Quiz: Mystery scores

[lukeottevanger]

The fourth of these new Guido ones is Schulhoff's violin sonata, third movement.

[lukeottevanger]

Yes, Sean - it's no 3

[Sean]

Is this the passage you mean? - hillariously, my scanner seems to have prudishly gone soft-focus on the climactic chord in question!

No, no, that isn't it. The climactic centre of the scherzo is three pairs of the same falling quavers- I think it's quavers, with the first one accented (with the sideways v sign if I remember), followed by three longer notes of great passion (maybe with the - sign over them), followed by the release of Shostak's scherzo trademark clarinet flurry.

[lukeottevanger]

I'm just looking for it, Sean....

[Sean]

Okay! No big thing really- I used to lust over the Bergland/ Bournmouth symphony recording so much that I had to get hold of the score.

[Sean]

Good thing you weren't sitting next to Sean.

You can do it without moving?

[lukeottevanger]

I think it must be the bit I quoted, which is the last big dynamic climax of the movement - there are four pairs of a falling figure (though it's crotchet to quaver - the crotchet has the accent mark on it); then (this is the blurry bit of the scan) there are four longer chords, and then finally (the page after my sample ends) a clarinet solo scurries up the scale; then flute and bass clarinet play in inversion of each other, and the clarinet enters again. These clarinet solos are the most notable ones in the movement.

[Guido]

The fourth of these new Guido ones is Schulhoff's violin sonata, third movement.

Correct! I heard this once on the radio and remember being very impressed especially by this beautiful movement.

[(poco) Sforzando]

You can do it without moving?

Why do you think they call me Sforzando?

[Sean]

I think it must be the bit I quoted, which is the last big dynamic climax of the movement - there are four pairs of a falling figure (though it's crotchet to quaver - the crotchet has the accent mark on it); then (this is the blurry bit of the scan) there are four longer chords, and then finally (the page after my sample ends) a clarinet solo scurries up the scale; then flute and bass clarinet play in inversion of each other, and the clarinet enters again. These clarinet solos are the most notable ones in the movement.

Oh yeah, sorry, that'd be it.

[Guido]

...and the interlude in Walton's Troilus and Cressida

where is this in the opera?

[lukeottevanger]

Now I'll have to go and listen to it.... you may have to wait a while. Between acts 1 and 2, possibly....

But the ones I mentioned (unlike the Rachmaninov and the Shostakovich) are all explicitly (wrong word, perhaps...!) supposed to depict sex. I've just PMed you about Schulhoff, and mentioned a piece of his which goes about as far as possible in this direction - his Sonata erotica fur Solo-Muttertrompete which is, quite literally, 4 minutes of groans, moans and faked orgasm. I have it on the last CD of a 5 CD set of Schulhoff's chamber music; this last CD contains another Dadist work, the Symphonia Germanica in which the piano part is written not for two hands but for head, legs, arms and nose, and in which the pianist has to sing a bastardised version of the German national anthem. Also a suite for double bassoon entitled Bass-nachtigall, which includes a perpetuum mobile and a fugue....

[lukeottevanger]

Bedtime for me too, now.

[greg]

The first one is Ligeti - Hungarian Rock

that one was sooooooooo easy, wasn't it?

[Guido]

Two of mine were very easy (Tchaik and Ligeti) if you know the pieces, The Schulhoff and Miaskovsky were more obscure. The two remaining ones are both early works by their respective composers and slightly more obscure still... I wouldn't say they were that difficult to get though (maybe!)... the clues are there!

[lukeottevanger]

...The Szymanowski ...

I hope you mean the Schulhoff! 

[Guido]

Yes of course.

Was listening to the Szymanowski violin sonata while I was typing!

edited!

[Guido]

Just had to share this score with you - Absolutely incredible stuff.

A clue for "guidoscore2" (Luke has correctly called it no.23) - Look at the piano writing - there is something odd, or rather remarkable about it.

[(poco) Sforzando]

Just had to share this score with you - Absolutely incredible stuff.

A clue for the first of the two of mine that haven't been guessed yet - Look at the piano writing - there is something odd, or rather remarkable about it.

I know I've seen this piece, or things like it. The oddities are the absence of rests and the peculiar formation of the left-hand noteheads. Could this be Rameau or D. Scarlatti?

[Guido]

I know I've seen this piece, or things like it. The oddities are the absence of rests and the peculiar formation of the left-hand noteheads. Could this be Rameau or D. Scarlatti?

Yes the typsetter just put the left hand notes with different heads - I don't really know why. I guess the rests are also a problem in the software used to input the score. If you play it on the piano (or even just look at it) it could only be one composer. It is one of the two that you mentioned though.