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Bryn
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« Reply #585 on: 15:02:12, 18-02-2008 » |
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Re. Puzzle 117, is this perhaps a work the authenticity of which Felix Mendelssohn called into question?
John, I do not think you are alone in your confusion about the provenance of the composition featured in Puzzle 104. Some hold that it was created as a snub to the composer's patrons, in relation to whom its creation constituted a contractual obligation, much as was claimed to be the case with a certain Monty Python LP. It does tread dangerously close to an excluded category here, but I feel just about evades such categorisation. The composer is an occasional collaborator with an erstwhile pupil of the composer LaMonte Young.
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Bryn
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« Reply #586 on: 15:05:14, 18-02-2008 » |
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I note that someone has hazarded a suggestion of a potential composer and work for puzzle 104. I wonder if they dare make a firm claim to having identified the solution to the puzzle in question?
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Bryn
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« Reply #587 on: 15:06:40, 18-02-2008 » |
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I note that someone has hazarded a suggestion of a potential composer and work for puzzle 104. I wonder if they dare make a firm claim to having identified the solution to the puzzle in question?
Oh, and I think the full title of the work is called for. |
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John W
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« Reply #588 on: 15:08:35, 18-02-2008 » |
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First guess for the oboe 114 is something by Benjamin Britten - Amazon doesn't actually name the works properly  |
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Bryn
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« Reply #589 on: 15:13:52, 18-02-2008 » |
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First guess for the oboe 114 is something by Benjamin Britten - Amazon doesn't actually name the works properly I am afraid not, though the composer has expressed his appreciation of Britten, and is due to deliver a lecture on the subject next month. |
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John W
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« Reply #590 on: 15:43:07, 18-02-2008 » |
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Ah, so it's from Howard Skempton's 'Three pieces for solo oboe' do the pieces have individual names? No 1, 2, 3 ??
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Bryn
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« Reply #591 on: 15:55:31, 18-02-2008 » |
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Ah, so it's from Howard Skempton's 'Three pieces for solo oboe' do the pieces have individual names? No 1, 2, 3 ??
Why are you making such claim in the discussion thread, John? Failing to close a statement and then sticking a question mark at the end of the continuing string is not good enough.  The recording from which the clip is taken was of a concert during which the specific item was separated from the other pieces for the same instrument, so I don't think a general solution is quite good enough. You have identified the composer and the series of works from which it comes, so which one? Oh, and on the correct thread, please. |
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Baz
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« Reply #592 on: 17:09:04, 18-02-2008 » |
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While I continue to be ruthlessly teased by Mr Grew's Puzzle 117 (!), this is an opportunity to give out a few hints for Puzzles 103 and 113...
PUZZLE 103
This was completed in 1981 by a composer who died in 1996.
PUZZLE 113
This was written in 1929 by a composer who died in 1955.
Baz
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Baz
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« Reply #593 on: 17:25:36, 18-02-2008 » |
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Puzzle 117 is surely the opening chorus to Bach's Cantata BWV 101, Nimm von uns, Herr, du Treuer Gott (1724). The tempo is a little more deliberate than that to which we are used, but it is undoubtedly mighty music.
It certainly IS opilec - well done. I am used to the tempo being considerably faster, and was a little confused at first. Baz |
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John W
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« Reply #594 on: 17:30:56, 18-02-2008 » |
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Ah, so it's from Howard Skempton's 'Three pieces for solo oboe' do the pieces have individual names? No 1, 2, 3 ??
Why are you making such claim in the discussion thread, John? Failing to close a statement and then sticking a question mark at the end of the continuing string is not good enough. A poor message I agree but I'm multi-tasking this afternoon and this isthe least important task  The recording from which the clip is taken was of a concert during which the specific item was separated from the other pieces for the same instrument, so I don't think a general solution is quite good enough. You have identified the composer and the series of works from which it comes, so which one? Oh, and on the correct thread, please.
Spent some time now on this, can't find a reference to performance of an individual oboe piece  |
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Bryn
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« Reply #595 on: 17:40:46, 18-02-2008 » |
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Ah, so it's from Howard Skempton's 'Three pieces for solo oboe' do the pieces have individual names? No 1, 2, 3 ??
Why are you making such claim in the discussion thread, John? Failing to close a statement and then sticking a question mark at the end of the continuing string is not good enough. A poor message I agree but I'm multi-tasking this afternoon and this isthe least important task The recording from which the clip is taken was of a concert during which the specific item was separated from the other pieces for the same instrument, so I don't think a general solution is quite good enough. You have identified the composer and the series of works from which it comes, so which one? Oh, and on the correct thread, please.
Spent some time now on this, can't find a reference to performance of an individual oboe piece Well, in the concert the recording was made at, the first two Twilight Preludes by Hugh Shrapnel separated each Piece for Oboe from the next. So, which one is the clip form, John. I should warn you, I have good reason to believe you are not the only one in the running for solving this puzzle. |
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Baz
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« Reply #596 on: 17:42:36, 18-02-2008 » |
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Puzzle 117 is surely the opening chorus to Bach's Cantata BWV 101, Nimm von uns, Herr, du Treuer Gott (1724). The tempo is a little more deliberate than that to which we are used, but it is undoubtedly mighty music. Excellent work again Mr. Opilec! We do not think we are even to-day quite ready for Bach at his most futuristic. It is all too easy to place the cart in front of the horse, and to assume that somehow Bach should have been able to peer into the future and realize that a time might come (after about 250 years) when his music would be played at about half the tempo he intended (thereby converting the intended melodic ornaments into crushing harmonic chromaticisms - viewing the composer as somehow a man 'before his time'). Baz |
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opilec
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« Reply #597 on: 17:54:32, 18-02-2008 » |
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It is all too easy to place the cart in front of the horse, and to assume that somehow Bach should have been able to peer into the future and realize that a time might come (after about 250 years) when his music would be played at about half the tempo he intended (thereby converting the intended melodic ornaments into crushing harmonic chromaticisms - viewing the composer as somehow a man 'before his time'). Agreed, Baz! In many respects cantata 101 is a consciously archaic (and austere) work - aren't the voices in that opening chorus all doubled by what are in effect cornett and sackbutts? Yet it's also part of Bach's cycle of chorale cantatas which, in the mid-1720s, arguably represent a peak in his mature vocal output. I've always felt it to be a strange work, but incredibly powerful - even when performed at Baroque speeds! |
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Baz
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« Reply #598 on: 18:17:14, 18-02-2008 » |
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It is all too easy to place the cart in front of the horse, and to assume that somehow Bach should have been able to peer into the future and realize that a time might come (after about 250 years) when his music would be played at about half the tempo he intended (thereby converting the intended melodic ornaments into crushing harmonic chromaticisms - viewing the composer as somehow a man 'before his time'). Agreed, Baz! In many respects cantata 101 is a consciously archaic (and austere) work - aren't the voices in that opening chorus all doubled by what are in effect cornett and sackbutts? Yet it's also part of Bach's cycle of chorale cantatas which, in the mid-1720s, arguably represent a peak in his mature vocal output. I've always felt it to be a strange work, but incredibly powerful - even when performed at Baroque speeds! Indeed opilec. And THIS is more like the tempo and ambience I am used to! Isn't it funny how, at this rate, all those funny 'modernisms' evaporate to become things of nought? Baz |
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opilec
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« Reply #599 on: 18:47:04, 18-02-2008 » |
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Thanks for that, Baz! Is it the Leusink recording from the Brilliant set? It's a little closer to the speed I'm used to, but I've not yet heard it move or be articulated as I'd really like it to. (OVPP, natch! ) It's a long time since I've listened to it: I'd forgotten that extraordinary sequential purely instrumental episode, and the pedal harmonies towards the end hit home even more forcibly, I think, at a more flowing speed. I wouldn't say the dissonances exactly "evaporate" at faster speeds, but they "tell" in a completely different way. I'd love to hear a group like Ricercar Consort perform this work. Isn't it strange (or perhaps not?) how style of performance can make music sound like it's from a completely different era? I felt that with the Praeludium from the Missa solemnis that Mr Grew posted earlier: at first I couldn't place it at all, and was thinking at least seventy years too late! Forward-looking music? Or stylistic misrepresentation? |
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