Strange
| =a
usic
The World of Kaikhosru Sorabji
By MICHAEL HABERMANN
Pianist Michael
Haberman’s recording
of the piano music of
Raikbusr Sorabjt bas
recently been released!
by Elan Recordings
Since Sorabjt’s musi
notorious Jor its alinast
impossible viriuusie
demands, very few
pianists have attempted
fo tackle it, sn addition,
Jor a good many years
the composer forbade
the pesfin mance of his
works, 1onh be greed
Special permission to
Michael Haberman
We asked Mr. Haber-
‘nan to explain bis fascination with Sorabys, and 10 dis-
cuss bis recording project
aikhosty Shapurii Sorabji (1892-1988), the
English-Parsee composer, will probably always
be remembered for his pursuit of extremes: daz
Ting difficulties of execution, and works of
Sumwmoth dimensions. Equally associated with the coms
poset is the ban he imposed upon the public execution
‘his svorks. These are but the external characteristics
The imaginative coexistence aNd fescinating, ywerac>
tion of a deluge of rhythms, melodies, hurmonies, snd
textures is simply awe-inspiring The mood he creates in
his music is unique. The Nocturnes explore mystical
irance states, His transcriptions bring undeniable
xhindeur and dignity to their themes. The energeric
pieces transfix in thelr sheer obstinacy and determina
Ton. culminating in massive climaxes that engulf the
Centine arsenal af the piano (and plans)
Sorabi’s piano output is hige. A complete list appears
fn Serabji. a Critical Celebration. edited by Put
Rapoport (Ashgate, 1992). Bypassing his insurrneuntably
Challenging Piano Symphonies, Toceatin, Variations, and
the famous Opus Clavicemhalisticum (1930). 1 find a
‘number of “shorter” works of great interest, By shorter 1
fein st composition not exceeding a half hour in lengthy
hor longer than 40 pages. | recorded 3 number of these
for MusieMasters (Misical Hesitage Society) some years
iu0. The feuit of miny more years of concentrated work
iS how presented on Ekin CD 82264. recently released
The following is 2 brief description of the musi¢ on the
‘compact disc,
‘Gulistan” (The Kose Garden}—Nocturne for Piano
940) ts exsentially postimpressionistic in style. Tt is a
wperl, lufeious pico featuring. low successions Of dia
tonic chorus (generally in broken form) in the lower
Tegions and shimmering chromatic Figures inthe upper
Fegisiers [nthe amidange we hear hypnowe enhbe
melodies. The dite Gulisian sefers to the verse und prose
‘he Kese Garden (258) by the Sufi Persian poet Sadi
4713-1290)
‘Ouevre reliqua bryjus materiet ter secretiona” (Seek
the rest of this matter among the things that are more
secret) (1940), on the other hand, is programmatic
rie climax. Itis
piece depicting sinister events und
Tyne on 4 ghost story, Count Magnus. by M. R. fumes.
Ihe auunerdus contrasts For quite ain interpretive chal
——
Music of dazzling difficul-
ties! and mammoth size.
SS
for
= VOLUME 15 + wumpen 6 + Novensen}DEcEMBER 1995