Sorabji is often a composer that is said to “sound like x composer” when in reality his sound is entirely unique - perhaps in the fact that it is a fusion of so many different styles.
@TomCL 2000 I would also like to argue that Sorabji is a fusion of so many different composers' styles as the quantity of notes Sorabji writes is their combined quantity hahahah
What styles does Sorabji present that other 19th century composers used? Mashing of notes that sounds like wind bouncing off of chimes… screeching chords… rhythms and time signatures that say “fuck you, good luck”… no subject. No return home… It sounds like the music of his circumstances when he was living in seclusion.
@@jaiachin9579 for me, it seems like sorabji turned to longer forms and developments of "themes," which I feel like are often more closely related to motifs. And sometimes his more nocturnal music, like this piece, is almost improvisatory, but they still having some sort of unifying motif or idea, sometimes very hard to catch. The more I've listened, the more I've learned about the music
@@that_oneguy_yt6329 The only composer that I can scratch a surface with in comparing Sorabji to another is Scriabin but even then, Scriabin would have a straight forward idea with his music and develop it in ways even with some harmonic structure you would see in Chopin. Let’s just pay homage to Chopin given that nobody will ever or become close to composing a work like his own.
@@jaiachin9579 yes, I agree with the Scriabin part, his style is not entirely dissimilar to sorabji. And yes, his musical development scheme is a lot more straight forward than sorabji, who takes multiple listens for me to pick out what is going on in the music. If you haven't already, watch musicforever's video on how he got to sorabji in his musical life, and maybe also listen to le jardin parfume. That was my first sorabji piece I really got into, and the more I listened, the more I noticed about the music and it's 'themes'
Placing Sorabji's "In the Hothouse" between the sound worlds of Debussy and the early works of Leo Ornstein provides a historical and stylistic context for understanding its place in the continuum of early 20th-century piano music. Debussy's influence is evident in the use of non-traditional scales, extended harmonies, and a focus on atmospheric, coloristic effects. Sorabji extends these ideas further, pushing towards a more complex and virtuosic expression. Leo Ornstein, on the other hand, was a contemporary of Sorabji's who also pushed the boundaries of musical language with his use of dissonance and rhythm, contributing to the early modernist movement. While Ornstein's music was more aligned with the avant-garde and often embraced a more percussive and dissonant style, Sorabji's virtuosity is more densely contrapuntal and harmonically lush, though no less challenging. Sorabji's work, therefore, can be seen as bridging the gap between the impressionistic, atmospheric qualities of Debussy and the more radical, dissonant modernism that Ornstein was part of. Sorabji's music, with its intricate textures and formidable technical demands, represents a unique synthesis of the virtuosic and the impressionistic, which could be described as a highly original, virtuosic post-Debussy, pre-Ornstein contribution to the piano repertoire.
Slowing it down allows for RUBATO, perhaps the most important attribute for making it HUMAN. Note: Sorabji's "Gulistan" translates as "The Rose Garden," Thus he was interested in flowering plants, apparently. This reminds me of Bill Evans' great playing!! Excellent.
@John Lindstrom I think Sorabji had interest in flowering plants, and more broadly, gardens as well! I'm curious, what would you rigorously define "making it human" in this context as? It's just a thought-provoking question, feel free to skip it
@@Musicforever60 Simply: The Human Heartbeat surges and ebbs through Life; it's never a rock steady beat, as suggested by a metronome. It seems to me that SPEED goes against RUBATO. Same with VIBRATO. I suggest you listen to Bill Evans' "Your Story."
Have a go at this playlist of Sorabji pieces I've recorded if you're interested in more that's similar! th-cam.com/play/PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME.html
I was thinking this piece smells murky & musty and was wondering if it's just sorabji's style or what - it's genuinely the first time for me that the music is able to evoke the feeling that the title implies - but the sensation in Djami is completely different. Really astonishing and a true impressionist piece.
@Luke Hotty Perhaps you would like to know that this is one of Sorabji's easiest pieces and he more commonly writes in 4 staves :) See my more recent videos for example
I'm not a big fan of much of Sorabji's later music, but his early works and 'nocturne' pieces are gorgeous. Just love those passages from 1:16 , 2:48 , 5:20 and 6:36 to the end here. Beautiful harmonies and progressions.
@4candles - Byways of Classical Music I also find Sorabji's "Le Jardin Perfumé" to be quite gorgeous as well! It's less beautiful harmonies and progressions but possessing a silk-like quality with a serene and mysterious atmosphere
Considering Sorabji's sexuality, one wonders if this piece refers to being among the many-scented florescences within a tropical conservatory, or is meant to evoke something rather more metaphorical.
I love your interpretation, thank you for playing so well! I like this piece. But Sorabji basically said any composition before 1924 was immature. Can anybody suggest stuff similar to this music, maybe a little crazier? I already love Scriabin’s late sonatas and stuff. Thank you :)
@The ModicaLiszt hmmm, how similar? I'd say late Sorabji is as contrasting to this as you desire haha. Other composers: Roslavets, Feinberg, Protopopov, Szymanowski
Sublime.I can hear elements of Barber, Berg and a host of others in this wonderful piece. Eric not enough talented pianist play this repertoire.You should definitely get a loan piano from Steinway.... I'm sure they will recognise your contribution to the musical family. Additionally you must get great solace from playing this and other compositions in your growing repertoire.
@Calagat 5000 oh ya, lots of solace absolutely. it's like having a magical ability to materialize surreal beauty; to not just experience figments of a world, but to also summon one at the fingertips
@Calagat 5000 Funny enough, it's actually this comment of yours that I've been recalling in my mind for a while :) I'm considering whether it's actually feasible to do as you say: get a loan piano from Steinway. I'm just a bit concerned that they need an incentive on their end for it to be a deal. Do you have any familiarity with how what you suggest can be done, or know someone who can help me with that? I'm always at a limitation on my own piano when it comes to playing pieces that are more aggressive, since I try to protect myself from breaking strings, so have a loan Steinway would be absolutely amazing, and I'll be able to play a lot of pieces that I couldn't before.
@@Musicforever60 Hi Eric.I think you should get in contact with Tiffany Poon and ask her questions about it.Im sure she is approachable and would be willing to help.I'm not sure of Steinways criteria but having a social media profile and a niche would help.
Eric.I was thinking...why don't you get in touch with the guys at Tonebase. You have more than enough knowledge to pass on and it would be good for your networking. Just a link to share: th-cam.com/video/eD4MY3rmrXI/w-d-xo.html Some of those chord resolutions and registrations...
It sounds like a modern folk or pop piece but with lovely unexpected touches. I'm finally glad to find something enjoyable by Sorabji, since he has the reputation of being put as a cult leader by some fanatics.
Oh, there's lots of great stuff by Sorabji! I have 9 major recordings of various pieces on my channel now. Here's another one that's relatively easy to grasp: th-cam.com/video/8vE2d28yjI4/w-d-xo.html
Hello, Eric! How are you? I wanna ask you if you have any insights on how to play the part that beggings at the 1:50 mark. I'm stuck on it for so long I don't know what to do .-. Thanks!
Doing alright! Lots of things changing in my life recently. Ya, that's a tricky one to play and also explain. I had some troubles with it as well at the time. So, the first thing I'd recommend is practising the RH enough so that it's possible for you to mentally ignore the actual notes you're playing, but your mind is aware of the speed at which the notes are played. Then, divide the LH into contiguous 4-note groups and try to approximately align the starting note of each group with the RH notes. So, in the end, your mind is not overloaded with information and what you really focus on is alignment of the LH and the speed of the RH. That's basically how I did it. Hope that helps! :)
@@Musicforever60 Changes are exciting, hopefully :p And thank you so much for the tips! I'll practice as you've said and I do believe it will help me. Thanks again!
The thing about this composers music is that I always question where it’s leading to. You don’t know. There hardly is even any expectations. I think many 19th century composers including Liszt and Debussy would have turned a blind eye on his scores. It sounds like the screeching sound one would Yelp out as if boiling water was thrown on their back.
@Jaia Chin Uh, sure. But, maybe, just maybe, perhaps it's really really possible, that perhaps there's about at least 100 pieces of music that need to be heard before this one to properly condition your ears to understand it. Idk, many friends of mine not even in music (who regularly listen to mainstream pop music) seem to find these sounds very pleasant. I've also perhaps listened to at least 100 pieces of music beyond the 19th century that has changed my perception of sound from your current state of mind. Perhaps, even, it's an acquired taste of exceptional value??
@Jaia Chin But on a side note, ya, this music is highly unpredictable, but is it really??? 🤔 I've been playing it and I seem to recognize some patterns to it, though it's definitely not as tightly over-constrained as pre-20th century music. Maybe, less predictability could be an additional degree of freedom that opens up new possibilities for music!
@@Musicforever60 He was a great composer. Don’t get me wrong. I think his works however are too harmonized. The sound comes off like chimes - not a couple - but hundreds of them. Given there is no subject that really comes to mind listening to his scores it’s just easy to get lost. It’s very subjective. Some people like your friends do enjoy listening to it. I don’t. There isn’t structure as well. It just doesn’t go anywhere lol. I’m a classical performer myself and play mostly Chopin. I play works by Schumann, Liszt, Wagner, Debussy, Tausig, And many more classical / Romantic composers. It drives me crazy listening to Sorjbi haha… it feels like I’m running away from something. Don’t get me started on Clavicembalisticum…
@@jaiachin9579 While I’m not a fan of most of Sorabji’s music, I don’t think it’s fair at all to say there’s no structure here. Someone who uses 3 staves to express their music isn’t someone who undervalues structure. It’s just not a structure you’re accustomed to, especially as someone who’s conditioned to classic/romantic music. That music can be very nice, and Chopin’s melodies, for example, are very lyrical and are a lot of fun to make “sing” on the piano. But tbh, the concepts/theory behind them are pretty basic once you’re used to them. I’m saying this as someone who’s also immersed in Indian music and who also listens to Godowsky and Kapustin, who I think are 2 very good, very accessible musicians to get into before Sorabji. Their harmonic ears are certainly heavier than the customs of classical music, but their harmonies are not quite as saturated as what Sorabji writes.
Scientists now say that Evolution has no direction.,yet it produces wonderful characters, constantly varying. Could one have planned for a rhinoceros???
fantastic performance of a great piece, thanks for sharing! Do you also like the sonatas by Sessions, Wuorinen, Boulez, Vine? i am sure you know them from hearing.
@leech Vine piano sonata I've heard for sure. It's a great piece I'm 100% sure I can't play on my home piano because of the aggressive smacking involved. The others, well, I haven't learned to appreciate serialism yet. Maybe eventually, when I'm tired of every other piece of music...
@@Musicforever60 looking at how much your musical taste resembles mine, i wouldn't be surprised if by the end your 20's you've come to enjoy listening to masterwork pieces at the verge of serialism (like your Carter is). i don't hear serialism in Sessions, to me it's like Barber's\Ives's sonata, all late post-romantic spiced with serials, haha. and Wuorinen is highly recognizable and original (voice, idiom, pianism). To me, Wuorinen and Carter are at the same level of originality, importance and power. No need to play such works.. but what an enrichment to our audio repertoire! Also Wolpe, very powerful effective musics (to break some strings). I'm late at enjoying Sorabji but I'm finally there: now a true admirer and fan. Thank God for his enrichment to the repertoire 🙌 but you're making a good point there, we (not all of us) do eventually grow tired of piano works or entire composers, even though we know that we still love them. I still love my Beethoven and Medtner but erh the tunes and harmonies got burned too deeply into my ears that i can't listen to them anymore, voluntarily. My ears prefer to hear something new, fresh. In future we won't mind getting back to our roots like Bach Beethoven (Hamelin Haydn Debussy Chopin wt?) but until then we're on a journey constantly moving forward, developing, exploring, disovering, and at the same time leaving beloved things/phases behind. I have yet to explore Roslavetz who isn't even mentioned in Hinson.
![Kaikhosru Sorabji: Gulistān (Eric Xi Xin Liang) [Score, Audio, Visuals]](http://i.ytimg.com/vi/CjZe5I2dJKc/mqdefault.jpg)
Probably the most accessible piece from sorabji.
Sorabji is often a composer that is said to “sound like x composer” when in reality his sound is entirely unique - perhaps in the fact that it is a fusion of so many different styles.
@TomCL 2000 I would also like to argue that Sorabji is a fusion of so many different composers' styles as the quantity of notes Sorabji writes is their combined quantity hahahah
What styles does Sorabji present that other 19th century composers used? Mashing of notes that sounds like wind bouncing off of chimes… screeching chords… rhythms and time signatures that say “fuck you, good luck”… no subject. No return home… It sounds like the music of his circumstances when he was living in seclusion.
@@jaiachin9579 for me, it seems like sorabji turned to longer forms and developments of "themes," which I feel like are often more closely related to motifs. And sometimes his more nocturnal music, like this piece, is almost improvisatory, but they still having some sort of unifying motif or idea, sometimes very hard to catch. The more I've listened, the more I've learned about the music
@@that_oneguy_yt6329 The only composer that I can scratch a surface with in comparing Sorabji to another is Scriabin but even then, Scriabin would have a straight forward idea with his music and develop it in ways even with some harmonic structure you would see in Chopin. Let’s just pay homage to Chopin given that nobody will ever or become close to composing a work like his own.
@@jaiachin9579 yes, I agree with the Scriabin part, his style is not entirely dissimilar to sorabji. And yes, his musical development scheme is a lot more straight forward than sorabji, who takes multiple listens for me to pick out what is going on in the music. If you haven't already, watch musicforever's video on how he got to sorabji in his musical life, and maybe also listen to le jardin parfume. That was my first sorabji piece I really got into, and the more I listened, the more I noticed about the music and it's 'themes'
It reminds me Scriabin in some parts. And sounds impressionistic also most of the time. Amazing piece!
@Seigneur ReefShark ya, some parts have a Debussy feel to it for sure
To me this piece always sounds like something out of Breath of the Wild! Beautiful!
Placing Sorabji's "In the Hothouse" between the sound worlds of Debussy and the early works of Leo Ornstein provides a historical and stylistic context for understanding its place in the continuum of early 20th-century piano music. Debussy's influence is evident in the use of non-traditional scales, extended harmonies, and a focus on atmospheric, coloristic effects. Sorabji extends these ideas further, pushing towards a more complex and virtuosic expression.
Leo Ornstein, on the other hand, was a contemporary of Sorabji's who also pushed the boundaries of musical language with his use of dissonance and rhythm, contributing to the early modernist movement. While Ornstein's music was more aligned with the avant-garde and often embraced a more percussive and dissonant style, Sorabji's virtuosity is more densely contrapuntal and harmonically lush, though no less challenging.
Sorabji's work, therefore, can be seen as bridging the gap between the impressionistic, atmospheric qualities of Debussy and the more radical, dissonant modernism that Ornstein was part of. Sorabji's music, with its intricate textures and formidable technical demands, represents a unique synthesis of the virtuosic and the impressionistic, which could be described as a highly original, virtuosic post-Debussy, pre-Ornstein contribution to the piano repertoire.
Amazing performance!!! thanks so much for taking the time to study it!
2:48-3:20 is some of the most beautiful piano music I've ever heard.
those textures... wonderful interpretation. congrats!
This piece is so addicting, especially your performance, I keep coming back!
Very good! Some textures here and there remind me of Cyril Scott...
Me too!
This sounds like if Scriabin improvised off of Ravel's Oiseaux Tristes. But it's very much original in Sorabji fashion
Slowing it down allows for RUBATO, perhaps the most important attribute for making it HUMAN. Note: Sorabji's "Gulistan" translates as "The Rose Garden," Thus he was interested in flowering plants, apparently.
This reminds me of Bill Evans' great playing!! Excellent.
@John Lindstrom I think Sorabji had interest in flowering plants, and more broadly, gardens as well! I'm curious, what would you rigorously define "making it human" in this context as? It's just a thought-provoking question, feel free to skip it
@@Musicforever60 Simply: The Human Heartbeat surges and ebbs through Life; it's never a rock steady beat, as suggested by a metronome. It seems to me that SPEED goes against RUBATO. Same with VIBRATO. I suggest you listen to Bill Evans' "Your Story."
Not a huge fan of Sorabji, but this is a wonderful piece. 4:35 that transition to pianissimo was splendidly executed btw. Fantastic job!!
Have a go at this playlist of Sorabji pieces I've recorded if you're interested in more that's similar! th-cam.com/play/PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME.html
First time listening a Sorabji's piece and now im perplexed with such beautiful and mysterious feeling. Congratulations!
0:55 cant explain but that chord was so perfect
love ur trills and tremoli
tremoli is such a cute word
@@stacia6678 yes
@@stacia6678 true
@@stacia6678 yeah
What a lovable performance
What a beautiful piece for entering Sorabji's world:)
really beautiful performance!
I was thinking this piece smells murky & musty and was wondering if it's just sorabji's style or what - it's genuinely the first time for me that the music is able to evoke the feeling that the title implies - but the sensation in Djami is completely different. Really astonishing and a true impressionist piece.
This music is kinda cool how it transitions to 2 lines of treble
@Luke Hotty Perhaps you would like to know that this is one of Sorabji's easiest pieces and he more commonly writes in 4 staves :) See my more recent videos for example
@@Musicforever60 ok gotta see that now.🤯
wonderful! thank you!
Great rendition, thank you.
Beautifully played!
I'm not a big fan of much of Sorabji's later music, but his early works and 'nocturne' pieces are gorgeous. Just love those passages from 1:16 , 2:48 , 5:20 and 6:36 to the end here. Beautiful harmonies and progressions.
@4candles - Byways of Classical Music
I also find Sorabji's "Le Jardin Perfumé" to be quite gorgeous as well! It's less beautiful harmonies and progressions but possessing a silk-like quality with a serene and mysterious atmosphere
@@Musicforever60 I find Gulistan his most rewarding 'nocturne' out of the ones I've heard :)
Gonna see if I can learn this by the end of the year. Wish me luck (and that I still have piano skills lmao)
Question for all: Top 3 Greatest Composers of ALL TIME (Piano only)
Considering Sorabji's sexuality, one wonders if this piece refers to being among the many-scented florescences within a tropical conservatory, or is meant to evoke something rather more metaphorical.
I love your interpretation, thank you for playing so well! I like this piece. But Sorabji basically said any composition before 1924 was immature. Can anybody suggest stuff similar to this music, maybe a little crazier? I already love Scriabin’s late sonatas and stuff. Thank you :)
@The ModicaLiszt hmmm, how similar? I'd say late Sorabji is as contrasting to this as you desire haha. Other composers: Roslavets, Feinberg, Protopopov, Szymanowski
@@Musicforever60 I love your playing by the way 😌❤️
@@Musicforever60 Ornstein
Sublime.I can hear elements of Barber, Berg and a host of others in this wonderful piece.
Eric not enough talented pianist play this repertoire.You should definitely get a loan piano from Steinway.... I'm sure they will recognise your contribution to the musical family.
Additionally you must get great solace from playing this and other compositions in your growing repertoire.
@Calagat 5000 oh ya, lots of solace absolutely. it's like having a magical ability to materialize surreal beauty; to not just experience figments of a world, but to also summon one at the fingertips
@Calagat 5000 Funny enough, it's actually this comment of yours that I've been recalling in my mind for a while :) I'm considering whether it's actually feasible to do as you say: get a loan piano from Steinway. I'm just a bit concerned that they need an incentive on their end for it to be a deal. Do you have any familiarity with how what you suggest can be done, or know someone who can help me with that? I'm always at a limitation on my own piano when it comes to playing pieces that are more aggressive, since I try to protect myself from breaking strings, so have a loan Steinway would be absolutely amazing, and I'll be able to play a lot of pieces that I couldn't before.
@@Musicforever60 Hi Eric.I think you should get in contact with Tiffany Poon and ask her questions about it.Im sure she is approachable and would be willing to help.I'm not sure of Steinways criteria but having a social media profile and a niche would help.
Eric.I was thinking...why don't you get in touch with the guys at Tonebase. You have more than enough knowledge to pass on and it would be good for your networking.
Just a link to share:
th-cam.com/video/eD4MY3rmrXI/w-d-xo.html
Some of those chord resolutions and registrations...
It sounds like a modern folk or pop piece but with lovely unexpected touches. I'm finally glad to find something enjoyable by Sorabji, since he has the reputation of being put as a cult leader by some fanatics.
Oh, there's lots of great stuff by Sorabji! I have 9 major recordings of various pieces on my channel now. Here's another one that's relatively easy to grasp: th-cam.com/video/8vE2d28yjI4/w-d-xo.html
Hello, Eric! How are you?
I wanna ask you if you have any insights on how to play the part that beggings at the 1:50 mark. I'm stuck on it for so long I don't know what to do .-. Thanks!
Doing alright! Lots of things changing in my life recently.
Ya, that's a tricky one to play and also explain. I had some troubles with it as well at the time.
So, the first thing I'd recommend is practising the RH enough so that it's possible for you to mentally ignore the actual notes you're playing, but your mind is aware of the speed at which the notes are played. Then, divide the LH into contiguous 4-note groups and try to approximately align the starting note of each group with the RH notes. So, in the end, your mind is not overloaded with information and what you really focus on is alignment of the LH and the speed of the RH. That's basically how I did it. Hope that helps! :)
@@Musicforever60 Changes are exciting, hopefully :p
And thank you so much for the tips! I'll practice as you've said and I do believe it will help me. Thanks again!
Hey, I have a question. Do I need any persmission of some sorts to play this piece? I'm just confused with all this Sorabji/Hinton buisness...
If you play it well, then they'll probably not care, rather, note down your performance
i don't think the harmony is wrong at all, in fact i'm weirded out when some small snippets felt deliberately scriabinesque.
The thing about this composers music is that I always question where it’s leading to. You don’t know. There hardly is even any expectations. I think many 19th century composers including Liszt and Debussy would have turned a blind eye on his scores. It sounds like the screeching sound one would Yelp out as if boiling water was thrown on their back.
@Jaia Chin Uh, sure. But, maybe, just maybe, perhaps it's really really possible, that perhaps there's about at least 100 pieces of music that need to be heard before this one to properly condition your ears to understand it. Idk, many friends of mine not even in music (who regularly listen to mainstream pop music) seem to find these sounds very pleasant. I've also perhaps listened to at least 100 pieces of music beyond the 19th century that has changed my perception of sound from your current state of mind. Perhaps, even, it's an acquired taste of exceptional value??
@Jaia Chin But on a side note, ya, this music is highly unpredictable, but is it really??? 🤔 I've been playing it and I seem to recognize some patterns to it, though it's definitely not as tightly over-constrained as pre-20th century music. Maybe, less predictability could be an additional degree of freedom that opens up new possibilities for music!
@@Musicforever60 He was a great composer. Don’t get me wrong. I think his works however are too harmonized. The sound comes off like chimes - not a couple - but hundreds of them. Given there is no subject that really comes to mind listening to his scores it’s just easy to get lost. It’s very subjective. Some people like your friends do enjoy listening to it. I don’t. There isn’t structure as well. It just doesn’t go anywhere lol.
I’m a classical performer myself and play mostly Chopin. I play works by Schumann, Liszt, Wagner, Debussy, Tausig, And many more classical / Romantic composers. It drives me crazy listening to Sorjbi haha… it feels like I’m running away from something. Don’t get me started on Clavicembalisticum…
@@jaiachin9579 While I’m not a fan of most of Sorabji’s music, I don’t think it’s fair at all to say there’s no structure here. Someone who uses 3 staves to express their music isn’t someone who undervalues structure. It’s just not a structure you’re accustomed to, especially as someone who’s conditioned to classic/romantic music. That music can be very nice, and Chopin’s melodies, for example, are very lyrical and are a lot of fun to make “sing” on the piano. But tbh, the concepts/theory behind them are pretty basic once you’re used to them. I’m saying this as someone who’s also immersed in Indian music and who also listens to Godowsky and Kapustin, who I think are 2 very good, very accessible musicians to get into before Sorabji. Their harmonic ears are certainly heavier than the customs of classical music, but their harmonies are not quite as saturated as what Sorabji writes.
Scientists now say that Evolution has no direction.,yet it produces wonderful characters, constantly varying. Could one have planned for a rhinoceros???
Can you explain your fingering for the very last chord in the right hand? I cant seem to figure out a good way to play it without rolling it
I think I did 3rd finger on E? And then used the right side of the palm for the cluster
@@Musicforever60 thanks! I'll give it a try
3:57
fantastic performance of a great piece, thanks for sharing!
Do you also like the sonatas by Sessions, Wuorinen, Boulez, Vine? i am sure you know them from hearing.
@leech Vine piano sonata I've heard for sure. It's a great piece I'm 100% sure I can't play on my home piano because of the aggressive smacking involved. The others, well, I haven't learned to appreciate serialism yet. Maybe eventually, when I'm tired of every other piece of music...
@@Musicforever60 looking at how much your musical taste resembles mine, i wouldn't be surprised if by the end your 20's you've come to enjoy listening to masterwork pieces at the verge of serialism (like your Carter is). i don't hear serialism in Sessions, to me it's like Barber's\Ives's sonata, all late post-romantic spiced with serials, haha. and Wuorinen is highly recognizable and original (voice, idiom, pianism). To me, Wuorinen and Carter are at the same level of originality, importance and power. No need to play such works.. but what an enrichment to our audio repertoire! Also Wolpe, very powerful effective musics (to break some strings). I'm late at enjoying Sorabji but I'm finally there: now a true admirer and fan. Thank God for his enrichment to the repertoire 🙌
but you're making a good point there, we (not all of us) do eventually grow tired of piano works or entire composers, even though we know that we still love them. I still love my Beethoven and Medtner but erh the tunes and harmonies got burned too deeply into my ears that i can't listen to them anymore, voluntarily. My ears prefer to hear something new, fresh. In future we won't mind getting back to our roots like Bach Beethoven (Hamelin Haydn Debussy Chopin wt?) but until then we're on a journey constantly moving forward, developing, exploring, disovering, and at the same time leaving beloved things/phases behind. I have yet to explore Roslavetz who isn't even mentioned in Hinson.
nice
this is the easiest sorabji piece, and it's like already harder than le preux