Quiz: Mystery scores

[Luke]

Next one is a reduction of a piano concerto, G major, looks perky in one of those P composers ways - Prokofiev or Poulenc. But it's not the second, so I'm going for the first, and it's not 1, 2, or 3, and it's two hands so it isn't 4, so is it 5?

[Luke]

I need to draw breath.... 

[karlhenning]

MONTEVERDI

From the seventh book of madrigals, yes ; )

Next one is a reduction of a piano concerto, G major, looks perky in one of those P composers ways - Prokofiev or Poulenc. But it's not the second, so I'm going for the first, and it's not 1, 2, or 3, and it's two hands so it isn't 4, so is it 5?

It is the Fifth, the middle movement, Toccata: Allegro con fuoco.

[karlhenning]

I need to draw breath.... 

Well done!

[(poco) Sforzando]

How many are left?

[Luke]

Too many for comfort!

[karlhenning]

17 left . . . which I am pleased about, for it cost me some time and a little labor . . . I shouldn't want them all burnt through in an hour! : )

[Luke]

Speaking personally, apart form the Gurrelieder and the Herzgewachse, I haven't got any on the second page of the new ones. Quite a few of the first page are gone now, though.

[Luke]

Karl, there's always the magic of 'Prt Sc' if you have anything on your computer you want to set. That's all I can do right now, with my scanner not available.

[karlhenning]

Karl, there's always the magic of 'Prt Sc' if you have anything on your computer you want to set. That's all I can do right now, with my scanner not available.

True enough; I've had heavy resort to that in the past.  I have been wanting to scan stuff I've got on the shelves . . . some of which I had clean forgotten about, like that 1963 Muzgiz imprint of the reduction of the Prokofiev Fifth Concerto!

[karlhenning]

One example which I thought might be a shade easy, I chose because it's a passage which is written such that somehow, I've never heard it in that meter.

A couple of them I have played or otherwise performed in, so a lot of this set has sentimental value for me.

One other example isn't blatant, of course . . . yet very much of the larger work.  A bit funny, because I don't think I had listened to it, at all, for a long time before I composed a certain scene of White Nights; yet, looking at the score and listening, it's almost as if that movement was a conscious model for me there.

[(poco) Sforzando]

One example which I thought might be a shade easy, I chose because it's a passage which is written such that somehow, I've never heard it in that meter.

A couple of them I have played or otherwise performed in, so a lot of this set has sentimental value for me.

One other example isn't blatant, of course . . . yet very much of the larger work.  A bit funny, because I don't think I had listened to it, at all, for a long time before I composed a certain scene of White Nights; yet, looking at the score and listening, it's almost as if that movement was a conscious model for me there.

41 - scherzo from Sibelius 2, I think.

[Luke]

I think you are right. I wondered if that was Sibelius and then for some unacocuntable reason decided it wasn't. The print style, I think. 

[karlhenning]

21 is the very start of a piece, whose score has a more baldly minimalist methodology than other scores of his I have seen. Interesting that he has the descending stems on the wrong side of the notehead; and that he wanted to specify the octave transposition in the clef for the contrabassi.

28 is a not-especially-well-known piece by a staggeringly popular composer. It is the close of a Largo (maybe you gathered that already).

I think there are enough elements in 29 that are characteristic, that I shan't say much more. Interesting that the composer calls for both trombe and cornetti.

There is only one part missing in the excerpt provided for the quirkily scored 33.

34 is a number from an Album for the Young.

36 is a piece in whose dislike (or near-dislike) two disparate communities were curiously united.

38 must be non-representative in a sense; it is from an oversize score, and I selected this because it would fit on my scanner's glass.

[karlhenning]

41 - scherzo from Sibelius 2, I think.

Exactly.

[Luke]

Oh goodness, is 38 from Pli Selon Pli? (Don) It looked like Boulez from the off, but I concentrated on the piano part when I should have looked at the cello part - that certainly looks like one of the many striking moments from this wonderful piece that are seared on my mind from the countless listenings I gave it as a teenager!

now I'll be wrong, I bet....

[Luke]

Is that your score, Karl? How much do you want for it? 

[karlhenning]

Oh goodness, is 38 from Pli Selon Pli? (Don) It looked like Boulez from the off, but I concentrated on the piano part when I should have looked at the cello part - that certainly looks like one of the many striking moments from this wonderful piece that are seared on my mind from the countless listenings I gave it as a teenager!

now I'll be wrong, I bet....

That's it!

[karlhenning]

Is that your score, Karl? How much do you want for it? 

Won't be parted from it! : )

[Luke]

Hmm, it's a hard one to track down for sensible money, that one. I only need Don, I have some of the rest - but it's Don that is the one which is so deep in my musical psyche...