Quiz: Mystery scores

[lukeottevanger]

Oh, and of course, the guesses of Britten (LO 236, Sforzando) and Wyschnegradsky (LO 237, Johan) are correct. That Wyschnegradsky is an amazing piece. (So is the Britten, of course, but then we'd only expect that of him)

[(poco) Sforzando]

Is your remaining one the Liber Scriptus which Verdi originally wrote for the Manzoni Requiem before turning it into the version we all know in 1875?

Yes it is. Obviously all eight of mine were too simple. I will have to ransack the shelves for some real obscurities.

[lukeottevanger]

Yes, please do. And I'll stay up later tonight just in case! 

[Guido]

Yeesh up at 6.45am on a Sunday Luke! Well I almost was but that's because I didn't go to sleep until then!

[lukeottevanger]

Yeesh up at 6.45am on a Sunday Luke! Well I almost was but that's because I didn't go to sleep until then!

Small children, Guido!

[lukeottevanger]

What the hell....

LO 240, 241, 242, 243

[lukeottevanger]

LO 244, 245, 246, 247

[J.Z. Herrenberg]

# 241 Jean Francaix - 5th movement from 'La Promenade d’un musicologue éclectique'

[lukeottevanger]

Too good. Or maybe I should stop leaving these titles in.....  Funny how those ones seem to go first!

Those footnotes at the bottom, unreadable at the resolution here, say things such as:

1) brief meditation, right hand on the keys
2) left hand in Glenn Gould position
...
6) raise the hands slowly, while contemplating the sky in meditative inspiration, then let them drop again feebly

Other movements include hommages to Handel and Ravel, a 'Hommage a Domenico Scarlatti (Couronne par Beethoven et par Mendelssohn, sous le regard complice de Debussy)', and a 'Hommage a Adolphe Adam (De l'Institute)'

[Mark G. Simon]

LO 246 is perhaps Beethovens "Equale" for four trombones?

[(poco) Sforzando]

LO 246 is perhaps Beethovens "Equale" for four trombones?

I'm not Luke, but I'm pretty sure you're right.

[lukeottevanger]

I am, and so am I (pretty sure you're right, that is!)

[lukeottevanger]

Bedtime...

[lukeottevanger]

Good morning!

Just to get myself to 250, and then I'll stop for a bit - promise!

LO 248, 249, 250

[(poco) Sforzando]

250, in those teeny tiny little notes, is the great passage in the center of Stockhausen's Gruppen, where the brass from all three orchestras sound a set of chords that are meant to be heard stereophonically across the hall.

I've never heard Gruppen live. On the one occasion I met Pierre Boulez, I asked him if he'd consider doing it in New York, and he said there is no suitable venue for performing it here.

[Mark G. Simon]

LO 249 actually has the words "Opus Clavicembalisticum" written at the bottom. I'm going to assume it actually is part of that work.

[lukeottevanger]

Sforzando - Gruppen is correct. Of course I chose this fantastic passage deliberately.

Mark - you saw the reference to the O.C., but it's mentioned there because the music at this point quotes that huge work's first fugue subject; on the next page (the last of this brief, four page work) that fugue subject is built up into a large canon before the final flourish. However, though the piece isn't by Sorabji, he is 'the subject' of the music.

Like my no 219 (and also my no 234, though I haven't said that until now) the composer of this no 249 is best known as a pianist. And whilst I'm in a clue-giving mood, the composer of my 212 is in more roughly equal proportions both composer and pianist, if that helps you there.

[Sean]

Does anyone have the amazing, and sexual, climactic moments of the Shostakovich Sixth symphony scherzo? One of the few scores I followed closely years ago.

[karlhenning]

Not closely enough, if you imagine anything sexual about it.

[Sean]

Not closely enough if you don't.