberg website... This is a fantastic piece - not sure what's so extreme about it (or were you talking about extremeness with regards to difficulty?) It doesn't even sound that dissonant, compared to some nomically tonal music that I have heard. And those gorgeous interludes you mention... 0:)

[sul G]

(or were you talking about extremeness with regards to difficulty?)

This. In the case of my last post, anyway. It is, however, extreme in its intensity, don't you think - the expressionism of the pre-12-tone days rearing up again in a frightening way.