Quiz: Mystery scores

[(poco) Sforzando]

...what I mean is, you intend them to get harder as they go on, but to an extent that must be conditioned by your own idea of what is easy and what isn't

Ahem . . .

[lukeottevanger]

Gesundheit.

[lukeottevanger]

You know what I mean though - I thought The Planets, the Glagolitic Mass etc would be easy, but they proved among the harder ones of the batch.

[(poco) Sforzando]

I'm stuck myself - again; I'm still on 25, which once again I think I know. It's one of those sturdy little baroque-looking tunes that seems familiar but which may well not be. Some of these last few have been hard - if one doesn't know the melody straight off then one is pulled up short much quicker than with 'mystery scores' where there is so much more information to go on, more lines of enquiry to make.

Well, yes, especially as one gets no tempo indication, dynamic, harmonization, or instrumentation. And when one confronts a key signature of three flats and a melody in G major, only to be told this is the "first half" of a beautiful theme . . . .

[lukeottevanger]

It is though, a lovely little tune.

I did give you a clue, though, if you look hard enough. A scrap, but enough to get the piece, I hope.

[(poco) Sforzando]

You know what I mean though - I thought The Planets, the Glagolitic Mass etc would be easy, but they proved among the harder ones of the batch.

Yes, but I did finally get The Planets. It's harder to remember all that wispy stuff near the end than if you had just given Jupiter or Mars or some such - Duh-Duh-Duh DUH DUH DUH-DUH DUH!

[lukeottevanger]

  Well, I didn't want it to be too easy.... 

[lukeottevanger]

And when one confronts a key signature of three flats and a melody in G major...

Gotta love those mediant relationships, though, hey?

[(poco) Sforzando]

Gotta love those mediant relationships, though, hey?

I'll get this if it kills me.

[lukeottevanger]

That wasn't a jibe, btw. More a clue....

[J.Z. Herrenberg]

[I don't know what you two are talking about, but I am enjoying the exchange...]

[(poco) Sforzando]

That wasn't a jibe, btw. More a clue....

I know, I know. Something that starts in E flat and works its way to G.

[rappy]

Seriously, that are enough hints now, Sforzando! You'll laugh when you've got the answer.

I know that the classification of well-known and less-known themes depends very much on your listening habits, but I tried to be a little bit "objective". Otherwise, #25 would have been in the first five, it's from a piece which I listen to quite often. 18, 19 and 20 are not supposed to be very difficult, just a little bit more difficult than the first rounds - e.g. the famous Mozart compositions.
But #25 is not a major work and the following motives will not be that famous, too... you'll see 

[lukeottevanger]

More, by a composer who likes mediant relationships. Forget I said that, I'm saying too much....

[rappy]

.. for example Beethoven. Look at the Waldstein!

[(poco) Sforzando]

.. for example Beethoven. Look at the Waldstein!

It's not the Waldstein!

[lukeottevanger]

Correct. So you can cross that one off the list....

[lukeottevanger]

Managed 25! Through to 29 now...

[J.Z. Herrenberg]

I stand in awe.

[lukeottevanger]

Be nice to know if I was over half way now, though! Don't quite agree with Rappy that the not knowing makes it more exciting. It's more exciting when you know what you're aiming for, I think.

29 is hard - I'm leaving it for now!