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martle
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« Reply #1110 on: 19:29:41, 07-03-2008 » |
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Actually no, Baz. It's the subtle change in the scoring of the ominous drone-like bass chord on the final, more emphatic gliss gesture that did it for me. Bit of class there, I'd say.
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Green. Always green.
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Baz
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« Reply #1111 on: 19:43:06, 07-03-2008 » |
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Actually no, Baz. It's the subtle change in the scoring of the ominous drone-like bass chord on the final, more emphatic gliss gesture that did it for me. Bit of class there, I'd say.
Mm...having listened again, I can't deny that martle. Indeed. Baz |
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martle
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« Reply #1112 on: 19:49:40, 07-03-2008 » |
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I am staggered that nobody has got No.276 yet! SendSpace or Rapidshare Clue - The composer was best known during his own lifetime as one of the leading orchestral and operatic conductors of the day. Oh - just heard this one, which of course is Mahler's Third Symphony.  But, DOH!!!! |
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Green. Always green.
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Sydney Grew
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« Reply #1113 on: 23:36:47, 07-03-2008 » |
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We do not intend to give Members any further clues for puzzle 268; we have already provided an ample sufficiency thereof! What we can do though is summarize them: puzzle 268 and puzzle 267 (which was, remember, Jolivet's "Arrow of Time") are related in the manner of Mr. Inquisitor, and the composer of puzzle 268 was born in Prague and wrote six[sorry] eight symphonies although this extract comes not from a symphony but from a famous passacaglia.
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« Last Edit: 00:16:01, 08-03-2008 by Sydney Grew »
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richard barrett
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« Reply #1114 on: 23:39:54, 07-03-2008 » |
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That would then be The Mystery of Time by Miroslav Kabelac.
Although if this is the case, there are in fact eight symphonies by this composer.
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« Last Edit: 23:41:37, 07-03-2008 by richard barrett »
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Il Grande Inquisitor
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« Reply #1115 on: 12:31:37, 08-03-2008 » |
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I am constantly amazed (though I suppose I shouldn't be) that the range of musical knowledge of Mr Watson, and he is not the only one, overlaps hardly at all with mine. As I keep saying, so much music, so little time.
Quite so. There are parts of Mr Watson’s collection which would overlap mine, particularly in the 19th Century Russian repertoire, where I suspect we have many of the same discs. Once we get onto Victorian English choral/stage stuff, however, I have to resort to my honourable companion, Mr Google. Often, it’s just a case of listening to the lyrics (although I cannot make out what the initial word the lady in 290 sings!) Our friend, Mr 1780, often includes chamber repertoire, sometimes for solo violin or viola, or early 20th Century English music; already, I have acquired music by Bridge and Korngold, which I’m really enjoying getting to know. With the more modern repertoire, much of it is new to me, some of it very attractive nonetheless, but it’s usually necessary to await well placed clues to track them down. As I posted yesterday, Nørgård symphonies are on their way, and the person browsing for Schreker in Oxford Street’s HMV later today will probably be me! As you say, so much music and so little time! |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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richard barrett
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« Reply #1116 on: 12:58:12, 08-03-2008 » |
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the person browsing for Schreker He might like to know that the CD I snatched is this one  to which there's a "Volume 2" I haven't heard. There are several recordings of his operas too, though apart from the DVD of Die Gezeichneten I don't know how good these are, which is somewhat critical given that Schreker's music places such demands on both soloists and orchestra. |
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Tony Watson
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« Reply #1117 on: 13:06:54, 08-03-2008 » |
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I have had similar feelings to Mr Barrett. I think it's probably because I've moved in quite different circles, having never been involved professionally as a player, composer or academic. Until this competition started I always thought I was reasonably good at putting on Radio 3 and identifying what was being played, or at least having a good idea. But it has been an education for me. As Mr B said, so much music, so little time.
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Tony Watson
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« Reply #1118 on: 13:11:18, 08-03-2008 » |
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Often, it’s just a case of listening to the lyrics (although I cannot make out what the initial word the lady in 290 sings!) I don't think it counts as an official clue if I say that the first word is "Io". I realize that putting up English lyrics makes them prime for googling (especially with the Yarmouth Fair song by Warlock) but I've tended to put up snatches that I rather like or that I think will make an impact in less than one minute in the hope that others will enjoy them. |
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richard barrett
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« Reply #1119 on: 13:49:23, 08-03-2008 » |
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288 doesn't really sound like Vivaldi to me, but more like Telemann, though it isn't a piece I know.
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harmonyharmony
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« Reply #1120 on: 14:15:24, 08-03-2008 » |
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I don't know Mr Watson as well as Mr Inquisitor, but I'm going to have a frantic unchivalrous stab before retiring behind the arras: is it Sullivan's Festival Te Deum? I don't know all that many tediums, having sung more evensongs than morning services.
Correct, Mr Harmony! Sullivan set the Te Deum twice, the second time being in commemoration of the Boer War, but this was the earlier, Festival, one. Sorry IGI...  I confirmed it to the satisfaction of my ears (though only after posting) by looking here. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Evan Johnson
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« Reply #1121 on: 14:38:03, 08-03-2008 » |
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284 is Rebel Les Elemens
Right on dude. Speaking of, Herr Doktor Barrett or anyone else, what's the recommended recording of the Rebel? I see available for my Amazonic rapacity recordings by Concerto Musica Antiqua Köln (more expensive than the others...), AAM/Hogwood, and Louvre/Minkowski... |
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« Last Edit: 16:09:49, 08-03-2008 by Evan Johnson »
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Tony Watson
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« Reply #1122 on: 14:41:34, 08-03-2008 » |
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I don't know Mr Watson as well as Mr Inquisitor, but I'm going to have a frantic unchivalrous stab before retiring behind the arras: is it Sullivan's Festival Te Deum? I don't know all that many tediums, having sung more evensongs than morning services.
Correct, Mr Harmony! Sullivan set the Te Deum twice, the second time being in commemoration of the Boer War, but this was the earlier, Festival, one. Sorry IGI... I confirmed it to the satisfaction of my ears (though only after posting) by looking here. I shouldn't worry, hh. IGI's got lots of points already so I'm sure he won't mind losing a few on this occasion. That's an interesting link you've put up. Imagine 30,000 people today cheering a performance of the Te Deum! |
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richard barrett
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« Reply #1123 on: 16:06:51, 08-03-2008 » |
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284 is Rebel Les Elemens
Right on dude. Speaking of, Herr Doktor Barrett or anyone else, what's the recommended recording of the Rebel? I see available for my Amazonic rapacity recordings by Concerto Köln (more expensive than the others...), AAM/Hogwood, and Louvre/Minkowski... Musica Antiqua Köln is the one I have (and the only one I've ever heard). |
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Evan Johnson
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« Reply #1124 on: 16:09:12, 08-03-2008 » |
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284 is Rebel Les Elemens
Right on dude. Speaking of, Herr Doktor Barrett or anyone else, what's the recommended recording of the Rebel? I see available for my Amazonic rapacity recordings by Concerto Köln (more expensive than the others...), AAM/Hogwood, and Louvre/Minkowski... Musica Antiqua Köln is the one I have (and the only one I've ever heard). Sorry, that's what I meant by "Concerto Köln" above. Duly edited. |
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