Quiz: Mystery scores

[Guido]

I'm going to guess LO114 is Robin Holloway's Romanza for violin an small orchestra. I amaze even myself sometimes.

[lukeottevanger]

Wow 

[Maciek]

OK, I'm getting a bit lost, so I'll just repost my unguessed scores with clues added:

MM11
MM11 is one of the most beautiful pieces of contemporary music I've heard recently - I was a bit obsessed with it for a while recently. It is played extremely slowly (this is page four of the score, and it begins past the fourth minute of the piece!). The piece quotes a certain composition by a certain very, very famous composer extensively. MM11 is one in a series, all written using a similar "technique".
[mp3=200,20,0,left]http://www.fileden.com/files/2007/8/25/1381505/MM11.mp3[/mp3]

The composer of this work is very well known in his/her country. Still, AFAIK, there's only one CD dedicated solely to this composer's work, and that is a recording of a Requiem mass. This composer has written a series of pieces the titles of which reflect the composer's attitude towards the musical past. This is one of them. If you recognize the material the composer is using here (a piece by a certain very famous Romantic composer), all you'll need to do is take the generic title our composer uses for this series and fill in the blank. Of course, recognizing the material might prove a bit difficult.

MM12
This is not my favorite piece by this composer but I've come to appreciate it much more recently. And it is certainly the most interesting of his scores that I've seen. If you've ever heard the piece it won't take you a minute to recognize the sung melody noted in the middle of the page. Incidentally, the composer of MM13 has also written a large piece which has a section with very similar melodic elements (at least to my ear). I think they both quoted from the same (folk) material but am not sure.
[mp3=200,20,0,left]http://www.fileden.com/files/2007/8/25/1381505/MM12.mp3[/mp3]

The composer of this work is definitely the most famous living composer from this country. Almost a cult figure. This composer has developed a very peculiar brand of music which could be called folk inspired minimalism. The example comes from this composer's most famous work. It is the second part of a cycle comprised of four large works. It is scored for, among others, certain ancient folk instruments which in performance are usually substituted by their modern classical counterparts.

MM13
This piece contains lots of minuscule quotes from a certain composer, most of them difficult to notice at first. One especially blatant one is the last couple of notes before the strings come in...  The quotes won't lead you to the composer or title of this piece straight away but at least you'll get a hint at the subtitle of it.
[mp3=200,20,0,left]http://www.fileden.com/files/2007/8/25/1381505/MM13.mp3[/mp3]

The title of this piece has something to do with the seasons. The subtitle, OTOH, evokes the Christian name of a certain very famous Romantic composer. The season evoked in the title is the time of the year when this Romantic composer died. The quotations in this piece are always very tiny, most of the music is newly written but in close imitation of the style, or at least spirit, of the composer being evoked. The composer of this piece has also written several other pieces evoking the work of other composers but they don't really form a cycle of any sort.

MM15
What you may take to be some sort of lead here, may in fact turn out to be very misleading... How's that for a cryptic clue?

OK, a bit more: young composer. I'm not really that much of a fan, and this piece isn't exactly a masterpiece - but I love the way it manages to look relatively simple while it is at times very complex rhythmically (well, perhaps not on this page...).
This composer was born in 1965. This composer isn't exactly world famous but is very well known in a certain seaside town. The piece is for a singing pianist. The text comes from a poem by a poet probably unknown in English speaking countries. He is not even known in Poland (though a small volume of his poems came out a couple of years ago).

MM18
You'll notice there's a quote here right away. But I'm not sure if recognizing that will lead you any closer to the answer - unless, of course, you know the piece. It happens to be the last thing this composer ever wrote. And perhaps his best composition (IMO).
[mp3=200,20,0,left]http://www.fileden.com/files/2007/8/25/1381505/MM18.mp3[/mp3]

This is the last work this composer completed before death. The subject of the text the music is set to is death itself. This can probably be guessed if you identify the really obvious quote of an extremely famous theme. The largest work this composer ever wrote was an opera (this composer only wrote one). This composer's work seems to have been inspired by literature very often - for instance, this composer would entitle pieces by using the names of literary genres. This piece is a setting of three poems by a poet who had been extremely popular among composers in the 20th century. Almost every major composer in this poet's country has written at least one song to a text by him.

MM24
Looks very much like everything else by this composer that I've ever seen. I've seen very little, mind you!

The most famous piece by this composer is based on the numbers 7 and 13.



Plus I remind you of the "general" clues:

2 of the composers are women. The names of both female composer start with the same letter!

These composers come from 3 different countries. One of the composers is American, all the rest are Europeans.

All of the composers are contemporary.

Except for one, all of the composers can safely be called famous - meaning that they are considered to be among the very best contemporary composers of their respective countries. If very hard pressed I would unwillingly cross out one more - but the remaining really are among the strictly selected creme de la creme.

Except for one, all of the composers are alive today.

[lukeottevanger]

And OK, more clues/new clues on my missing ones. I'm fairly sure people must have missed some of these clues the last time round, because in places they are about as blatant as I can make them without spelling out the composer's name! I've now made several of them even more blatant - bold shows where I've added additional information to that already given, which is especially the case in the ones which have been hanging around longest. Most of these clues make the answers easy to find, I hope.

44    - we've established that this is a piece of French organ music, by a specialist organ composer. I'll add that he is one of those much-lamented 'died-too-soon' composers, killed in action in WWII. As a give-away clue I'll also add that his youngest sister went on to become a famous organist in her own right. This composer's output is small, and this is one of his larger works. As you can see, the melodic writing shows the influence of Eastern musics, though this is not one of his pieces (there are some) with an 'Eastern' title. I don't think I can give more clues than this. Seems I have to! - first name is Jehan.

55 - As established, this is Suk. This example isn't from Asrael, but from a slightly later, and very wonderful piece. It is taken from the third movement, and the instrumentation in that movement is much reduced from that in the rest of the piece. Large orchestral piece, but slightly set apart from the Asrael set that also includes Ripening and Epilogue. Which leaves only one piece it can be

57 - Already established - this is Liadov. This is not a single movement orchestral miniature as e.g. Kikimora or The Enchanted Lake. The character of the tune in the horn tells you what kind of a work this is.

58 - Larry's nearly got this - a male voice piece by Schoenberg; surely a little searching will reveal the title. It's an awesome work, in its own way. Schoenberg only wrote one set of male voice choruses AFAIK!

59 and  60 - These two pieces are by different composers, but both bear an extremely strong relationship to the style of a composer of the preceding generation {I've said elsewhere - this is Scriabin]. Usually we would be right to see this as plagiarism, but in these cases there is particularly good reason for the likeness. Neither composer ever developed far beyond this phase of Scriabinesque music, because, for different reasons, both stopped composing before their styles became fully personal. Each had very strong, childhood, formative links to Scriabin, hence the understandable resemblance. I'll now also add that one of these composer never got the chance to develop beyond childhood; the other became world famous, but not as a composer. BREAKING NEWS - Guido has identified one of these as Scriabin's son Julian, a child prodigy who died very young...but which? And who's the other one....?


62 - An extremely prolific, well-known composer. The harmonic nature of the big pile-up of chords in the centre of the page reveal a technique of which this composer was an early and famous exponent (he is really the textbook example, I suppose). The work itself is simply a non-programmatic piece in a standard form. This composer was a member of Les Six. This narrows it down to...let me see....six composers. Of whom only one fits the above clues. Come on, people! Guido has identified this as Milhaud's Piano Sonata


69- this is the vortex at the heart of a movement which has been called [something along the lines of] 'the greatest piece in sonata from between Beethoven and Brahms' and I won't disagree - this a breath-taking work, one which astonishes in so many different ways. The odd key is significant. The use of a single line of notes is also typical of the finely judged irony of this composer - this is the simplest sounding music of a movement with bucketloads of notes, and yet it is some of the hardest music (in an ultra-hard piece) to perform well. This example is part of a cadenza, so the irony increases. The composer was one of the three great composer pianists of the early/mid 19th century, and this is probably his finest work. OK, pulling out the big cliches of music trivia, he died when his bookshelf fell on him, yada, yada, yada Guido's also correctly got this to be Alkan, though not the piece (his most famous, perhaps) yet.

72 - this composer shared exactly the fate of the composer of my 51, though a few months later. He was 25. For a while he wrote under a pseudonym (Karel Vranek). He wrote a string duo in quarter tones. This movement is a set of variations on a folksong, Ta Knezdubska vez; it comes from what is probably his finest work, a piece which has been recorded several times. My no 51, mentioned earlier in this clue, was Pavel Haas, victim of Terezin and Auschwitz. Therefore, you may assume, so was this composer, the youngest of the four most famous composer-victims of the former camp

73 - I've given big clues about this one - that it can't be played by human hands; that its composer isn't the obvious one to spring to mind in this connection (Nancarrow, of course), but is closely connected with him; that it is entirely made up of quotations from a set of very famous pieces. The unusual tuplets here do not imply 'new complexity' techniques. Instead, they are the composer's way of making possible the simultaneous and literal presentation of all these quotations at their varying intended speeds. That's why you get a whole long line of a tune in quintuplets, and a whole long line of a tune in 9's, or in 5:3's.... This composer has one of the net's finest blogs and a wonderful and generous website (from where many scores and lengthy, complete mp3s can be downloaded gratis).  The pieces quoted in this work are a set of 32 rather well known piano sonatas by quite a famous deaf composer whose initials are LvB; the piece quotes all 32, though not in order This has now been identified as one of Kyle Gann's Disklavier Studies - Petty Larceny - by matticus

74 - A famous name, bandied around a lot but not much understood. I certainly don't understand him. He is famous because, quite separately of a much more widely-known figure, he developed a broadly similar compositional technique. The technique he developed, independently of Twelve-Tone Arnie, was a form of dodecaphonic writing And this has been identified as one of Josef Hauer's Zwolftonspiel pieces, also by matticus

75 - a record-breaking composer, famous among other things for being the longest-living (he lived in three centuries) and longest-writing of the established composers (Carter has recently passed his record of piece-published-at-advanced-age, but is still years off being as old as this composer was when he died, which was 82 years after the first book on his life and work was published!!). Most of his music is for solo piano - he was in his early days a celebrated performer and a compositional iconoclast who at the time was habitually mentioned in the same breath as Schoenberg, Stravinsky, Ravel, Bartok, Debussy.... This piece, evidently, is not, but it is often thought of as his masterpiece. The six staves you see at the bottom are all for the piano; this is a fairly extreme example of a notational procedure he used quite a lot. What else can I say.....he was apparently the first composer to make extensive use of the cluster (before Cowell); Huneker said about him: 'I never thought I should live to hear Arnold Schoenberg sound tame, yet tame he sounds—almost timid and halting—after ? who is, most emphatically, the only true-blue, genuine, Futurist composer alive'; Bloch described him as 'the single composer in America who displays positive signs of genius.' Guido's got this one - Ornstein's Piano Quintet

77 - We've had one piece from this composer on this thread. He's British, as has been established. He's not Elgar, as has been established. But he died the same year as Elgar, which pretty much narrows him down to one of the other two famous British composer who died that year er, that's Holst and Delius. I think it obvious which one he is. This piece contains a part for wordless chorus , though not on this page, with its intricate rhythms.

78 - A early 20th century Scriabin-y Russian modernist, with the strange notation on the final line (I trust you've spotted it). Not Mosolov, the other one  Like no 74, this composer also had a system something akin to twelve-tone technique, and it too (possibly) predated Schoenberg's; it is closer, however, to Scriabin, because he used it to create vertical aggregates (AKA 'chords')  akin to Scriabin's 'synthetic' mystic chords. He was denounced as an Enemy of the People in 1929, but was allowed to return to Moscow from Tashkent in 1933. According to Wiki:

As soon as ? was dead his flat was ransacked by a group of former 'proletarian musicians' who confiscated many manuscripts, though others were saved by his widow. For thirty years afterwards ??'s name, expunged from the music dictionaries, was hardly mentioned in Soviet musical literature, except in comments such as '??'s works are not worth the paper they are written on'. His name reappeared in a Soviet music dictionary in 1978 but scholars who attempted to claim some importance for him were still being attacked in the press as late as 1982.

Don't forget the unusual notation I've pointed out on the last line. If you haven't seen it - it is a rare use of triple flats, almost unique to this composer in my experience Guido's got this to be a Roslavetz Piano Sonata; I'll give away that it's the First

82 - Also Russian, a 20th century set of 24 Preludes and Fugues. But not Shostakovich. A look at the rhythmical style here may help. Hamelin has recorded this composer, who is very much alive.

85 - There is a complex appearance to this page - nested tuplets and jagged atonal figurations - which one doesn't normally associate with this composer, whose most famous work is one of the great Popular Classics. This is a programmatic piano piece whose subject comes from a Shakespeare play whose name shall not be spoken here. This composer went deaf, except for tinnitus to a very high first inversion chord of a flat (not E, as you may think)

86 - A Maciek-piece. The most obvious clue about its composer is too obvious. Perhaps that fact itself is a clue, who knows? One of the few composer from his country who Maciek hasn't posted here yet    , but one of the most famous names. I think it is safe to assume that he is the only composer on this thread to sign the Treaty of Versailles Maciek has identified this as Paderewski's Chants du voyageur

87 - British composer in his fifties who I have seen/met twice (the second time in person, the first time when my youth orchestra performed on of his pieces) - I don't suppose this is really a clue, mind you!. A viola concerto full of and based around nostalgic quotations (Monteverdi to Wagner and points between) Ideas of love, distance, memory, wind and sea lie behind the piece. The piece falls into sections, each based around a particular quoted piece; each section is linked by a recurrent quotation. Towards the bottom of this page you can see both quite clearly. One, the recurrent one, is the Beethoven 'Lebewohl' horn call. This composer also wrote a beautiful fantasy for viola and strings based on material from Monteverdi's Il ritorno d'Ulisse in patria

88 -12 tone composition for full orchestra. Not a symphony, though its composer wrote a few. Post-Schoenbergian dodecaphonist, Spanish by birth but adopted as English. Wrote a (tonal) ballet on a Spanish theme familiar to Strauss, Falla etc; wrote the first electronic score for the British Stage (RSC King Lear, 1955)

89 - also composer of no 105, one of the most important 20th century composers. This comes from a two-hander opera. Surely you don't need more.  Seems I was wrong. This piece, one of the three best-known remaining from my lot, was originally rejected as unplayable. The composer was also pressurised to remove the librettist's name, because of his political views; however, the composer did not give in and eventually withdrew the work, which has since become one of the best known of 20th century operas) Mark's got this - Bartok's Bluebeard, of course

98 - Had him before. Never mind the notes here, look at the style of the score. Larry famously dislikes this composer, and this page is unlikely to change his mind! Guido's identified this - Messiaen's Des canyons aux etoiles

100 - written by a great musical lexocographer and wit, whose advert for 'Castoria' is one of the great musical delights I know of. One of those composers whose life is filled with quotable incident. Conducted the premieres of Varese's Ionisation and Ives' Three Places.

102 -  British composer of  9 symphonies. This one was inspired by a vision of multicultural harmony following race riots in the 50s (IIRC) This composer, who died recently, lived near me, though I only saw him once from a distance. My wife, who grew up round here, once danced with him after her youth orchestra had performed on of his works. He was a populist composer with a great melodic gift and a famous sense of humour, who in addition to his serious 'classical' repertoire also wrote several very well-known film scores. Wrote a harmonica concerto for Larry Adler, and a clarinet one for Benny Goodman. One of his most famous concertante works has solo parts for vacuum cleaners...

104 - a one-time disciple of Satie, though they fell out over a schoolboy prank. As I said, a major composer, and one of his finest but comparatively little-known works. Was a member probably the most famous - of the same group of composers as no 62

105 - Same composer as 89; an early work for piano and orchestra, which also exists as a virtuoso piece for solo piano (and is great fun in that format)

108  - same composer (British) as 113. One of my favourite pieces. I was once, more than two years ago, all primed to lead a GMG discussion on this work. Had my introductory posts written and everything......This page, which comes towards the end of the piece but before its climax, exhibits most of its characteristic traits - its instrumentation, its tonal dichotomy, its metrical dichotomy, its most prominent, binding motive (here in the process of dissolving), and the end of an important figure in the vocal line. This piece is in some ways the successor  to another work for tenor and ensemble, which similarly sets well-chosen poems by a variety of poets. Both works have similar overall themes - in the earlier one, evening and night; in this later one, sleep and dreams.

109 - same composer as no 85, but much better-known, from the same set as that 'Popular Classic' I talked about. Get him, you will surely get this one, one of the three best-known pieces here

111  - As Mark saw, a set of Variations on Three Blind Mice, though that isn't the title of the work. Originally, this piece formed part of its composer's First Symphony (also including a gigantic, hugely scored dance for the Farmer's Wife!). However, later the composer wrote a proper symphony, and renumbered things so that that one became no 1 (though there persisted some confusion for a while, and the published score of no 1, which I have - and may have used here already - still bears the number 2). He went on to write many more, though none as famous as the first one proper. Mark has identified this as Havergal Brian's Fantastic Variations on an Old Rhyme

112 - The piece this is based on, indeed moulded around is by Berlioz - I'm surprised one of our Berliozians didn't get it. It was the piece he thought highest of amongst his works (and it is my favourite too). The composer of this later piece, as I have said or implied, is a New Complexity composer who has already appeared more than once on this thread. And I hope it is clear that it isn't Ferneyhough - the style is completely different. That leaves....... Larry's got this - Finnissy's Romeo and Juliet are Drowning

113 - By the composer of no 108- his most public statement. The trumpets here are fulfilling a traditional role as suggested by the text. Mark's got this - Britten War Requiem

115 - Somewhat surprised this one hasn't gone. Composer one of the biggest names of post-war music; piece one of his greatest works (and my own favourite, probably) Larry's got this - Improvisation 2 from Boulez's Pli selon pli

116 - Has no one spotted the Ligeti-like feature of the orchestration here? They are significant in a very specific way to the subject of this piece (a well-known one act opera) and are used here, at the very beginning, to set the scene.

117 - This is the one which made its composer famous; it is the one about which I asked 'who took loud hailer part no 6 in the only recording of the piece?'. I also gave about the biggest clue I could about this piece in a post earlier today This is Tavener's The Whale - I actually identified this as one of my pieces, but it took the Sherlock Holmes-like mind of Maciek to put 2 and 2 together.

120 - As I said before, a transcription of one great composer by another. I'll divulge that the piece transcribed is by JSB; the transcriber had a nifty line in this line of things; he also took some transcriptions to such lengths that they become separate pieces of his own in their own right (e.g. Handel, Monn...)

123 - I gave hints about this earlier, I'll flesh it out and be specific now: this piece is the end of a set not of Preludes and Fugues, but of Interludes and Fugues; the whole is framed by a Prelude and a Postlude (which, of course, this is). Except for its last chord, the Postlude is also the exact retrograde of the Prelude, so these closing lines echo the beginning of the piece notes precisely. The composer was prolific, and used to be seen as one of the biggest names of 20th century music - i.e. comparable in importance to Stravinsky and Schoenberg. His star has waned somewhat, but only slightly. Guido's got this one - Hindemith's Ludus Tonalis

124 - I said earlier that this is an early piece by a major composer not commonly associated with solo piano, but rather with dazzling orchestration and with opera. Another little-known work of his has already featured on this thread

126 - The only composer I know of who shares my birthday - he will be exactly twice my age when the next one comes round. This is the piece written for and recorded by Rostropovich - it is a literal setting for cello of a Psalm (that is, it is written to fit the text precisely, and to be played as if sung). He has written one piece (two hours long) for 17 double basses; another piece is for 35 Javanese gongs.

127 - A major name in minimalism, famous as an improvising performer as much as as a composer. These little fragments are the sources to be drawn on for keyboard improvisation and for personal practise.

128 - Not Part, as has been guessed, but a much more central figure. This half-deadly-serious, half-joking exercise in strict counterpoint (until this point it is a double canon throughout) is a fairly early work, but breathes the autumnal melancholy with which this composer's late works are habitually associated

130 - A famous example of Futurism. I would think a little searching would reveal this one.

132 - The big clues here are the character taken by the vocal part, and also the instrument seen just below the celesta part.

133 - I'm disappointed. I've just seen that I left this composer's name on the score (albeit hard to read) and still it wasn't got! I'll leave it like that and see who's paying attention!

134 - Notice the various instrumental groupings here, a la Gruppen. It isn't Stockhausen though, or anyone with such formal methods. It is, however, a composer best known for his exploration of this sort of thing.

135 - A British experimental composer already found on this thread. A Marxist who died in suspicious circumstances. He learnt to play the guitar expressly so as to be able to take part in the British premiere of Le marteau sans maitre. Some have claimed that this piece was the first music ever to have the term 'minimalist' applied to it publicly (by Michael Nyman), though it seems that its importance lies elsewhere.

138 - The best known composer from his country, a major figure who wrote six symphonies and three concerti, including this one.

139 - An Italian Jewish composer, persecuted by Mussolini's regime and leaving for the US in 1939

140 - I thought the style of this composer was easy to get - he is pretty inimitable both in look and in language. I'll leave it at that hint for now.

141 - Quite a hard one. Another innovator - in this case with an experimental system of notation you can see here, in which black notes are shown by crossed note heads

142 - A great Russian composer-pianist, often paired with Rachmaninov.

144 - To elucidate my earlier clue - well-known as a jazz man as well as a classical composer, the author of this piece played on Miles Davis' Porgy and Bess. This is possibly his best known classical work, based on paintings by an artist who himself was a fine musician, and whose wonderful paintings are haunted by music.

145 - Another British experimental composer, a more whimsical one than no 135, this composer has written (at least) 156 piano sonatas (the latest I have seen is called 'The Well Tempered Cyclist). The sonatas are mostly very short; in contrast, his 8th Piano Sonatina lasts 90 minutes and [includes a five movement Symphony in memory of Alkan, one of his main influences. He has also written a song cycle which includes a setting of his friends' addresses.

147 - One of the more important and more thoughtful figures of contemporary British music. Among other things, he is well known for his settings of Christian texts as here, though he himself is possibly closer to Buddhism.

148 - A collaboration between a classical composer (Hungarian) and a jazz musician (saxophonist, British, famous jazz singer wife)

150 - At first glance, this looks like one thing, but closer inspection reveals that it is very much something else. The handwriting, actually, might easily give the composer away. I chose this piece because it doesn't look like what you'd expect of this composer - always good to challenge perceptions!

151 - The Sonatina (French) which is based around the three birdsongs from the second movement of LvB's Pastoral. Fellow student of Debussy's; teacher of Messiaen. Interested in Indian modes - another sonatina in the set from which this is drawn is a study in these modes

152 - If I was actually a proper composer, this composer would be the one preceding me in the dictionary! One of his teachers was the composer of no 123

154 - One of The Greats, this is from an early symphony (my favourite of his early symphonies). The multiple divisions in the string parts are not typical of his later style, but are very much to the fore in this taut but luxurious piece, and are explicitly Wagnerian. The second movement (this is the first) comes close to quoting RW, in fact.

156 - My clue was - has been recorded on a particular label by the same pianist who recorded 152 on the same label. Also the label on which 126 is recorded. This composer specialised in intimate, exquisite miniatures, and the set from which this one is drawn is his masterpiece in the form. I can't imagine anything finer of its type

157 - The first symphony written by an African American. Guido's found it - William Grant Still's Afro-American Symphony

159 - The percussion part is the clue here - it looks like no other composer.

160 - I know that Steve knows this one, so I assume he hasn't seen it. One of the major works for the instrument.

164a and 164b - I put this up today, so I shouldn't really give any more clues. However - the composer is Canadian.

[lukeottevanger]

And the usual....


Set by Sean:
1 - Bach - D minor Cello Suite - (Larry)
2 - Bach - E flat Cello Suite - (Larry)
3 - Bach - C minor Cello Suite - (Larry)
4 - Messiaen - Excerpt from Vingt Regards - (Larry)
5 - Messiaen - Excerpt from Vingt Regards - (Larry)
6 - Messiaen - Excerpt from Vingt Regards - (Larry)
7 - Messiaen - Excerpt from Vingt Regards - (Larry)

Set by Larry:
1 - Bach - B minor Mass 'Quoniam' - (Novitiate)
2 - Nielsen - Sixth Symphony - (Mark)
3 - Beethoven - Quartet op 95 - (CS)
4 - Schumann - Carnaval 'Chopin' - (Mark)
5 - Elgar - Cello Concerto - (Novitiate)
6 - Falla - Harpsichord Concerto - (Mark)
7 - Rzewski - The People United... - (Luke)
8 - Brahms - G major Sextet - (Luke)
9 - Berg - Wozzeck Act II interlude - (Luke)
10 - Mahler - Ninth Symphony - (Maciek)
11 - Boulez - Le Marteau sans Maitre - (Luke)
12 - Petterssen - 7th Symphony - (M Forever)
13 - Carter - SQ 1 - (Luke)
14 - Shostakovich - Symphony 15 - (Luke)
15 - Monteverdi - Orfeo - (Novitiate)
16 - Elgar - String Quartet - (Luke)
17 - Gorecki - Symphony 3 - (Luke)
18 - Bizet - Carmen - (Luke)
19 - Ligeti - Etude 'L'escalier....' - (Luke)
20 - Weber - Sonata 2 - (Luke, but I refused to say because I Googled it; Guido was first to identify it)
21 - Stockhausen - Klavierstucke IX - (Luke)
22 - Handel - Orlando - (Luke)
23 - aka 1a - Verdi - Requiem - (Luke)
24 - aka 2a - Wagner - Götterdämmerung - (Mark)
25 - aka 3a - Holst - Jupiter - (Mark)
26 - aka 4a - Haydn - F minor Variations - (Luke)
27 - aka 5a Liszt - Petrarch Sonnet - (Mark)
28 - aka 6a Schoenberg - Pierrot - (Mark)
29 - aka 6 - six samples plus 'what is the link'
    Bach - Double Violin Concerto (Luke)
    Schumann - Davidsbundlertanze - (Luke)
    Mendelssohn - Scottish Symphony - (Luke)
    Tchakovsky - Serenade for Strings - (Luke)
    Webern - Symphony - (Luke)
    Ravel - Tzigane - (Luke)
    Link = all used by Balanchine - (Luke)
30 aka 21 - Wolf - String Quartet - (Luke)
31 aka 22 - Delius - Irmelin Prelude - (Luke)
32 aka 23 - Wolf - Der Corregidor - (Luke)
33 aka 24  - Crawford Seeger - String Quartet - (Luke)
34 aka 25 - Lutoslawski - Third Symphony - (Luke)
35 aka 26 - Goldmark - Rustic Wedding Symphony - (Luke)
36 aka 27 - Orff - Antigone - (Luke)
37 aka 'Last'! - Bolcom - Songs of Experience - (Luke)
38 aka 41 - Shapero - Symphony for Classical Orchestra - (Guido)
39 aka 42 - Machaut - Mass (Credo) - (Luke)
40 aka 43 - Rouse - Gorgon - (Luke)
41 aka 44 - Beethoven - Merkenstein (duet op 100) - (Luke)
42 aka 45 - Markevitch - L'Envol d'Icare - (Luke)
43 aka 46 - Markevitch - Icare - (Luke)
44 aka 47 - Kupferman - Symphony 3 - (Luke)
45 aka 48 - WF Bach - Polonaise in C minor (Luke)
46 aka 49 - Grofe - Grand Canyon Suite - (Mark)
47 aka 50 - Carter - Concerto for Orchestra - (Luke)
48 aka 51 - Barraque - Sequence - (Luke)
49 aka 52 - Glass - Akhenaten - (Luke)

Set by Luke:
1 - Martinu - Symphony 6 - (Larry)
2 - Tavener - In Alium - (Larry)
3 - Feldman - Why Patterns (Mark)
4 - Khachaturian - Piano Concerto - (Mark)
5 - Ferneyhough - Sieben Sterne - (Larry)
6 - Schoenberg - Jakobsleiter - (Larry)
7 - Part - If Bach had been a beekeeper - (Karl)
8 - Scelsi - Anahit - (Maciek)
9 - Kurtag - Grabstein fur Stephan - (Edward)
10 - Havergal Brian - Gothic Symphony - (Larry 1st by exclamation; Karl 1st by use of English language)
11 - Cage - Concerto for Prepared Piano - (Maciek)
12 - Xenakis - Oresteia - (Greg)
13 - Adams - Harmonielehre - (Maciek)
14 - Ives - The Housatonic at Stockbridge - (Larry)
15 - Nancarrow - Player piano study (37) - (Mark)
16 - Tippett - 3rd Symphony - (Mark)
17 - Villa-Lobos - Bachainas Brasileras 2 (the train one...) - (Larry)
18 - Boulez - Le soleil des eaux (Maciek)
19 - Liszt - Dante Symphony - (Larry)
20 - Ligeti - Violin Concerto (Larry)
21 - Nyman - Drowning by NUmbers - (Maciek)
22 - Vaughan Williams - Symphony 9 - (Larry)
23 - Dvorak - Violin Concerto - (Guido)
24 - Finnissy - Red Earth - (Maciek)
25 - Varese - Nocturnal - (Larry)
26 - Dvorak - String Quartet op 9 - (Larry)
27 - Martin - Mass for double choir - (Maciek)
28 - Respighi - Feste Romane - (Maciek)
29 - Balakirev - 1st Symphony - (Maciek)
30 - Janacek - Suite for Strings - (Edward)
31 - Schnittke - String Trio - (Guido)
32 - Reger - Mozart Variations - (Larry)
33 - Bernstein - Chichester Psalms - (Larry)
34 - Maxwell Davies - Ressurection - (Maciek)
35 - Britten - Nocturnal - (Manuel)
36 - Boulez - Rituel - (Larry)
37 - Stockhausen - Formulas for Licht - (Edward)
38 - Enescu - Cînt T?cut - (Maciek)
39 - Cardew - Treatise - (Maciek)
40 - Kancheli - Symphony 5 - (Edward)
41 - Martinu - Fantasie for Theremin (etc) - (Edward)
42 - Partch - Castor and Pollux - (Maciek)
43 - Kurtag - from Jatekok - (Karl)
44 - ?
45 - Rzewski - Coming Together - (Edward)
46 - Schnittke - Violin Sonata 2 - (Edward)
47 - Powell - Serebryaniy vek - (Maciek)
48 - Rihm - Jagden und Formen - (Edward)
49 - Takahashi - Sa - (Maciek)
50 - Komitas [Vardapet] - Dances - (Maciek)
51 - [Pavel] Haas - Suite for Oboe and Piano - (Maciek)
52 - Burgess - Concertino - (Maciek)
53 - Birtwistle - Monody for Corpus Christi - (Symphonien)
54 - Takemitsu - From Me Flows What You Call Time - (Steve)
55 - ?
56 - Bryars - Cello Concerto - (Guido)
57 - ?
58 - Schoenberg - something for male voice choir, TBC - (Larry)
59 - ?
60 - ?
61 - Respighi - Violin Sonata - (Maciek)
62 - Milhaud - Piano Sonata - (Guido)
63 - Godowsky - Study after Chopin no 45 - (Maciek)
64 - Finnissy - Song 9 - (matticus)
65 - Debussy - Pièce pour le Vêtement du blessé - (Greg)
66 - R Strauss - The Castle by the Sea - (Larry)
67 - Satie - Messe des Pauvres - (Maciek)
68 - Korngold - Piano Trio - (Mark)
69 - Alkan - ? - (Guido)
70 - Janacek - Mladi - (Mark)
71 - Souster - Sonata - (Guido)
72 - ?
73 - Gann - Petty Larceny - (matticus)
74 - Hauer - Zwolftonspiel - (matticus)
75 - Ornstein - Piano Quintet - (Guido)
76 - Messiaen - Et Expecto Resurrectionem Mortuorum - (Steve)
77 - Casella - A la Maniere de Richard Strauss - (Maciek)
77 - ? (sorry, just saw this mistake in numbering - two no 77s!  )
78 - Roslavetz - Piano Sonata 1 - (Guido)
79 - Baird - Erotyki - (Maciek)
80 - Barrett - Coigitum - matticus
81 - MacDowell - Sonata Eroica (no 2) - (Steve)
82 - ?
83 - Schnittke - Psalms of Repentance - (Greg)
84 - Benjamin - At First LIght - (Greg)
85 - ?
86 - Paderewski - Chants du voyageur - (Maciek)
87 - ?
88 - ?
89 - Bartok - Bluebeard's Castle - (Mark)
90 - Lutoslawski - Paroles Tissees - (Maciek)
91 - Dillon - East 11th St NY 10003 - (matticus)
92 - Mahler/Cooke - 10th Symphony - (Mark)
93 - Bridge - Piano Sonata - (Guido)
94 - Bolcom - New Etudes - (Mark)
95 - Busoni - Second Sonatina - (Steve)
96 - Xenakis - Herma - (matticus)
97 - Sibelius - Luonnotar - (Mark)
98 - Messaien - Des canyons aux etoiles - (Guido)
99 - Rodney Bennett - Noctuary - (Steve)
100 - ?
101 - Shostakovich - 4th Symphony - (Karl)
102 - ?
103 - Panufnik - Autumn Music - (Maciek)
104 - ?
105 - ?
106 - Ferneyhough - Transit - (matticus)
107 - Crumb - Five Pieces for Piano - (matticus)
108 - ?
109 - ?
110 - Skempton - senza licenza - (Guido)
111 - Havergal Brian - Fantastic Variations on an Old Rhyme - (Mark)
112 - Finnissy - Romeo and Juliet are Drowning - (Larry)
113 - Britten - War Requiem - (Mark)
114 - Holloway - Romanza - (Guido)
115 - Boulez - Improvisation 2 from Pli seon pli - (Larry)
116 - ?
117 - Tavener - The Whale - (Maciek)
119 - Vaughan Williams - Serenade to Music - (Mark)
120 - ?
121 - Maxwell Davies - The Lighthouse - (Mark)
122 - Vaughan Williams - A Sea Symphony - (Mark)
123 - Hindemith - Ludus Tonalis - (Guido)
124 - ?
125 - Walton - Violin Concerto - (Guido)
126 - ?
127 - ?
128 - ?
129 - Panufnik - Universal Prayer - (Maciek)
130 - ?
131 - Brahms - Nänie - (Mark)
132 - ?
133 - ?
134 - ?
135 - ?
136 - Maxwell Davies - Eight Songs for a Mad King - (Mark)
137 - La Monte Young - various Compositions - (Karl)
138 - ?
139 - ?
140 - ?
141 - ?
142 - ?
143 - Glass - Music in Fifths - (Karl)
144 - ?
145 - ?
146 - Ligeti - Concert Românesc - (Symphonien)
147 - ?
148 - ?
149 - Ellington - Heaven (from The Sacred Concerts) - (Symphonien)
150 - ?
151 - ?
152 - ?
153 - Adams - Harmonium - (Guido)
154 - ?
155 - Babbitt - Philomel - (Greg)
156 - ?
157 - William Grant Still - Afro-American Symphony - (Guido)
158 - Clara Schumann - op 23/3 - (Larry)
159 - ?
160 - ?
161 - Webern - Kinderstuck - (Greg arr. Karl)
162 - Harrison - Peace Piece - (Guido)
163 - Ades - Arcadiana - (Guido)
164a and 164b (same piece_ - ?

Set by Greg:
1 - Corigliano - Symphony 1 - (revealed by Greg)
2 - Takemitsu - Distance - (Maciek)
3 - Reich - Piano Phase - (Larry)
4 - Ligeti - Viola Sonata - (Edward)
5 - Adams - Phrygian Gates - (Guido)
6 - Kagel - String Sextet - (revealed by Greg)
7 - Prokofiev - PC 1 - (Luke)
8 - Xenakis - Jonchaies - (revealed by Greg)
9 - Debussy - La Mer - (Larry)
10 - Norgard - Symphony 6 -(revealed by Greg)
11 - Takemitsu - Corona - (Luke)
12 - Takemitsu - November Steps - (Luke)
13 - Webern - Canons op 16 - (Karl)
14 - Stravinsky - Soldier's Tale - (Karl)
15 - Lachenmann - Mouvement (- vor der Erstarrung) - (Luke)
16 - Ferneyhough - Lemma-Icon-Epigram - (Larry)
17 - Grisey - Les Espaces Acoustiques (Partiels) - (Luke)
18 - Shostakovich - Violin Concerto 1 - (Luke)
19 - Xenakis - Terretektorh - (Maciek)
20 - Xenakis - ATA - (Maciek)

Set by Guido:
1 - presumably Sorabji - ? Guido doesn't know which - (Luke)
2 - Schumann - E flat Variations - (Luke)
3 - Ives - first of 114 Songs - (Luke)
4 - Stravinsky - for the five fingers - (Luke)
5 - Barber - Piano Sonata - (Larry)
6 - Previn - Cello Sonata - (Maciek)
7 - Finzi - Cello Concerto - (Luke)
8 - Piazzolla - Libertango - (Maciek)
9 - Bernstein Clarinet Sonata - (Mark)
10 - Poulenc - Cello Sonata - (Larry)
11 - Stravinsky - Requiem Canticles - (Mark)
12 - Kodaly - Solo Cello Sonata- (Larry)
13 'buggered up'
14 - Carter - Cello Concerto - (Luke)
15 - Holst - Invocation - (Luke)
16 - Dietrich - 1st mvt of FAE Sonata - (Luke)
17 - Bloch - Suite for Viola arr. Cello - (Luke)
Couldn't find no. 18...
19 - Ives - Fourth Symphony - (Larry)
20 - really not worth putting up, Guido! This is a little fragment from a larger set by me, this bit in particular called 'A cage went in search of a bird' (from Kafka)

Set by Manuel:
1 - Prokofiev - PC 2 - (Maciek)
2 - Rzewski - Which Side Are You On - (Luke)
3 - de Beriot - Violin Concerto 9 - (Luke)
4 - Wieniawski - Four Etudes (no 2) for Two Violins - (Luke)

Set by Maciek:
1 - Szymanski - Piano Concerto - (Luke)
2- Kilar - Piano Concerto (Luke)
3 - Lutoslawski - Paganini Variations - (Mark)
4 - Szymanowski - 4th Symphony - (Luke)
5 - Serocki - Fort e piano - (Luke)
6 - Meyer - SQ 3 - (Luke)
7 - Zarebski - Piano Quintet - (Luke)
8 - Penderecki - String Quartet 1 - (Greg)
9 - Chopin - Cello Sonata - (Luke)
10 - Gorecki - Genesis I - (Luke)
11 - Vidmantas Bartulis - I Like F.Schubert. Quintetto C Maj op.163 Adagio - (Luke)
12 - Bronius Kutavičius - Last Pagan Rites - (Luke)
13 - Onutė Narbutaitė - Autumn Ritornello. Hommage à Fryderyk - (Luke)
14 - Bacevi?ius - Vision - (Luke)
15 - Loreta Narvilaitė - Butterfly - (Luke)
16 - Moniuszko - Rybka - (Luke)
17 - Kilar - Angelus - (Luke)
18 - Baird - Voices From Afar - (Luke)
19 - Szymanowski - 6 Kurpain Songs - (Luke)
20 - Penderecki - Song of the Cherubim - (Luke)
21 - Cage - Bacchanale - (Luke)
22 - Ives - Song Without (Good) Words - (Luke)
23 - Cowell - Banshee - (Luke)
24 - Crumb - Processional - (Greg)
25 - Bartok - Bagatelle no 3 - (Luke)
26 - Zarebski - Les Roses et Les Epines - (Luke)

Set by Steve:
1 - Stamp - String Quartet No. 556(b) for Strings In A Minor (Motoring Accident) - (Maciek)
2 - Bartok - String Quartet 4 - (Larry)
3 - Falla - Homenaje a Debussy - (Luke)
4 - Webern - op 10 Pieces - (Luke)
5 - Stravinsky - Rite of Spring - (Karl)
6 - Coltrane - Giant Steps - (Luke)
7 - Albeniz - Suite Espanola (Sevilla) - (Luke)
8 - ?
9 - Scarlatti - Sonata S3/K513 - (Luke)
10 - Stockhausen - Gesang der Jünglinge - (Luke)
11 - Cordier - Belle, Bonne, Sage - (Luke)
12 - Stravinsky - Octet - (Larry)
13 - Brouwer - La Espiral eterna - (Luke)
14 - Carter - Changes - (Luke)
15 - Smith Brindle - El polifemo de oro - (Guido)
16 - ?
17 - ?
18 - Ponce - Sonata Meridional - (Luke)
19 - Liszt - Nuages Gris - (Larry)
20 - Bach - Fugue  BWV 997 - (matticus)
21 - Bach - Cantata BWV 21 - (Larry)

[Guido]

A few that I didn't have to think much about...
One of 59 or 60 is Scriabin's son - apparently a prodigy, but I am yet to hear any of his works (hint, hint).

62 - Milhaud
69 - Alkan
75 - Ornstein, Piano quintet. I am yet to hear this piece.
78 - Roslavets, I'm going to guess one of the five preludes because they are his best piano works.
98 - Obviously Messiaen, and I'll guess Le Canyons...
123 - I'll guess Hindemith Ludud Tonalis

[Guido]

BMV15 - Smith Brindle - El polifemo de oro (Four Fragments for Guitar)

[lukeottevanger]

A few that I didn't have to think much about...
One of 59 or 60 is Scriabin's son - apparently a prodigy, but I am yet to hear any of his works (hint, hint).

Correct. Which one looks more childish?

62 - Milhaud

Correct. Remember I said it was a simple generic title.

69 - Alkan

Correct. Which work - perhaps his most famous and notorious - would be most likely to have a cadenza in it.

75 - Ornstein, Piano quintet. I am yet to hear this piece.

Correct

78 - Roslavets, I'm going to guess one of the five preludes because they are his best piano works.

Correct, but not a prelude. Same title as the Milhaud.

98 - Obviously Messiaen, and I'll guess Le Canyons...

Correct

123 - I'll guess Hindemith Ludud Tonalis

Ludus Tonalis, correct.

Please don't forget that there are some of mine where I have virtually identified the composer in the clue: no 44 gives his uncommon first name; in nos 55, 57 and 58 the composer is already identified, and also in one of nos 59 or 60; 73 can only be one of three people, and when you know their names, the correct one is obvious from the clue; 77 is also narrowed down to two, and it's obvious which one, I think; I actually gave the answer to no 117 a few posts back, if you look; I've left the name on no 133; no 142 can only really be one composer, I think. Many of my other clues are equally give-away in nature...

Interesting to see that you guessed Smith Brindle for Steve's - so did I, though a different piece...

[matticus]

Alright, 73 is one of Kyle Gann's Disklavier studies, is it called Petty Larceny?

74 must be Hauer I suppose but I have no idea which piece -- Zwolftonespiel would be a good guess for the title though...

Is 58 one of the Satires?

Wish I could get involved in this thread properly, but most of my scores are in storage... can't wait to get them back.

[lukeottevanger]

Alright, 73 is one of Kyle Gann's Disklavier studies, is it called Petty Larceny?

Correct! Fantastic! Yes, it is Petty Larceny, which quotes all 32 Beethoven sonatas, intact, at pitch and at (one reading of) their original speeds. It sounds like a pointless stunt, but I find it quite thought-provoking. It raises questions about emotion in performance, man or machine, about the development of Beethoven's style (Gann juxtaposes early and late) and is, viewed from a certain angle, quite poignant, though I think others of Gann's Disklavier studies are even more effective (check out his site for scores to all 10 of them, and mp3s to at least one; the others are available on a great disc, in which the Disklavier is tuned to an 18th century temperament  ). I've attached a sample of quite a long stretch of Petty Larceny, from the beginning and including my page (starting about 48 seconds in)

74 must be Hauer I suppose but I have no idea which piece -- Zwolftonespiel would be a good guess for the title though...

It would indeed, as he wrote a whole sequence of such pieces for various ensembles of which this is one

Is 58 one of the Satires?

No, they are for mixed voices. There's no trick here, his male choir pieces are called just that. [slight edit - there is an early, obscure piece for male chorus too; this isn't that piece, but comes from his more famous later set]

Good work, you've got two of the harder ones.

[greg]

link to mediafire folder (containing Penderecki's 8th Symphony - or what of it has been publicly released so far)

thanks! 

[Maciek]

LO 86 - I assume it is by the genius who also played the piano (was it Saint-Saens who called him that?). I'm waiting for the image to load before taking a guess at the piece...

[lukeottevanger]

LO 86 - I assume it is by the genius who also played the piano (was Saint-Saens who said that?). I'm waiting for the image to load before taking a guess at the piece...

I believe he played the piano a bit, yes....

[Maciek]

Chants du Voyageur? With IMSLP down this game has become a bit more difficult...

(The composer is Paderewski, if anyone wondered...)

[lukeottevanger]

It wasn't on IMSLP, unfortunately. But you are correct! I mentioned that piece on your Paderewski thread a while back - did you remember or are you just freakishly quick at this!

[bwv 1080]

BMV15 - Smith Brindle - El polifemo de oro (Four Fragments for Guitar)

Correct - per my earlier hints that was the one with the title from the author of my sig line (Lorca)

[greg]

MM18 sounds interesting, except the singer sounds like a chipmunk. I wish the mp3 files wouldn't do that when you link them 

[lukeottevanger]

Didn't you know, Greg? These guys are big stars on the Polish Contemporary Music Scene:

[greg]

hm, no, i actually didn't know that.

[Maciek]

I don't know what you're complaining about - you can actually get the listening over with much quicker this way. But if you really insist on listening at normal, slooow speed, simply click on the "Download" button (the one on the right, with the sort of "calculator" icon)...

BTW, I'm surprised no one has even guessed the composer of MM 24. It's somebody extremely famous (and so is the piece I'm alluding to in my clue)!