My God, Eric. How in the bloody hell have i missed your channel until today ? Your Sorabji interpretations are sublime. Please keep posting them. Aging Boomers such as I can rest assured that since most of us, frankly, can't play Sorabji for shit, you younger generations can offer great performances and carry the torch forward for this great composer's music.
I dismissed Sorabji out of hand without really knowing him and now I hear a light not as searing or Catholic as Messiaen but more free more wonderful . I see how Sorabji becomes a fetisch or passion . It has jazz harmonies and timings and rhythms out of this world . Finally " this is what I have been looking or ! 1923. I would hope Busoni realized how great Sorabji and Scriabin were : two geniuses as unlike as can be imagined but toward new worlds !
Busoni actually inspired Sorabji's Opus Clavicembalisticum! And if you felt inspired to listen to more music by Sorabji, I've recorded over 20 pieces/movements by Sorabji in this playlist! ua-cam.com/play/PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME.html
amazing stuff. there's too many gorgeous parts to this piece to point out but i especially love how much some sections in the high register remind me of raindrops, or shimmering "glitter" if that even makes sense lol 9:10 and 10:33 are my favorites
Kii-chan「きい」 Thanks! It's a trait that takes getting used to, but, as always, it's nice to think about how removing the assumed conventions of "normal" music can surprisingly produce music that is still enjoyable and perhaps enlightening 😃
Outstanding....Love those triplets around the 10 minute mark.The build up and the dissolve.Its like a thought process testing an idea.All things diminish but the pedagory of the idea remains and renews.Great playing Eric.
Hi Eric, I admire how you interpret Le Jardin Parfumee. Bravo! Keep up the great work and don't let the detractors get under your skin - I would love to see the detractors post their interpretation of Le Jardin... XD
Phenomenal performance, Eric! You really bring out the beauty of every harmony and shape the phrases so sensitively. This is a huge inspiration to finally start learning some Sorabji! Greetings from a fellow Canadian/enthusiast of lesser-known repertoire!
@Mathieu Poirier Thank you! Discovering this piece revealed to me that Sorabji is more musically accessible than the overall impression his sonatas and Opus Clavicembalistum put forth. Though, unfortunately, from recent search, I have found that there is only a very small handful of pieces by Sorabji that are as musically accessible as this one 😔
@@Musicforever60 Yeah, absolutely! I think a lot of people interested in getting into his music are told to go listen to OC first because it's his most famous piece and then are scared away within five minutes (or 30 seconds, depending on their tolerance for dissonance). Pieces like this beautiful nocturne you played would be a much smoother introduction to his music for most people. I'll certainly be recommending this recording as a starting place to anyone interested in Sorabji in the future!
@@Mathieu_Poirier_Piano i think for a generally more smooth and best possible transition in to the worlds of these type of composers, is to listen to different composers that have this unique harmony at different levels. If someone has only listened to Chopin, and romantic music, I would start with something impressionistic, perhaps ravel. Then I would go to maybe mid Scriabin, and Prokofievs concertos, and then toward the more obscure ones such as late Scriabin, ginastera, ligeti and other modernistic composers. That would be the perfect route if you ask me🤩
@Duen Absolutely! That makes a lot of sense. It was a slightly different journey for me (possibly because our musical tastes are slightly different), so Chopin -> Brahms -> Rachmaninoff -> Ravel -> Scriabin -> Prokofiev -> Medtner -> Feinberg -> (Kapustin??? for some reason) -> Roslavets -> Ives -> (other 20th century composers) -> Sorabji. In retrospect, there would have been no way for me to make the direct jump from Scriabin to any composers past Kapustin.
This performance is amazing!! (not to mention your extraordinary sight-reading skills) I can’t believe I only heard about Sorabji from your channel.. but I guess his unique take on composing garnered him a selected audience. I kinda like to think of his works as paintings covered in lines and splotches by a professional artist. They seem very cluttered with no sense of direction, but there’s certain sections that stand out in a way that gets your attention and makes you sit and admire it (Polychords/rhythms and the shift between so many octaves as examples). Nonetheless, I gotta say that your channel is incredibly underrated and I’ll be looking forward to your future videos!!!
The lush interpretation that Sorabji would have liked. You really should get one of those computer tablets that displays sheet music, to overcome the page turning problem. I mean, you're the computer guy.
@Rajat Chowdhury There's a lot of things that makes it possible for me to learn pieces quickly, but the general idea is making abstractions of sequences of chords, intervals, and scale-like passages, while also finding particular aspects of the music that can be simplified to aid music reading. As well, if you can imagine a step-by-step process that most people go through to learn and refine a piece, I typically parallelize all the steps to speed up everything. Lastly, there's just the decade of practical experience I have with sight-reading and sense of musicality I've acquired through formal direction from teachers. Since most of what I just said is very unspecific, I plan in the future to make a video where I explain how I approach learning pieces :) UPDATE: ua-cam.com/video/ojlSCDF8wiE/v-deo.html
what a beautiful performance ! personally, i don’t really enjoy sorabji’s harmonic and melodic language (i prefer that of scriabin) but i love the sound of this piece in particular to my ears. this is no doubt helped by your amazing piano playing, so thank you very much ! side note: that rh rhythm at about 16:16 really reminded me of the rh rhythms in ravel’s ondine :0
@hsan my thoughts are maybe there's a lack of _apparent_ intentional structure to the music. as well, there's basically no tonal centre to the piece as it meanders through with polychords. it's the fact that the sequences of polychords work surprisingly well that, for me, makes sorabji's music particularly outstanding
Por lo general no suelo escuchar piezas de gran duración por que no tengo el tiempo para escuchar si me gustan y entenderlas, pero con los primeros cuatro minutos ya me engancho, aunque aún no estoy tan acostumbrado a Sorabji con esta composición puedo entenderla un poco mas y disfrutarla y muchas gracias por tu gran interpretación ♥️
@JAndrade 96 I hope I got the right translation from your words so I can say that it's wonderful that you're able to open up to this music! Thanks for listening!
@@Musicforever60 I'll translate it He said: "Generally I don't often listen to long duration pieces because I don't have time to know if I like them or understand them, but I was hooked in the first four minutes, although I'm not used to Sorabji's music with this composition I can understand and enjoy it a little bit more, and thanks for your interpretation
only 38 hrs....wow, might take 300hrs or more for average people....i like chopin and liszt but now i prefer to listen to less mainstream stuff like this and Ligeti, Xenakis and Shoenberg and Scriabin of course. Have you tried Sorabji sonata 1, i am in love with it....looks very hard, cant find a score for it either.
@bjorn viir nice! always great to hear people expanding their musical tastes. i've definitely sight-read through sonata 1, but i think it's low in priority for pieces i would want to learn by Sorabji. it's just a bit too jazzy for my tastes now haha
Hi Eric, I never mentioned Sorabji to you because, knowing that you have a taste for such things, and the technique necessary to entertain and explore the 'rabbit hole' of his music (which is beyond the casual means of most of my students) in addition to the mind necessary to its consumption, digestion, metabolization, and musical excretion, I feared you would be too much taken with his music, and I hoped you would concentrate on the standard repertoire in pursuit of a concert career. It seems that I was right! Somehow then it is poetic that you have found him anyway. I am at once...disappointed, for what is still lost (to computer science), and delighted, for what is found. As always, as a performer, you are invisible: A window unto the music; there is just the music, without advertisement or imposition of unintended tension (come more typically the cost of mortal effort: physical, emotional, psychological or intellectual) that is not intended for having been writ into the music. As such, there is no actual 'performance' to invite commentary, there is just the music, which you have realized without the unwanted subtractive effect caused by the imposition of conceit, born or performer 'interpretation'. Few as they are who can play the notes, even fewer are they than reign in their celebrity (or want of it) ego's to realize the obligation to reach only for the 'composer's' musical intent, without supplanting, overwriting, scarring or participating in it themselves by means of their own 'soft' inventive mediocrity. As you may remember of me, I do not believe in interpretation, just realization. Every piece has a...'groove': a place, a tempo, a space it needs to occupy. As a performer, you win no fan's for yourself when you reliably find this place (except those who are impressed by technique, because they don't have it) for disappearing into the music. Realized in this way, the music becomes...accessible in a way that it is not otherwise. It finds 'it's' groove' rather than being forced into the performers, where it is always a poor fit. But the truth is, most concert goers are not music lovers, they are lovers of the musical 'super-hero' who wrestles and subjugates the music to his will. In that respect, they are no different from sports enthusiasts, who long to participate in exceptionalism themselves, hence 'fans'! The performer that succeeds musically is only ever due...gratitude. So...thanks!
@Philosophically Speaking Thanks for reaching out and I appreciate your renewed thoughts on these same matters from many years ago! It's really only been the past two years when I've woven myself back into the ecosystem of piano music, starting with inspiration from Medtner's music, then onto the music of various other post-Romantic era composers, finally somewhat plateauing at Sorabji's music, partly because his music is demanding much more time from me to learn. I believe that this journey I took would hardly have been possible in the same time if I had pursued a career in piano performance, due to mainstream adherence to standard repertoire and its obsession with competitions. As well, since I had already established the habits of intellectual pursuit in secondary school, sticking with standard repertoire would have intellectually dulling, among the elements of other opinions I have of it. So, perhaps I have reduced opportunity now to more greatly publicize my work because I don't have the political and financial backing from a reputable music institution, but I have exceedingly satisfied my intellectual needs with regards to the pure and empirical sciences, and music. Furthermore, I've dug myself a niche in this industry, pushing out quality and re-envisioned recordings of a hardly performed composer's works. So, I suppose, I took a calculated maneuver which resulted in the loss of some superficial benefits (though, I do regret not having some these benefits), but gained a unique freedom to explore my own potential to the fullest extent. The transparency or emotional detachment that you speak of with regards to piano performance is a feature that has been reinforced by you in the past and instinctively sensed by me as well. I do believe that music should speak for itself without its entanglement with a performer's "interpretation". Though, it should be the case that the music is interpreted, and not taken at face value as it is written. Thus, it becomes an exercise of discovering the delineation between what amount of deviation from the score is stylistic and what is excessive, enough to distract a listener from the seeming incorporealness of the source of the music. That, with many recent insights, I've found to be related to the degree of importance/emphasis a performer assigns to each note they play in correspondence with what the piece of music deserves as a coherent whole, which in turn is decided by factors of pacing and shaping of the notes. It's easy to cross the line, but it's also easy to play the music at face value as well, but I believe the superior recording will meet near the boundary of such threshold. Anyway, these are just some thoughts I have on your comment, not a dispute or criticism, but elaboration and presentation of my perspective on things. It is great hearing from you again and if you have any other comments to follow up, feel free to respond! I actually reached out to you on your channel because I had important topics I wanted to discuss with you which are irrelevant to this discussion. If you're comfortable with this, please fill out this Google Forms here for contact info: forms.gle/Rjvgh1aVrRcC1gds9 . Thanks!
Exactly, and that's exactly the reason why this is technically amazing but poor in other aspects. I feel like he doesn't have any Melody in his mind, just colorful musical ramblings.
38 hours to learn and refine?!?????????????????? WTF HOW 😭 my adhd would have me taking years just to learn and refine this. I barely do any real practice so that also doesn’t help lmao
This is beautiful a beautiful piece and beautiful playing but I feel like it is where sorabji should "stop". Creating faster runs more polyphony and polyrhythms for virtuosity does not start making your piece amazing it just confuses the listener and blurs the line to what is emotion and musical genius and what is just a bundle of notes
@Luke Richmond Maybe a month before I made this recording, I may have thought the same. Then, 7 months later I recorded and posted Gulistān, by Sorabji, which has much higher polyphonic density. I honestly like it more than Le Jardin Parfumé, and people seem to arrive on that consensus as well for those who aged with Sorabji's music. My point is, sometimes it takes time for certain pieces of music to start to become favourable. There is not mass hysteria by a great number of people and Sorabji did not recklessly construct his works. I find that pieces that demand an elevated degree of musical comprehension will satisfyingly become clearer over time as to their compositional intentions, and will retain interest for longer, given a person with a growth mindset
@@lucaslorentz Well, as far as you're concerned I haven't because the one version I have made is not even fully edited, let alone commercially available. So if you have it, you shouldn't! And what's your real name?
@@isokani y should i tell you also if u look at the comment section u can see that im not the only one who have heard your version go ask their names 2
![Kaikhosru Sorabji: Gulistān (Eric Xi Xin Liang) [Score, Audio, Visuals]](/img/n.gif)
After Allan Holdsworth, this is probably the best music I've ever heard. I'm absolutely in love.
Allan is the master!
This something beyond "I paid the whole piano" situation
paid for
yeah I forgot the for there
Which key is your piece in ?
Sorabji : Yes
Busoni atonal xD
@@CatkhosruShapurrjiFurabji :O
He is actually quite distinct with his tonality 😂
all modern composers: Yes
@@themobiusfunctionNo
My God, Eric. How in the bloody hell have i missed your channel until today ? Your Sorabji interpretations are sublime. Please keep posting them. Aging Boomers such as I can rest assured that since most of us, frankly, can't play Sorabji for shit, you younger generations can offer great performances and carry the torch forward for this great composer's music.
This is so stunning, exstatic and eccentric piece, Sorabjji is the most misuderstood composer!
I dismissed Sorabji out of hand without really knowing him and now I hear a light not as searing or Catholic as Messiaen but more free more wonderful . I see how Sorabji becomes a fetisch or passion . It has jazz harmonies and timings and rhythms out of this world . Finally " this is what I have been looking or ! 1923. I would hope Busoni realized how great Sorabji and Scriabin were : two geniuses as unlike as can be imagined but toward new worlds !
Busoni actually inspired Sorabji's Opus Clavicembalisticum! And if you felt inspired to listen to more music by Sorabji, I've recorded over 20 pieces/movements by Sorabji in this playlist!
ua-cam.com/play/PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME.html
This is exactly the type of music that I love! 😁dissonant, dreamy, atmospheric ❤🎹
You must hear gulistan by sorabji
@Piotr-jx4bu I already heard it 😉😜
amazing stuff. there's too many gorgeous parts to this piece to point out but i especially love how much some sections in the high register remind me of raindrops, or shimmering "glitter" if that even makes sense lol
9:10 and 10:33 are my favorites
Wonderful! The place sounds like Debussy on LSD.
Hahaha 😂 more like Debussy on a bad trip...
Exquisite performance! Bravo!
Although not quite melodically predictable, it's calming. Good work!
Kii-chan「きい」 Thanks! It's a trait that takes getting used to, but, as always, it's nice to think about how removing the assumed conventions of "normal" music can surprisingly produce music that is still enjoyable and perhaps enlightening 😃
@@Musicforever60 The art of creativity and uniqueity is what makes music beautiful. I'm looking forward to more of your content!
Amazing! Brilliant playing i wish i could play 😡
Agree
yes it is true
aswiew
Same
@@adriaan009 agreed
10:12 Berg's Violin Concerto!
fancy seeing you here
Mindblowing to play this.
What a beautiful performance.
Respect for that. Really, wonderfully played!
My first time listening to a Sorabji, whom i heard of thru Igor Levit. Yes interpretation lucid and amazing
just friggin awesome to watch.....HIGH QUALITY in every regard! .....Welcome to SORABJI'S strange universe!
Outstanding....Love those triplets around the 10 minute mark.The build up and the dissolve.Its like a thought process testing an idea.All things diminish but the pedagory of the idea remains and renews.Great playing Eric.
Echoes of our coming out of water onto land, once upon a time.
Wow... that was incredible!!! Bravo!! (One of these days, I'd like to learn it in 76 hours!)
Hi Eric, I admire how you interpret Le Jardin Parfumee. Bravo! Keep up the great work and don't let the detractors get under your skin - I would love to see the detractors post their interpretation of Le Jardin... XD
Phenomenal performance, Eric! You really bring out the beauty of every harmony and shape the phrases so sensitively. This is a huge inspiration to finally start learning some Sorabji! Greetings from a fellow Canadian/enthusiast of lesser-known repertoire!
@Mathieu Poirier Thank you! Discovering this piece revealed to me that Sorabji is more musically accessible than the overall impression his sonatas and Opus Clavicembalistum put forth. Though, unfortunately, from recent search, I have found that there is only a very small handful of pieces by Sorabji that are as musically accessible as this one 😔
@@Musicforever60 Yeah, absolutely! I think a lot of people interested in getting into his music are told to go listen to OC first because it's his most famous piece and then are scared away within five minutes (or 30 seconds, depending on their tolerance for dissonance). Pieces like this beautiful nocturne you played would be a much smoother introduction to his music for most people. I'll certainly be recommending this recording as a starting place to anyone interested in Sorabji in the future!
@@Mathieu_Poirier_Piano i think for a generally more smooth and best possible transition in to the worlds of these type of composers, is to listen to different composers that have this unique harmony at different levels. If someone has only listened to Chopin, and romantic music, I would start with something impressionistic, perhaps ravel. Then I would go to maybe mid Scriabin, and Prokofievs concertos, and then toward the more obscure ones such as late Scriabin, ginastera, ligeti and other modernistic composers. That would be the perfect route if you ask me🤩
It also gives a good sense of the music, and you get a taste of everything!
@Duen Absolutely! That makes a lot of sense. It was a slightly different journey for me (possibly because our musical tastes are slightly different), so Chopin -> Brahms -> Rachmaninoff -> Ravel -> Scriabin -> Prokofiev -> Medtner -> Feinberg -> (Kapustin??? for some reason) -> Roslavets -> Ives -> (other 20th century composers) -> Sorabji. In retrospect, there would have been no way for me to make the direct jump from Scriabin to any composers past Kapustin.
Nice one! :D
EPIC
This performance is amazing!! (not to mention your extraordinary sight-reading skills) I can’t believe I only heard about Sorabji from your channel.. but I guess his unique take on composing garnered him a selected audience.
I kinda like to think of his works as paintings covered in lines and splotches by a professional artist. They seem very cluttered with no sense of direction, but there’s certain sections that stand out in a way that gets your attention and makes you sit and admire it (Polychords/rhythms and the shift between so many octaves as examples). Nonetheless, I gotta say that your channel is incredibly underrated and I’ll be looking forward to your future videos!!!
Thanks! :) Btw, check out my full playlist of my performances of Sorabji's works here: ua-cam.com/play/PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME.html
The lush interpretation that Sorabji would have liked.
You really should get one of those computer tablets that displays sheet music, to overcome the page turning problem. I mean, you're the computer guy.
@UpAndOut Ya I can definitely consider that in the future
Прекрасное исполнение прекрасного произведения.
Exhilarating! And certainly on a par with Yonty Solomon's recording.
Yonty was my teacher. He gave me a copy of his recording, which I still hold dear.
Great!
Your Sorabji is an revelation for me.
Thank you!
Are you interested to play Scelsi?
I imagine they could win from your attitude.
Yes, I'm already aware and interested in Scelsi's music!
Beatiful!
You're the best! Thanks for sharing, terrific performance! Loving it 💖
How did you learn it so quickly?! That’s actually mental. What’s your process for learning new music?
@Rajat Chowdhury There's a lot of things that makes it possible for me to learn pieces quickly, but the general idea is making abstractions of sequences of chords, intervals, and scale-like passages, while also finding particular aspects of the music that can be simplified to aid music reading. As well, if you can imagine a step-by-step process that most people go through to learn and refine a piece, I typically parallelize all the steps to speed up everything. Lastly, there's just the decade of practical experience I have with sight-reading and sense of musicality I've acquired through formal direction from teachers. Since most of what I just said is very unspecific, I plan in the future to make a video where I explain how I approach learning pieces :)
UPDATE: ua-cam.com/video/ojlSCDF8wiE/v-deo.html
Wow so nice ❤️❤️❤️❤️❤️
what a beautiful performance ! personally, i don’t really enjoy sorabji’s harmonic and melodic language (i prefer that of scriabin) but i love the sound of this piece in particular to my ears. this is no doubt helped by your amazing piano playing, so thank you very much !
side note: that rh rhythm at about 16:16 really reminded me of the rh rhythms in ravel’s ondine :0
Bravo!!
there is some way sorabji wrote music which makes it feel different to other twentieth-century music. i can't put my finger on it...
@hsan my thoughts are maybe there's a lack of _apparent_ intentional structure to the music. as well, there's basically no tonal centre to the piece as it meanders through with polychords. it's the fact that the sequences of polychords work surprisingly well that, for me, makes sorabji's music particularly outstanding
@Ramen agreed.
wow amazing
do u have a discord lorentz asriel kujo and guilliom was asking you to join our discord server but they didn't know your tag lol discord.gg/KSRUPGAf
@@yeetthebeet epico
@@solarean epico epicoo
Amazing. Already Subbed.
Perfect!
Woah.. bravo.
Por lo general no suelo escuchar piezas de gran duración por que no tengo el tiempo para escuchar si me gustan y entenderlas, pero con los primeros cuatro minutos ya me engancho, aunque aún no estoy tan acostumbrado a Sorabji con esta composición puedo entenderla un poco mas y disfrutarla y muchas gracias por tu gran interpretación ♥️
@JAndrade 96 I hope I got the right translation from your words so I can say that it's wonderful that you're able to open up to this music! Thanks for listening!
@@Musicforever60 I'll translate it
He said: "Generally I don't often listen to long duration pieces because I don't have time to know if I like them or understand them, but I was hooked in the first four minutes, although I'm not used to Sorabji's music with this composition I can understand and enjoy it a little bit more, and thanks for your interpretation
le jardín parfumé sounds so gay and i love it
indeed
no
@@handledav i mean, sorabji was gay.
@@איןסוף so
Hahaha fantastic
Nice
Exquisite... and sickening at the same time... That was the first time I listened to Sorabji (I was curious about the title). A bit disturbed..
Oh wow 😩😩😩 Your playing of Sorabji’s music is soooo good. Marry me please?❤️
tf?
tf!
Homosex
@@visveee6678 ok
Wtf lmao 😂😂😂
Holy fuck this is amazing
only 38 hrs....wow, might take 300hrs or more for average people....i like chopin and liszt but now i prefer to listen to less mainstream stuff like this and Ligeti, Xenakis and Shoenberg and Scriabin of course. Have you tried Sorabji sonata 1, i am in love with it....looks very hard, cant find a score for it either.
@bjorn viir nice! always great to hear people expanding their musical tastes. i've definitely sight-read through sonata 1, but i think it's low in priority for pieces i would want to learn by Sorabji. it's just a bit too jazzy for my tastes now haha
Does anyone know where I can find the score for this piece?
Sorabji-Archive.
Imslp
Hi Eric,
I never mentioned Sorabji to you because, knowing that you have a taste for such things, and the technique necessary to entertain and explore the 'rabbit hole' of his music (which is beyond the casual means of most of my students) in addition to the mind necessary to its consumption, digestion, metabolization, and musical excretion, I feared you would be too much taken with his music, and I hoped you would concentrate on the standard repertoire in pursuit of a concert career. It seems that I was right! Somehow then it is poetic that you have found him anyway. I am at once...disappointed, for what is still lost (to computer science), and delighted, for what is found.
As always, as a performer, you are invisible: A window unto the music; there is just the music, without advertisement or imposition of unintended tension (come more typically the cost of mortal effort: physical, emotional, psychological or intellectual) that is not intended for having been writ into the music. As such, there is no actual 'performance' to invite commentary, there is just the music, which you have realized without the unwanted subtractive effect caused by the imposition of conceit, born or performer 'interpretation'.
Few as they are who can play the notes, even fewer are they than reign in their celebrity (or want of it) ego's to realize the obligation to reach only for the 'composer's' musical intent, without supplanting, overwriting, scarring or participating in it themselves by means of their own 'soft' inventive mediocrity. As you may remember of me, I do not believe in interpretation, just realization. Every piece has a...'groove': a place, a tempo, a space it needs to occupy. As a performer, you win no fan's for yourself when you reliably find this place (except those who are impressed by technique, because they don't have it) for disappearing into the music.
Realized in this way, the music becomes...accessible in a way that it is not otherwise. It finds 'it's' groove' rather than being forced into the performers, where it is always a poor fit. But the truth is, most concert goers are not music lovers, they are lovers of the musical 'super-hero' who wrestles and subjugates the music to his will. In that respect, they are no different from sports enthusiasts, who long to participate in exceptionalism themselves, hence 'fans'! The performer that succeeds musically is only ever due...gratitude. So...thanks!
@Philosophically Speaking Thanks for reaching out and I appreciate your renewed thoughts on these same matters from many years ago! It's really only been the past two years when I've woven myself back into the ecosystem of piano music, starting with inspiration from Medtner's music, then onto the music of various other post-Romantic era composers, finally somewhat plateauing at Sorabji's music, partly because his music is demanding much more time from me to learn.
I believe that this journey I took would hardly have been possible in the same time if I had pursued a career in piano performance, due to mainstream adherence to standard repertoire and its obsession with competitions. As well, since I had already established the habits of intellectual pursuit in secondary school, sticking with standard repertoire would have intellectually dulling, among the elements of other opinions I have of it. So, perhaps I have reduced opportunity now to more greatly publicize my work because I don't have the political and financial backing from a reputable music institution, but I have exceedingly satisfied my intellectual needs with regards to the pure and empirical sciences, and music. Furthermore, I've dug myself a niche in this industry, pushing out quality and re-envisioned recordings of a hardly performed composer's works. So, I suppose, I took a calculated maneuver which resulted in the loss of some superficial benefits (though, I do regret not having some these benefits), but gained a unique freedom to explore my own potential to the fullest extent.
The transparency or emotional detachment that you speak of with regards to piano performance is a feature that has been reinforced by you in the past and instinctively sensed by me as well. I do believe that music should speak for itself without its entanglement with a performer's "interpretation". Though, it should be the case that the music is interpreted, and not taken at face value as it is written. Thus, it becomes an exercise of discovering the delineation between what amount of deviation from the score is stylistic and what is excessive, enough to distract a listener from the seeming incorporealness of the source of the music. That, with many recent insights, I've found to be related to the degree of importance/emphasis a performer assigns to each note they play in correspondence with what the piece of music deserves as a coherent whole, which in turn is decided by factors of pacing and shaping of the notes. It's easy to cross the line, but it's also easy to play the music at face value as well, but I believe the superior recording will meet near the boundary of such threshold.
Anyway, these are just some thoughts I have on your comment, not a dispute or criticism, but elaboration and presentation of my perspective on things. It is great hearing from you again and if you have any other comments to follow up, feel free to respond! I actually reached out to you on your channel because I had important topics I wanted to discuss with you which are irrelevant to this discussion. If you're comfortable with this, please fill out this Google Forms here for contact info: forms.gle/Rjvgh1aVrRcC1gds9 . Thanks!
wow
This is literally me when I experiment on composing.
😂
Exactly, and that's exactly the reason why this is technically amazing but poor in other aspects. I feel like he doesn't have any Melody in his mind, just colorful musical ramblings.
What the devil!
@Patrick McKernan no, no devil here 🙂 only transcendent music
@@Musicforever60 I'm impressed!
He's on another level,
It's a word! No, a name! MF - the Super-Villain!
Subbed.
h
o m g
Long shot but where did you get the sheet music?
it's publicly available on IMSLP now!
38 hours to learn and refine?!?????????????????? WTF HOW 😭 my adhd would have me taking years just to learn and refine this. I barely do any real practice so that also doesn’t help lmao
I love Sorabji, but for once I'd like to hear it in strict time, with a metronome 😆😆😆
that would make no sense, like asking someone to play Chopin or Debussy strictly by metronome
@@Musicforever60 hence the three laugh emoji
This is beautiful a beautiful piece and beautiful playing but I feel like it is where sorabji should "stop". Creating faster runs more polyphony and polyrhythms for virtuosity does not start making your piece amazing it just confuses the listener and blurs the line to what is emotion and musical genius and what is just a bundle of notes
@Luke Richmond Maybe a month before I made this recording, I may have thought the same. Then, 7 months later I recorded and posted Gulistān, by Sorabji, which has much higher polyphonic density. I honestly like it more than Le Jardin Parfumé, and people seem to arrive on that consensus as well for those who aged with Sorabji's music. My point is, sometimes it takes time for certain pieces of music to start to become favourable. There is not mass hysteria by a great number of people and Sorabji did not recklessly construct his works. I find that pieces that demand an elevated degree of musical comprehension will satisfyingly become clearer over time as to their compositional intentions, and will retain interest for longer, given a person with a growth mindset
Kudos for managing to play such a ridiculously difficult piece so well and with such clarity
Ye better then habberman (as i was expecting lol) but for me solomon still the top 1 but great work anyway
I haven't recorded it!
@@isokani u did lol
@@lucaslorentz Well, as far as you're concerned I haven't because the one version I have made is not even fully edited, let alone commercially available. So if you have it, you shouldn't! And what's your real name?
@@isokani y should i tell you also if u look at the comment section u can see that im not the only one who have heard your version go ask their names 2
@@lucaslorentz Err, see below.
y
Λά γαρδϊναε λόν ´ρπταθέξ.
Could be an improvisation.
best improvisation
Machine Gun Tremolo
See here for even more insane tremolo-ing 😂: ua-cam.com/video/iMDKo4EB1Bo/v-deo.html
The heroin OST
Gulistan is better
Wow you played nicely but that piece makes no sense