It’s not nearly a sufficient response to such a musical offering but this was an instant subscribe for me. Thanks for letting us into your process as you tackle this amazing piece.
Thanks so much for listening! Yes, there will be a recording of some kind eventually. Since this is such a long work (6-7 hours) I am not sure yet whether it will be a studio or a live recording.
This is a particularly hypnotic one, I feel. There are fragments - like the first page - with very little melody, which are esentially atmospheric. Also, these reiterated chromatic appogiaturas - which later become a sort of chromatic lament motif - contribute much to the hypnotic effect.
since the date this video was uploaded, i couldn't stop listening to it. this piece is really hypnotizing as a whole - it seems to me that the harmonies are similar to OC's but embedded with an addictive dose of "hallucinogenic yoga energy". what was said about the fourth movement in particular in the book *Opus sorabjianum* was really accurate with describing it - "corresponding to the cardiac plexus; it also governs such feelings as anxiety, doubt, remorse, etc." i wish to hear more of this symphony in the future from you, especially its studio recording. it feels objective that you are fitting for being the pianist to embark on Sorabji's symphonies and toccatas! also, i hope to hear you play the Âjñâ movement at some point. it looks intriguingly all over the place 😨
I also feel this hypnotic character, especially in the repetitive, chromatic figuration in the first page, which comes back often throughout the movement. It is a marvelous, unusual piece. I have the impression that "Ajna" is about memory/reminiscence - there are multiple short quotations from the earlier movements. It is also what Sorabji usually calls a "Cadenza" - a short virtuoso movement before the fugue, evoking the the traditional concept of "Prelude and Fugue" .
Hauntingly beautiful and deeply mysterious (especially the first page). Very enticingly played as well, I might add. Looking forward very much to the whole piece!
Thank you! It is exactly as you said, but not sure how much of it came through in the recording... It is a long, mystical, mysterious nocturne, perhaps closer to Djami than Gulistan in mood - but with the complexity of the latter, if not more.
It will be, in one way or another (live recording/studio recording). Like other long works, I suspect the whole thing will work better on a live performance, but those will surely be limited in number, so a recording is a good thing to have... Happy New Year!
Wonderful playing of this mystical and intricate movement. I look forward to your recording of the whole work - heard someone once play the opening pages on FB and it sounded grand indeed.
Excellent work so far on this! Though, I wonder whether people in general know what distinguishes excellent work from aimless meandering note clouds. EDIT: Will you apply much longer phrasing and melodic continuity over blocks of held chords and the inner voices in your final product? I feel that I would definitely do that if I were to record this...
@@isokani That would be a terrible strategy. Ofc I'd wait for his recording to be released, see the flaws, improve upon them or rewrite them, and then record it lol
Hilarious how you praised this pianist and put him down at the same time! And that 'Edit' was just meaningless, know-it-all blabber. How many commercial recordings do you have under your belt? Also, how many critical editions have you done of Sorabji's scores? Exactly, stay quiet. I have listened to most of your Sorabji recordings and listened to the present pianist in this music, on YT and on his CD of Toccata Seconda, which I have. I prefer the latter's playing by far.
@@franksmith541 I mean, you sound very flustered at a bunch of stuff that is irrelevant to this conversation. I hope you continue to enjoy my recordings, as you currently do. It's pleasure to have you acknowledge such work alongside Abel's work.
@@Musicforever60 You got that from my comment? Lol! You must see things that are not written. I like Sorabji's music, so obviously I will watch/listen to new recordings that come out on here - and you are certainly a talented pianist. I don't bother with the amateurish stuff that pops up. But that talent doesn't require you to knock down the work of good pianists, however subtly you do it - especially ones who have proven themselves with commercial recordings, scholarly work etc...,such as in Abel's case. He is a proven pianist on the international scene. You are not. I hardly see serious musicians knocking each other on a public forum. It is both comical and disturbing when it happens. Hannenberg is another pianist on this site who has knocked down the work of Tellef Johnson, for instance. I have the latter's CD of the 2nd Sonata of Sorabji (which Hannenberg blasted) and happen to think it is a very good live recording of a demanding work. Lastly, I never "acknowledged" your work alongside Abel's or anyone else's in my previous comment. Again, you must be reading things that are not there. I'm moving on from this thread.
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It’s not nearly a sufficient response to such a musical offering but this was an instant subscribe for me. Thanks for letting us into your process as you tackle this amazing piece.
Abel, superb stuff.
Thanks a lot, Jonathan! It is a gorgeous piece, probably the very best movement in the symphony.
I hope there are plans to record this some time soon. Lovely playing.
Thanks so much for listening! Yes, there will be a recording of some kind eventually. Since this is such a long work (6-7 hours) I am not sure yet whether it will be a studio or a live recording.
I always find Sorabji's nocturnes hypnotic and spellbinding, especially when the atmosphere maintains a preternatural calm and eerie nervousness.
This is a particularly hypnotic one, I feel. There are fragments - like the first page - with very little melody, which are esentially atmospheric. Also, these reiterated chromatic appogiaturas - which later become a sort of chromatic lament motif - contribute much to the hypnotic effect.
since the date this video was uploaded, i couldn't stop listening to it. this piece is really hypnotizing as a whole - it seems to me that the harmonies are similar to OC's but embedded with an addictive dose of "hallucinogenic yoga energy". what was said about the fourth movement in particular in the book *Opus sorabjianum* was really accurate with describing it - "corresponding to the cardiac plexus; it also governs such feelings as anxiety, doubt, remorse, etc."
i wish to hear more of this symphony in the future from you, especially its studio recording. it feels objective that you are fitting for being the pianist to embark on Sorabji's symphonies and toccatas!
also, i hope to hear you play the Âjñâ movement at some point. it looks intriguingly all over the place 😨
I also feel this hypnotic character, especially in the repetitive, chromatic figuration in the first page, which comes back often throughout the movement. It is a marvelous, unusual piece. I have the impression that "Ajna" is about memory/reminiscence - there are multiple short quotations from the earlier movements. It is also what Sorabji usually calls a "Cadenza" - a short virtuoso movement before the fugue, evoking the the traditional concept of "Prelude and Fugue" .
Amazing. Keep climbing bother!
Hauntingly beautiful and deeply mysterious (especially the first page). Very enticingly played as well, I might add. Looking forward very much to the whole piece!
Thank you! It is exactly as you said, but not sure how much of it came through in the recording... It is a long, mystical, mysterious nocturne, perhaps closer to Djami than Gulistan in mood - but with the complexity of the latter, if not more.
Can't believe you doing it, Abel! loved your interpretation of the second Toccata... This will be insane!
Thanks for listening! Toccata seconda and terza were necessary steps on the way to performing this. It will be a massive experience when it's ready!
wonderful! I suppose everybody here wishes to find the complete Tantrik Symphony here one day, or at least this part (IV), to be modest ;)
It will be, in one way or another (live recording/studio recording). Like other long works, I suspect the whole thing will work better on a live performance, but those will surely be limited in number, so a recording is a good thing to have... Happy New Year!
@@AbelSanchezAguilera feliz año nuevo
Wonderful playing of this mystical and intricate movement. I look forward to your recording of the whole work - heard someone once play the opening pages on FB and it sounded grand indeed.
Thanks for listening! It is a marvelous movement, mysterious, hypnotic and atmospheric.
merry xmas
Thank you and merry Christmas to you as well!
How do you play the daunting polyrhythms so effortlessly? Do you have any tips on how to break the polyrhythms down?
Excellent work so far on this! Though, I wonder whether people in general know what distinguishes excellent work from aimless meandering note clouds.
EDIT: Will you apply much longer phrasing and melodic continuity over blocks of held chords and the inner voices in your final product? I feel that I would definitely do that if I were to record this...
Ok, record it and show us how it's done. Thanks in advance.
@@isokani That would be a terrible strategy. Ofc I'd wait for his recording to be released, see the flaws, improve upon them or rewrite them, and then record it lol
Hilarious how you praised this pianist and put him down at the same time! And that 'Edit' was just meaningless, know-it-all blabber. How many commercial recordings do you have under your belt? Also, how many critical editions have you done of Sorabji's scores? Exactly, stay quiet. I have listened to most of your Sorabji recordings and listened to the present pianist in this music, on YT and on his CD of Toccata Seconda, which I have. I prefer the latter's playing by far.
@@franksmith541 I mean, you sound very flustered at a bunch of stuff that is irrelevant to this conversation. I hope you continue to enjoy my recordings, as you currently do. It's pleasure to have you acknowledge such work alongside Abel's work.
@@Musicforever60 You got that from my comment? Lol! You must see things that are not written. I like Sorabji's music, so obviously I will watch/listen to new recordings that come out on here - and you are certainly a talented pianist. I don't bother with the amateurish stuff that pops up. But that talent doesn't require you to knock down the work of good pianists, however subtly you do it - especially ones who have proven themselves with commercial recordings, scholarly work etc...,such as in Abel's case. He is a proven pianist on the international scene. You are not.
I hardly see serious musicians knocking each other on a public forum. It is both comical and disturbing when it happens. Hannenberg is another pianist on this site who has knocked down the work of Tellef Johnson, for instance. I have the latter's CD of the 2nd Sonata of Sorabji (which Hannenberg blasted) and happen to think it is a very good live recording of a demanding work.
Lastly, I never "acknowledged" your work alongside Abel's or anyone else's in my previous comment. Again, you must be reading things that are not there. I'm moving on from this thread.