Quiz: Mystery scores

[lukeottevanger]

Well done Greg, you got post no 1000!

77 is a British composer

78 is not Scriabin, but he is the composer that the music resembles that I talk about in my clue. Which, if you read it carefully, links back to two earlier scores of mine. Now you know the model for them, you might be able to get them too.

80 is not Ferneyhough; the handwriting is more spidery than his. But it is from the 'Complexity' school. Which narrows down the field.

[matticus]

#80 is Richard Barrett (all these NC ones are easy to identify by the handwriting!) and I guess it must be Coigitum, though that's a piece I've never heard or seen the score to.

Still don't know what that earlier one I got wrong could be -- my printer's out of ink and the piano's too far away to read the score off the screen 

[bwv 1080]

Some hints on my remaining four:

2 have titles of taken from poems (one is by the same author of my signature tag)
1 is a transcription
the other is by a composer that Luke posted a different piece from

[lukeottevanger]

#80 is Richard Barrett (all these NC ones are easy to identify by the handwriting!) and I guess it must be Coigitum, though that's a piece I've never heard or seen the score to.

That's correct - and a tricky one, I thought. You know your complexity scores well!

Still don't know what that earlier one I got wrong could be -- my printer's out of ink and the piano's too far away to read the score off the screen 

Which one was that?

[edit] I think you mean my 73 - the one you thought was the Book of Elements. As I say, playing it will help, but so will my clue that playing it properly is not actually possible. Someone who writes piano pieces not playable by human hand - who does that make you think of    ? Well, it isn't him  .... but it is someone closely connected to him, and the underlying principle (conflicting tempi etc.) is the same. In this piece the different tempi (all notated via tuplets within one overarching tempo) are presenting different tunes, motives etc., each of which you will surely recognise. All these clues together, and a bare minimum of searching, should provide you with the answer.

Don't say I'm not generous with my clues!

[greg]

Well done Greg, you got post no 1000!

wow, what a surprise! 

[lukeottevanger]

Thanks to Rob's vigilance, I've been able to put nos. 81, 86 and 87 up on the previous page, so check back if you want to see them. I think my last pages must have been the straw that broke the camel's back, upload-folder-wise      but thankfully Rob's been able to double its size     

So on with the show:

No 88 - another score from which many pages could have been chosen, each revealing one of the special features of the music. The composer talked of this pieces as treating

'three contrasting types of continuity which, in their alternation, strongly affect our passage-of-time consciousness.

This piece uses a pretty straightforward twelve-tone technique. The composer was one of the main post-Schoenberg dodecaphonists.

[lukeottevanger]

No 89 - possibly the most famous piece I have quoted from. Should need no clues - but it's a bit nifty, I think!

[edit - sorry, I put up the wrong attachment first time!]

[lukeottevanger]

No 90 - yet another for Maciek, lucky guy.

[lukeottevanger]

No 91 - not my favourite work by this composer, but, it it's own way, one of the most amazing. This composer is usually linked with a particular school of composer, but the similarities are actually quite superficial. More clues on request.

[lukeottevanger]

No 92 - I said 89 was easy/well-known. This is equally famous, possibly (round these parts anyway) even more so. Should be found straight away, and I've put it up mostly because it is interesting.

[lukeottevanger]

No 93 - one of the blanked-out bits is the name of the composer. The other is significant, not because the figure named is famous (he isn't) but because presumably it would make googling too easy. However, there is enough here - in terms of look and musical style - to have a good guess at the composer. At which point one could try googling around the dedication to see if the guess is correct or not.

[Maciek]

LO 90.
My favorite Lutoslawski vocal work, possibly my favorite Lutosawski piece too... Paroles tissées. Actually, this is the first time I get a glimpse of the score!

[lukeottevanger]

LO 90.
My favorite Lutoslawski vocal work, possibly my favorite Lutosawski piece too... Paroles tissées. Actually, this is the first time I get a glimpse of the score!

Correct - excellent!

[lukeottevanger]

No 94 - a piece which won the Pulitzer. There is an extra clue as to the title in the music itself, so this one shouldn't take long.

[lukeottevanger]

No 95 - a classic piece in early modernism and the transition to atonality. The odd-looking enharmonic notation of this page (meant to keep the canonic nature clear) is quite famous, and the expression marks are typical IMO. Should be quite straightforward.

[lukeottevanger]

No 96 - a piece I have mentioned elsewhere on this board. Was at one time considered the hardest piece in the piano repertoire, and though it may have been surpassed, it is still an iconic work. At the bottom of the page is a big clue. The piece is dedicated to and was premiered by a composer-pianist one of whose scores I've already posted on this thread (and the answer has been found)

[lukeottevanger]

No 97 - a great and quite well-known (though not as much as it should be) masterpiece by a major figure. This page contains typical fingerprints both of the composer in general and ones special to this piece AFAIK.

[lukeottevanger]

No 98 - The composer should be fairly obvious just from the look of the score. At first glance, this seems to be an unusually colouristic, non-motivic, page. However, after a certain date this composer began to use simple colour-points like this as motives in their own right; this and the unusual orchestration are clues as to the identity of the piece.

[lukeottevanger]

No 99 - this is the final variation of a set, though the piece isn't called 'Variations' except in the subtitle. The theme is pretty clear here, though you may need to play it. Once you've identified it, the composer and piece ought to  become easier to find, I hope.

[Mark G. Simon]

no. 92 is Mahler's 10th. The big-ass dissonant chord, in its 5th movement incarnation.