Quiz: Mystery scores

[lukeottevanger]

I'll live with the Taverner. My LR21-24, 26 remain unanswered. (I think we're all getting more obscure as this goes on.)

Possibly - though I'd say at least three of my last selection are probably known by most people here, and maybe six, not including the two you got, are only slightly harder.

The Tavener - you're so close I'll let you have it  - is simply called In Alium. And I think your life can go on very happily if you never hear it, though it is full of sonorities such as I've never heard elsewhere.

[Larry Rinkel]

Possibly - though I'd say at least three of my last selection are probably known by most people here, and maybe six, not including the two you got, are only slightly harder.

Maybe, but I'm at the point of extreme sensory overload.

[lukeottevanger]

I'll live with the Taverner. My LR21-24, 26 remain unanswered. (I think we're all getting more obscure as this goes on.)

Clues on my 5 unanswered ones, just to move this along:

2 are from operas
1 is by a woman
2 are by the same composer
1 was greatly admired by Brahms
1 is British
1 is American
2 are string quartets (big help there)
All composer last names begin with consonants
All composer first names begin with consonants
3 composer first names have only four letters

Sorry, I didn't realise you meant this batch of yours.

Is number 24 from the Quartet by Ruth Crawford Seeger (which would fit a few of your categories!). I seem to recall that reductive-additive pattern from this piece

[Larry Rinkel]

Sorry, I didn't realise you meant this batch of yours.

Is number 24 from the Quartet by Ruth Crawford Seeger (which would fit a few of your categories!). I seem to recall that reductive-additive pattern from this piece

Yes.

[lukeottevanger]

Maybe, but I'm at the point of extreme sensory overload.

Sounds...intriguing. I too should really stop for now, as I have less fun things that need to be done, and it is late already. But I doubt I'll be so sensible.

[Larry Rinkel]

LO 29

Is this Richard Strauss?

[lukeottevanger]

No.

To me a big clue as to the identity (or at least the nationality) is the chord progression of the last bar. Nothing spectacular in itself, but in this context, to my mind anyway, it tends to point quite strongly towards a particular type of music from a particular country

[Larry Rinkel]

No.

To me a big clue as to the identity (or at least the nationality) is the chord progression of the last bar. Nothing spectacular in itself, but in this context, to my mind anyway, it tends to point quite strongly towards a particular type of music from a particular country

I, I+, possibly leading to VI in first inversion . . . I'm drawing a blank.

[Guido]

Last 2... Easy one, and... another easy one...?

[lukeottevanger]

[to Larry]

That's right - not much of a clue, I know - it could just as easily be the be the James Bond theme (though in the major mode)! But when combined with this kind of texture and melodic material, at least to my ears it's quite a specific sound, and I could probably cite you other similar instances of its use, except that that would give the game away. This theme first appears on a solo clarinet at the beginning of the movement; this is the start of its climactic restatement (it grows from here).

[Larry Rinkel]

Last 2... Easy one, and... another easy one...?

19 - Ives 4, 2nd mvt. - though your score is laid out differently from mine.

[lukeottevanger]

Guido, I don't know either, but the second one looks like a pretentious pile of crap.

Actually, the first one could be Ives 4, come to think of it.

[Larry Rinkel]

Guido, I don't know either, but the second one looks like a pretentious pile of crap.

LOL

Actually, the first one could be Ives 4, come to think of it.

I'm sure of it.

Is LO34 from that Jerry Springer Opera that was so big in the UK?

[Larry Rinkel]

[to Larry]

That's right - not much of a clue, I know - it could just as easily be the be the James Bond theme (though in the major mode)! But when combined with this kind of texture and melodic material, at least to my ears it's quite a specific sound, and I could probably cite you other similar instances of its use, except that that would give the game away. This theme first appears on a solo clarinet at the beginning of the movement; this is the start of its climactic restatement (it grows from here).

Unfortunately I'm not getting anything more.

[Larry Rinkel]

LO 33

Looks like B+H typography, similar to that used for BB in the War Requiem, though it looks a bit too dissonant for Britten . . .

[lukeottevanger]

LOL

Not too loud, Larry... I assume Guido has just taken it out of context.

Is LO34 from that Jerry Springer Opera that was so big in the UK?

I'm not sure if you are serious, but the answer is no! This is a much more scandalous piece altogether.

[lukeottevanger]

Looks like B+H typography, similar to that used for BB in the War Requiem, though it looks a bit too dissonant for Britten . . .

Correct on publisher, initial of composer's surname and his decade of birth. Which is more than enough clues.

[Larry Rinkel]

Correct on publisher, initial of composer's surname and his decade of birth. Which is more than enough clues.

Could be Leonard Bernstein, Gordon Binkert, or Robert Barclay - the last two just names to me.

One more this evening from me.

[lukeottevanger]

Could be Leonard Bernstein, Gordon Binkert, or Robert Barclay - the last two just names to me.

So which one do you think it is likely to be, then....

[lukeottevanger]

Is your latest from Bolcom's Songs of Experience? I recognise my Blake, and I recognise the words 'Rock singer'. Ergo.....