Quiz: Mystery scores

Started by Sean, August 27, 2007, 06:49:47 AM

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lukeottevanger

#1600
January 12, 2008, 05:30:18 AM
Both correct - the symphony one is quite hard, I think, I'm impressed it's gone already. I agree about the Triple Concerto - a wonderful piece, and this slow movement in particular is utterly ravishing.

Mark G. Simon

#1601
January 12, 2008, 05:32:26 AM
LO 197 is Sosostris' Aria from Tippett's Midsummer Marriage

lukeottevanger

#1602
January 12, 2008, 05:33:19 AM
Yes. Spotting a Tippett-ine theme here? There are two more....

Mark G. Simon

#1603
January 12, 2008, 05:47:19 AM
They must be early works that I am not familiar with.

But I'll take a guess that LO 191 is from Tippett's Fantasia on a Theme by Handel.

lukeottevanger

#1604
January 12, 2008, 05:52:56 AM
No, it's not. But I'm sure you know these works, they are among his best known.

lukeottevanger

#1605
January 12, 2008, 06:41:20 AM Last Edit: January 12, 2008, 06:43:29 AM by lukeottevanger
Four more whilst I'm here....

LO 199

lukeottevanger

#1606
January 12, 2008, 06:44:04 AM
LO 200

lukeottevanger

#1607
January 12, 2008, 06:45:27 AM
LO 201

As you will probably notice, this is a jazz transcription. I need the name of the performer being transcribed above all (name of piece too, if you can get it)

lukeottevanger

#1608
January 12, 2008, 06:46:08 AM
LO 202

Guido

#1610
January 12, 2008, 05:31:10 PM
LO196 Le Poisson d'Or is by Lord Berners.
Geologist.

The large print giveth, and the small print taketh away

lukeottevanger

#1611
January 13, 2008, 12:15:11 AM
Yes, it is - good work

lukeottevanger

#1612
January 15, 2008, 02:32:38 AM Last Edit: January 17, 2008, 01:58:48 AM by lukeottevanger
Well, that seems to have petered out quite quickly!  ;D Clues?

165 - last movement of an early symphony by an extremely famous composer. This is his first appearance on the thread Identified - Schubert's 4th Symhpony
166 - first movement of an early quasi-symphony by an extremely famous composer. This is not his first appearance on the thread, nor even his second, and he also appears later in this new set of scores (one of the ones which hasn't been guessed yet, so with clues below). Identified - Brahms's Serenade 1
167 - I chose this page because it has a rare example of early use of quartertones. They don't appear anywhere else in this piece, which is better known in its suite form, in which this page doesn't appear. Oh yes - extremely famous composer, who has been on this thread before.
168 - a choral piece, with the choir accompanied by a unique instrumental combination. One aspect of the notation of the upper of the two instruments is unusual and slightly misleading. Extremely famous composer, who has been on the thread before.
169 - what we see here is slightly misleading, in that you are not seeing the full complement of instruments. An extremely famous composer. Possibly the most famous of all, in fact, but for some reason not on this thread till now! Identified - Mozart's Sinfonia Concertante for oboe, clarinet, horn and bassoon
170 - superficially this has a similar look to 168, but actually the instrumental accompaniment to the vocal parts is entirely different. The metric notation is interesting here, if you know the work. Extremely famous composer. Identified - Brahms Neue Libeslieder
171 - [my favourite] part of a quasi-piano concerto by an EFC (extremely famous composer - actually they all are, so I'll stop saying it now!). The melodic line at the very beginning of the page should tell you what the piece is. (On second thoughts, it could reduce the number to two, possibly, though you will know which of the two it is). As far as I remember, this composer hasn't been on this thread yet. Identified despite my mistake - Liszt Totentanz
172 - great lieder writer; this is indeed a song, related to an extremely famous cycle. I don't think this composer has been on the thread yet, but I might be wrong. Schumann - Mein Wagen rollet langsam
176 - Look at the instrumentation. Two movement piece, a fact reflected in the title,this is the end of the first movement. Composer appears in this sequence of scores twice, but isn't the same composer as 166. Has been on the thread before. Debussy - Danse sacree et dance profane
178 - I've talked about this piece recently. It is tempting to give a facetious GMG in-joke kind of clue, but I won't. This is the end of an absolutely extraordinary few minutes of music, IMO. Debussy - Pelleas
179 - of all the great composers, this one may well be the least-discussed on GMG. He hasn't been on this thread yet, obviously.
181 - first time on the thread for this composer, this piece shares a vague formal similarity to 171, reflected in the title.
183 - the hugeness of the piano part here (this is part of its entrance) gives an idea of the scale of this work. Second time on thread for this composer, I think.
184 - much earlier on this thread I posted a piece with a specific similarity to this one. Larry got it, in the end, but by lateral thinking rather than recognition, as he didn't think a huge amount of its composer. As for this one, its composer hasn't been on this thread yet.
185 - whoever got 186 ought to get this one too. This composer has appeared on this thread quite a few times, and is in this particular set of scores too.


Clues for the next sequences (186-202) later

J.Z. Herrenberg

#1613
January 15, 2008, 03:36:28 AM
I saw the Dies Irae. It must be Rachmaninov, then?

171 - Rachmaninov, Variations on a Theme by Paganini
Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything. -- Plato

lukeottevanger

#1614
January 15, 2008, 03:48:53 AM
Quote from: Jezetha on January 15, 2008, 03:36:28 AM
I saw the Dies Irae. It must be Rachmaninov, then?

171 - Rachmaninov, Variations on a Theme by Paganini

I refer you to my clue - whilst I wrote it I realised that following this line of enquiry could lead you Rachmaninov-wards, which uis why I wrote the bit in brackets:

Quote171 - The melodic line at the very beginning of the page should tell you what the piece is. (On second thoughts, it could reduce the number to two, possibly, though you will know which of the two it is).

So, no, it's not the Rachmaninov, it's the other famous set of piano-and-orchestra-variations-which-use-the-Dies-Irae! - and I'm sure you do know it, it just hasn't sprung to mind yet.

J.Z. Herrenberg

#1615
January 15, 2008, 03:54:19 AM
171 - Liszt, Totentanz
Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything. -- Plato

lukeottevanger

#1616
January 15, 2008, 03:56:46 AM
That's the bunny.  :)

Maciek

#1617
January 15, 2008, 04:00:07 AM
Quote from: lukeottevanger on January 15, 2008, 02:32:38 AM
171 - As far as I remember, this composer hasn't been on this thread yet.

I hereby deduce 3 (three!) points from your total score, Luke, for planting misleading, nay, outright false! clues. $:)

And using the "AFAIR" formula is no excuse. $:) $:)

(poco) Sforzando

#1618
January 15, 2008, 04:02:00 AM
I'll try to play too. 202 is from the ending of Hansel and Gretel by Humperdinck.
"I don't know what sforzando means, though it clearly means something."

lukeottevanger

#1619
January 15, 2008, 04:02:43 AM
Quote from: Maciek on January 15, 2008, 04:00:07 AM
I hereby deduce 3 (three!) points from your total score, Luke, for planting misleading, nay, outright false! clues. $:)

And using the "AFAIR" formula is no excuse. $:) $:)

Oh yes, you had something didn't you. And so did Larry, now I think about it - one of the Petrach Sonnets. Ah well, I did my best.

I'm subtracting from you too, for not getting the Polish one straight away.  ;D Oops, did I drop a clue there...

It's not among those I just gave clues for, btw.
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