My jaw dropped twice - first when I saw you had already finished learning the piece, and then when I gave your performance a listen. Schumann’s comment on Chopin comes to mind: “Hats off, gentlemen - a genius!”
@@johnboettger864Do you have no sense of self respect? Do you think that people will see you as anything else than a fool when you write such a grotesque caricature of valid criticism? Grow up, and least make an effort to think before making another comment like this
I have no words, this was well-done, in 22 hours?! Here, this comes across as rhetorical and dialectic, which seems to be the composer's intent, and not just a bunch of overwritten noise, as in some other recordings.... After your previous upload of the last page, though, I think the final ascent should have a bit more of a ritardando. Mad respect!
Transcendental dialectic, referring to Kant's ' Critique of Pure Reason ' which should be required reading for all aspiring concert pianists. I took an entire course on Kant while earning my PhD...
I mean, "very impressive" would not be fitting to describe this video because in ny opinion uts far beyond impressive. This is a very remarkable performance of an incredibly hard piece by a true artist, congrats!
the clearest performance of one of the most cataclysmic cadenzas in traditional pianism history ymmd! (non-traditional pianism would be certain modern virtuosic sonorous pieces by finnissy wuorinen et al., which i lerv as well)
Now for my thoughts on your performance: I'm very much astonished seeing you plow your way through the dense harmonies at such a quick, smooth pace and delivery; it almost looked unreal to see you play that middle section easily at that speed. You really gave this another justice rendition; truly deserved after all of the notorious recordings besides Huisman's. I will never believe someone if they say they don't want to have an exemplary technique like yours, it's too good to be true. As always, I will wait for more of your performances/recordings to enjoy!
Marvelous! If I could have one criticism, I feel like the dynamics at 3:50 could have dropped farther into the piano range, to set up that epic final crescendo. There's such a great large-scale connection between those Eb pedal tones.
I actually did consider that dropping that dynamic for the final crescendo, though I'll mention two reasons for why I didn't. 1, is that Sorabji wrote for the crescendo to start at fortissimo, so I should work with his instructions. 2, is that it doesn't fit the character of the movement. At the baseline, the movement suggests "didactic sententiousness" which, in my interpretation, has a degree of relentlessness and boorishness to it. It's bombastic pedagogy that is over-the-top, in-your-face, unhinged, and frankly a bit ludicrous and insane. Having that kind of drop for the final crescendo was a bit "too refined" and "held back" for my interpretation. As well, the textural density of the final ascending sequence of chords is relatively homogeneous with a few more notes towards the end, so I wanted, at the end of it all, for all the chords to have equal weight and tone to really hammer in the intracacies, so starting quieter just wasn't going to have the same effect. Hope that made sense!
Omg Eric. I LOVE your performance of this movement ! Not quite as fast as Ogdon's but remarkable in its own right, clear without fussiness about clarity.
Thinking not only about this piece specifically, but more generally about Sorabji's entire piano production (it is better to draw a pitiful veil over the rest: not having received a complete musical education he was not able to write "decently" for anything other than piano) one is amazed by the disproportion between the quantity of paper and ink used and the uniform opacity of the result obtained. It is truly a paradigmatic example of musical wallpaper, devoid of the slightest interest.
Dude if you want paradigm or whatever nonsense you're going on about, just listen to Medtner, Szymanowski, Feinberg, Roslavets, and Kapustin. Then there's also "In the Hothouse", "Le Jardin Parfumé", "Gulistān", and all the other movements of Opus Clavicembalisticum. This is a cadenza, if you know what that is, which gives it complete reasonability as to why there's this many notes. I'm sure if you only heard the cadenza from Beethoven's Piano Concerto No.3 and nothing more, you'd question why people think the piece is worth listening to
HOLY SHIT THIS IS DOPE HOW THE FUCK DID YOU LEARN THIS IN 22 HOURS WITH SUCH VARIETY OF TONE You need to take a rest man this shit is actually crazy, maybe Sorabji-Bach, even some Stradal or Katsaris Transcriptions might be enough for you to chill out
You can easily find sheet music for the whole piece on internet but keep in mind it has a lot of deviations from the manuscript. About fingering and pedaling - with such a dense counterpoint you don't have too much options for both, so it'd be still easier and better (in terms of final result) to find out the most suitable variant of them by yourself
@@Musicforever60 You continue to impress me, not just as a musician, nor even as a pianist (an entirely different thing), but as an individual of worth whose contribution to public affairs is decidedly additive, positive and evident. Keep it up. As AC/DC said, Its a long way to the top if you want to rock and roll, and you are closer to the starting line than the finish line, so keep on rock'n! PS: I recently began playing again and I am preparing a recital (which I will never perform), of Bach, Schubert, Chopin, Brahms, Liszt, and Debussy. But the inability to recover my hands, 4 decades removed from having had actual technical facility, is both disheartening and humbling in light of the proficiency required to additionally make music by way of the notes.
Massive congratulations! Most people who play this play it so badly and you stand out from the crowd with playing everything especially the parts with 4 staves very well! I am going for Cadenza I too and doing it as a challenge with my hardest piece being Fantasie Impromptu! Any suggestions on how I should approach this piece?
Thanks, but as a genuine suggestion: don't. It's never going to happen even if you can nail the technique. As a frame of reference, playing this cadenza would still be extraordinarily challenging even if you can play Bartok's piano sonata with ease. So, start with that instead. Then, after, maybe try the 4th movement of Weissenberg's "Sonata in a State of Jazz". Then, maybe you'll have a chance.
@@Musicforever60 Never going to happen? Thats what me and everyone thought to themselves when I went from Nocturne in E-flat major, Op. 9, No. 2 to Fantaisie Impromptu, and yet I was still successful. Like trust me when I say this, I can do anything, I just need to know how to do it and have enough dedication, that is all I need. I might sound goofy saying this but no matter what I did in my life I was always right about this. Is there anything about this piece that you would recommend me to do while learning it? Like one of the things I noticed from my first day of learning it is that the piece uses accidental mechanics very differently from any other piece I played. I don’t really understand how Sorabji wants me to treat the effects of sharps and flats and stuff. Can you please explain this to me along with other things you would recommend me to do while learning the piece please?
@@sashozz Fantasie-impromptu is considered a relatively easy piece by most pianists' standards. For reference, I played that when I was around 11 years old. It's easier than a lot of Chopin etudes. One thing you must understand is that playing music is not simply a technical exercise. If the only extent of your experience is Fantasie-impromptu, what's going to happen is you're going to learn this cadenza by Sorabji, maybe be able to play the notes up to speed if you work for an entire year, but it'll sound horrible. The reason is because you're likely be missing most of finer details i.e. time control, phrasing, placement of emphasis, tonal precision, voicing, textural clarity and compositing, etc. In other words, what actually makes this music "make sense". I subtlely do all this in my performance, it's just that I've had 16 years of experience playing a vast swath of repertoire in existence and I've been trained by world-class teachers so all of it is ingrained within me already. Do realize that this music only "makes sense" because I interpreted it in a very specific way that's coherent. If I gave you a random piece of music by Sorabji that's never been performed, would you be able to understand it and present it in a way that "makes sense"? I'm telling you not to do it because you're probably going to torture yourself for an entire year blindly learning the notes when that completely detracts from the point of music. What you should actually do is enjoy all the other music in existence for their emotional conveyance, get a piano teacher, understand all the underlying precision that's necessary, and understand how I got to this point in the first place: ruclips.net/video/LHZq8RZ_KGo/видео.html . Then, once you have more context behind what this music by Sorabji actually is, you'll appreciate it more and won't take an entire year to learn it. And you'll feel more spiritually and intellectually fulfilled.
@@Musicforever60 I am not blind when it comes to music. I have listened to multiple recordings of Cadenza and I do understand the beauty of the piece, I don’t view it as a bunch of random notes everywhere like you expect most people to. I know you have a whole progression in skill, but for me its more about doing what I want to do rather than improvement. I do play the music I play with feelings instead of carelessly and robotically. Like before starting Cadenza I I already have an idea on how I want to play it. I want to play the first bit of it like Ogdon and the rest of it like how you play it. The reason is because I did a bit of research on allegro vivace and the other tempos, and based on what it looks Sorabji intended the first part of the piece to be fast and flowy rather than intermediate speed and fixated. Yes if you gave me a random Sorabji piece I would be able to understand and present it in a way that makes sense. Sorabji is not about interpretation in my opinion, it is more about understanding the piece and the structure, as for most pieces. You obviously played the piece with a lot of thought when it comes to how it is meant to be played, but if you took Cadenza I and made MuseScore play the piece in the way the notes are presented (along with articulation and tempo), people will still understand the piece equally as much as they would watching your video. You almost played the piece perfectly based on the way the notes are written, unlike most, if you played the first part a bit faster it would’ve been basically the best performance of all time. I have played piano for 11 years so please don’t make assumptions on how I play piano pieces and my understanding of pieces, I give all music I view and listen to multiple chances and I observe their melodical and rhythmic structures very deeply.
@@Musicforever60 I know that the vibe of Cadenza I is dark and mysterious while being present in the moment, that is how I view it. In terms of structure the piece has an intro, a predrop, a drop, an “arriving at the end” segment”, and an ending. I used many modern terms but they can still be applied to this piece.
yes, by John Ogdon and Geoffrey Madge, but you're better off not listening to them, because they're full of errors and lack any sense of musicality. for example, using a naïve measure, their respective note accuracies for this movement, "VII. Cadenza I", is around 50% and 40% while mine is over 99%.
@@Musicforever60they both have musicality, just not accurate. The composer himself approved of Madge's interpretation. It is not great, but he musically managed in many parts.
@@pjimenez08 Many wish to be movie directors with a compelling vision and to be praised as having so, but if their vision is only an artifact of their mind and fails in execution, then it is still no more than unremarkable and the utmost generosity must be given for its valuation. Same applies here.
I mean, you're right, I've obviously never played a single piece of music by Bach, Haydn, Mozart, Beethoven, Brahms, Chopin, Schumann, Schubert, Mendelssohn, Liszt, Rachmaninoff, Prokofiev, Ravel, Debussy, Medtner, Ornstein, Kapustin, Ives, Roslavets, Szymanowski, Scriabin, and Tchaikovsky, to name a few.
Yes, because your first day at the piano you can execute extremely fast unison runs and fast chordal passages throughout the whole range of the instrument.
@@lesliechisnall2544 It is fact, not opinion. I have seen nobody who favors Ogdon's interpretation over Eric's, and of course Eric himself dislikes Ogdon as well. Just in terms of accuracy, Ogdon is far inferior to Eric, and there is no question about that.
By having subjected myself to one of the most competitive university programs in my country for Computer Science, endured some of the most brutally challenging exams, worked at a FAANG company, and doing fast reaction time sports like badminton and fencing.
@@Musicforever60 Oh I meant Sorabji... if I was addressing you I'd have a much harder time formulating a cohesive question due to my utter mind-scrambled astonishment
@@maultwo Nah, why would I when my efforts and hard-earned privileges allow me an insanely high income doing a job I love in tech and unconstrained ability to basically play whatever I want in existence on the piano relatively effortlessly? There's all the reason to celebrate and flaunt. My life is easier than 99% of people's out there and likely more fulfilling.
@@Musicforever60 Wow man, I don't even know how it's possible to be so completely insufferable. Hopefully you'll be humbled someday because this just ain't it, bud.
You need to work on your dynamics and phrasing; I played this for my final exam at the University of Music and Performing Arts Vienna ... in 1967. I have severe arthritis, and sadly can no longer play. Reinhold Von Treffencaunbowz, MBBS, PhD
That's nice, but can I have a lot more detail as to "need to work on your dynamics and phrasing"? Your name, "Reinhold Von Treffencaunbowz" doesn't come up on Google search even though you should be quite competent if you can play this. And also, Sorabji banned all performances of OC until 1967, which is also suspiciously when you allegedly played it. I need more convincing proof before I should take any advice more seriously.
That's what i used to say about Sorabji years ago. It's quite funny how my ears developed tolerance for it over the years, I even find it fun to listen to by now. The dissonance is honestly not that bad, and it still sounds structured and solid. These opinions on these kinds of music are simply subjective, as every single indvidual have different ears. You don't like Sorabji pieces because you find it random, i do because the dissonance is tolerable to me and i liked the structure of it - then i find someone else sounding random, Finnissy. Because i find his dissonance too much to tolerate and i find it random. No disrespect though, and those guys composition are ironically hard to play.
You can always start off with these if you're a mother's boy: ruclips.net/p/PLIDZcmE0XODCQZOTbI6MFMaNnYHIkhmu_ and then eventually work towards these once you become a man: ruclips.net/p/PLIDZcmE0XODCQZOTbI6MFMaNnYHIkhmu_
My jaw dropped twice - first when I saw you had already finished learning the piece, and then when I gave your performance a listen. Schumann’s comment on Chopin comes to mind: “Hats off, gentlemen - a genius!”
I see no genius here. Unless it is the genius of making an effort to perform this POS!
@@johnboettger864 Bro pls just stop. I would love to see u try this with the same accuracy.
@@johnboettger864Do you have no sense of self respect? Do you think that people will see you as anything else than a fool when you write such a grotesque caricature of valid criticism? Grow up, and least make an effort to think before making another comment like this
@@johnboettger864 Ah yes, a comment that is the equivalent of someone criticising athletes on TV.
Its mostly just arpeggios and scales, not saying it's easy but like... it's not hard either
I've been on youtube for 10 years and your channel is the first one I clicked the notification bell for
This is a beautiful piece - I love to hum the melody when taking a shower.
heyyy same here! :D
I agree. The melody is over-powering.
I have no words, this was well-done, in 22 hours?! Here, this comes across as rhetorical and dialectic, which seems to be the composer's intent, and not just a bunch of overwritten noise, as in some other recordings.... After your previous upload of the last page, though, I think the final ascent should have a bit more of a ritardando. Mad respect!
rhetorical and dialectic sounds about right
Transcendental dialectic, referring to Kant's ' Critique of Pure Reason ' which should be required reading for all aspiring concert pianists. I took an entire course on Kant while earning my PhD...
I mean, "very impressive" would not be fitting to describe this video because in ny opinion uts far beyond impressive. This is a very remarkable performance of an incredibly hard piece by a true artist, congrats!
wow gg man, this is truly a tremendous achievement, the way you tackle these works by sorabji so quickly is astonishing
Even if he played all wrong notes, we wouldn’t even know haha
If you make a mistake no one cares.
the clearest performance of one of the most cataclysmic cadenzas in traditional pianism history ymmd! (non-traditional pianism would be certain modern virtuosic sonorous pieces by finnissy wuorinen et al., which i lerv as well)
Absolutely phenomenal. My favorite rendition of this monstrously difficult movement. Looking forward to the complete OC from you one day.
badass textures
I love this piece so much nobody plays sorabji as good as you
There's an ass for every seat!
This is the most insane shit I have ever seen in my entire life. Hats off.
What a great video to see after such a stressful day!
Now for my thoughts on your performance: I'm very much astonished seeing you plow your way through the dense harmonies at such a quick, smooth pace and delivery; it almost looked unreal to see you play that middle section easily at that speed. You really gave this another justice rendition; truly deserved after all of the notorious recordings besides Huisman's. I will never believe someone if they say they don't want to have an exemplary technique like yours, it's too good to be true. As always, I will wait for more of your performances/recordings to enjoy!
I legit never expected to see somebody clear both Cadenzas like that. Certainly not in such a short time... 🥴
This is wild. In all the best ways. Thank you for this.
Absolutely perfect!
You are beyond good, although I don’t know if you made too many mistakes. But you are surely utterly talented.
Наверное , лучшая интерпритация этого куска на данный момент.
Your neighbours are so blessed to have you as their neighbour. It was such great playing!
damn this is really good man
This is very nice. It's first time I hear something from Sorabji. Gonna search more about this guy. Thank you
I've got an entire playlist of my recordings of his pieces if you're interested: ruclips.net/p/PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME
What an unbelievable composition and an equally unbelievable performance. You motivate me to get better at piano.
By my own mind, I thought this piece is atonal, but in turns out in my own perspective, it feels musical.
Атонально синоним немузыка?
The opposite of atonal is tonal, not musical..
You are amazing...
Marvelous! If I could have one criticism, I feel like the dynamics at 3:50 could have dropped farther into the piano range, to set up that epic final crescendo. There's such a great large-scale connection between those Eb pedal tones.
I actually did consider that dropping that dynamic for the final crescendo, though I'll mention two reasons for why I didn't. 1, is that Sorabji wrote for the crescendo to start at fortissimo, so I should work with his instructions. 2, is that it doesn't fit the character of the movement. At the baseline, the movement suggests "didactic sententiousness" which, in my interpretation, has a degree of relentlessness and boorishness to it. It's bombastic pedagogy that is over-the-top, in-your-face, unhinged, and frankly a bit ludicrous and insane. Having that kind of drop for the final crescendo was a bit "too refined" and "held back" for my interpretation. As well, the textural density of the final ascending sequence of chords is relatively homogeneous with a few more notes towards the end, so I wanted, at the end of it all, for all the chords to have equal weight and tone to really hammer in the intracacies, so starting quieter just wasn't going to have the same effect. Hope that made sense!
I'm surprised how well Ogdon did this at his speed... this recording is much more refined, of course.
Ogdon did not do "well" by any definition of the word.
@@ciararespect4296 "Learned and refined in approximately 22 hours (practice) + 3 hours (score annotation) over 2 weeks."
@@adigozelov-enjoyer he's talking about Ogdon not Eric.
@@zswu31416 Ah. Of course there is a difference.
@@zswu31416 ?
Breathtaking !
Omg Eric. I LOVE your performance of this movement ! Not quite as fast as Ogdon's but remarkable in its own right, clear without fussiness about clarity.
HOLY SHIT CLEAN AF
Thinking not only about this piece specifically, but more generally about Sorabji's entire piano production (it is better to draw a pitiful veil over the rest: not having received a complete musical education he was not able to write "decently" for anything other than piano) one is amazed by the disproportion between the quantity of paper and ink used and the uniform opacity of the result obtained. It is truly a paradigmatic example of musical wallpaper, devoid of the slightest interest.
Dude if you want paradigm or whatever nonsense you're going on about, just listen to Medtner, Szymanowski, Feinberg, Roslavets, and Kapustin. Then there's also "In the Hothouse", "Le Jardin Parfumé", "Gulistān", and all the other movements of Opus Clavicembalisticum. This is a cadenza, if you know what that is, which gives it complete reasonability as to why there's this many notes. I'm sure if you only heard the cadenza from Beethoven's Piano Concerto No.3 and nothing more, you'd question why people think the piece is worth listening to
@@Musicforever60I'm surprised by how polite and well-mannered you are!
@@MetamorphoseostouXR Thanks. Equal reciprocation.
This section probably has the most notable inspiration from Busoni's FC.
Justice...........
101% accurate
hahahaha you have cadnezan trading cards epic
heavy metal for people who like classical music
HOLY SHIT THIS IS DOPE HOW THE FUCK DID YOU LEARN THIS IN 22 HOURS WITH SUCH VARIETY OF TONE
You need to take a rest man this shit is actually crazy, maybe Sorabji-Bach, even some Stradal or Katsaris Transcriptions might be enough for you to chill out
Do you have pedal and fingering tutorial for the piece? Can I get the sheet music please :D
Best I can provide is this: instagram.com/p/CirXAkjuUly/?hl=en
:D
You can easily find sheet music for the whole piece on internet but keep in mind it has a lot of deviations from the manuscript. About fingering and pedaling - with such a dense counterpoint you don't have too much options for both, so it'd be still easier and better (in terms of final result) to find out the most suitable variant of them by yourself
really amazing
holy fuck
the holiest
Hi Eric!
Hey! What's up?
@@Musicforever60 You continue to impress me, not just as a musician, nor even as a pianist (an entirely different thing), but as an individual of worth whose contribution to public affairs is decidedly additive, positive and evident. Keep it up. As AC/DC said, Its a long way to the top if you want to rock and roll, and you are closer to the starting line than the finish line, so keep on rock'n!
PS: I recently began playing again and I am preparing a recital (which I will never perform), of Bach, Schubert, Chopin, Brahms, Liszt, and Debussy. But the inability to recover my hands, 4 decades removed from having had actual technical facility, is both disheartening and humbling in light of the proficiency required to additionally make music by way of the notes.
Also, I kind of wish I had your classroom speakers still to blast my recordings of Opus Clavicembalisticum and Opus Archimagicum at full volume haha
Massive congratulations! Most people who play this play it so badly and you stand out from the crowd with playing everything especially the parts with 4 staves very well! I am going for Cadenza I too and doing it as a challenge with my hardest piece being Fantasie Impromptu! Any suggestions on how I should approach this piece?
Thanks, but as a genuine suggestion: don't. It's never going to happen even if you can nail the technique. As a frame of reference, playing this cadenza would still be extraordinarily challenging even if you can play Bartok's piano sonata with ease. So, start with that instead. Then, after, maybe try the 4th movement of Weissenberg's "Sonata in a State of Jazz". Then, maybe you'll have a chance.
@@Musicforever60 Never going to happen? Thats what me and everyone thought to themselves when I went from Nocturne in E-flat major, Op. 9, No. 2 to Fantaisie Impromptu, and yet I was still successful. Like trust me when I say this, I can do anything, I just need to know how to do it and have enough dedication, that is all I need. I might sound goofy saying this but no matter what I did in my life I was always right about this.
Is there anything about this piece that you would recommend me to do while learning it? Like one of the things I noticed from my first day of learning it is that the piece uses accidental mechanics very differently from any other piece I played. I don’t really understand how Sorabji wants me to treat the effects of sharps and flats and stuff. Can you please explain this to me along with other things you would recommend me to do while learning the piece please?
@@sashozz Fantasie-impromptu is considered a relatively easy piece by most pianists' standards. For reference, I played that when I was around 11 years old. It's easier than a lot of Chopin etudes. One thing you must understand is that playing music is not simply a technical exercise. If the only extent of your experience is Fantasie-impromptu, what's going to happen is you're going to learn this cadenza by Sorabji, maybe be able to play the notes up to speed if you work for an entire year, but it'll sound horrible. The reason is because you're likely be missing most of finer details i.e. time control, phrasing, placement of emphasis, tonal precision, voicing, textural clarity and compositing, etc. In other words, what actually makes this music "make sense". I subtlely do all this in my performance, it's just that I've had 16 years of experience playing a vast swath of repertoire in existence and I've been trained by world-class teachers so all of it is ingrained within me already. Do realize that this music only "makes sense" because I interpreted it in a very specific way that's coherent. If I gave you a random piece of music by Sorabji that's never been performed, would you be able to understand it and present it in a way that "makes sense"?
I'm telling you not to do it because you're probably going to torture yourself for an entire year blindly learning the notes when that completely detracts from the point of music. What you should actually do is enjoy all the other music in existence for their emotional conveyance, get a piano teacher, understand all the underlying precision that's necessary, and understand how I got to this point in the first place: ruclips.net/video/LHZq8RZ_KGo/видео.html . Then, once you have more context behind what this music by Sorabji actually is, you'll appreciate it more and won't take an entire year to learn it. And you'll feel more spiritually and intellectually fulfilled.
@@Musicforever60 I am not blind when it comes to music. I have listened to multiple recordings of Cadenza and I do understand the beauty of the piece, I don’t view it as a bunch of random notes everywhere like you expect most people to. I know you have a whole progression in skill, but for me its more about doing what I want to do rather than improvement. I do play the music I play with feelings instead of carelessly and robotically. Like before starting Cadenza I I already have an idea on how I want to play it. I want to play the first bit of it like Ogdon and the rest of it like how you play it. The reason is because I did a bit of research on allegro vivace and the other tempos, and based on what it looks Sorabji intended the first part of the piece to be fast and flowy rather than intermediate speed and fixated. Yes if you gave me a random Sorabji piece I would be able to understand and present it in a way that makes sense. Sorabji is not about interpretation in my opinion, it is more about understanding the piece and the structure, as for most pieces. You obviously played the piece with a lot of thought when it comes to how it is meant to be played, but if you took Cadenza I and made MuseScore play the piece in the way the notes are presented (along with articulation and tempo), people will still understand the piece equally as much as they would watching your video. You almost played the piece perfectly based on the way the notes are written, unlike most, if you played the first part a bit faster it would’ve been basically the best performance of all time. I have played piano for 11 years so please don’t make assumptions on how I play piano pieces and my understanding of pieces, I give all music I view and listen to multiple chances and I observe their melodical and rhythmic structures very deeply.
@@Musicforever60 I know that the vibe of Cadenza I is dark and mysterious while being present in the moment, that is how I view it. In terms of structure the piece has an intro, a predrop, a drop, an “arriving at the end” segment”, and an ending. I used many modern terms but they can still be applied to this piece.
Is there a full performance cuz this piece is so long
yes, by John Ogdon and Geoffrey Madge, but you're better off not listening to them, because they're full of errors and lack any sense of musicality. for example, using a naïve measure, their respective note accuracies for this movement, "VII. Cadenza I", is around 50% and 40% while mine is over 99%.
@@Musicforever60 ohh really ? Thanks for replaying
Wow you can actually hear the notes
@@Musicforever60they both have musicality, just not accurate. The composer himself approved of Madge's interpretation. It is not great, but he musically managed in many parts.
@@pjimenez08 Many wish to be movie directors with a compelling vision and to be praised as having so, but if their vision is only an artifact of their mind and fails in execution, then it is still no more than unremarkable and the utmost generosity must be given for its valuation. Same applies here.
Это , я считаю , предел возможного пианизма. Дальше только долбить по инструменту)
Did you just play 4 hands with 2 hands? :O
Cecil Taylor is melodic compared to this! Sorabji is practicing scales, right?
Yup! Look at these scales here: ruclips.net/video/R7zNODJgnGc/видео.html
it's very technically impressive but it doesn't sound great. 😅the piece i mean. the playing was amazing.
It just doesn't sound like music tho
that's because you're still a baby in training. here, your pacifier: ruclips.net/p/PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME
When you improvise but it's either you're first day of playing piano, or you have no idea on what good music sounds like
I mean, you're right, I've obviously never played a single piece of music by Bach, Haydn, Mozart, Beethoven, Brahms, Chopin, Schumann, Schubert, Mendelssohn, Liszt, Rachmaninoff, Prokofiev, Ravel, Debussy, Medtner, Ornstein, Kapustin, Ives, Roslavets, Szymanowski, Scriabin, and Tchaikovsky, to name a few.
Yes, because your first day at the piano you can execute extremely fast unison runs and fast chordal passages throughout the whole range of the instrument.
John Ogdon is responsible for the general hate on Sorabji
*coughs* *Geoffrey Douglas Madge*
and your evidence for that statement is....?
@@lesliechisnall2544 He plays so sloppily and inaccurately that he causes people to think that Sorabji is just atonal noise, and it is not.
@@zswu31416 that is opinion, not fact. Who thinks he plays so sloppily? How many?
@@lesliechisnall2544 It is fact, not opinion. I have seen nobody who favors Ogdon's interpretation over Eric's, and of course Eric himself dislikes Ogdon as well. Just in terms of accuracy, Ogdon is far inferior to Eric, and there is no question about that.
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Man this piece sounds horrible.. must be very brave of you to play this!
I'm glad I'm so popular among yourself that you care to comment on every video of mine. Increases viewer interaction and promotes video viewership
How does one... make so many decisions?
By having subjected myself to one of the most competitive university programs in my country for Computer Science, endured some of the most brutally challenging exams, worked at a FAANG company, and doing fast reaction time sports like badminton and fencing.
@@Musicforever60 Oh I meant Sorabji... if I was addressing you I'd have a much harder time formulating a cohesive question due to my utter mind-scrambled astonishment
@@Musicforever60 Seriously dude... get over yourself.
@@maultwo Nah, why would I when my efforts and hard-earned privileges allow me an insanely high income doing a job I love in tech and unconstrained ability to basically play whatever I want in existence on the piano relatively effortlessly? There's all the reason to celebrate and flaunt. My life is easier than 99% of people's out there and likely more fulfilling.
@@Musicforever60 Wow man, I don't even know how it's possible to be so completely insufferable. Hopefully you'll be humbled someday because this just ain't it, bud.
Дахора
You need to work on your dynamics and phrasing; I played this for my final exam at the University of Music and Performing Arts Vienna ... in 1967. I have severe arthritis, and sadly can no longer play.
Reinhold Von Treffencaunbowz, MBBS, PhD
That's nice, but can I have a lot more detail as to "need to work on your dynamics and phrasing"? Your name, "Reinhold Von Treffencaunbowz" doesn't come up on Google search even though you should be quite competent if you can play this. And also, Sorabji banned all performances of OC until 1967, which is also suspiciously when you allegedly played it. I need more convincing proof before I should take any advice more seriously.
I aint gonna lie, this piece sounds so bad lmao. Like some kid smashing the keys on the piano.
I am gonna lie though: someone asked you
@Musicforever60 well even if you did lie here that wouldn't change anything
lol do you constantly check all comments on all video
@@Musicforever60 well I do sometimes bc a lot of them are just too entertaining lol
That's what i used to say about Sorabji years ago. It's quite funny how my ears developed tolerance for it over the years, I even find it fun to listen to by now. The dissonance is honestly not that bad, and it still sounds structured and solid. These opinions on these kinds of music are simply subjective, as every single indvidual have different ears. You don't like Sorabji pieces because you find it random, i do because the dissonance is tolerable to me and i liked the structure of it - then i find someone else sounding random, Finnissy. Because i find his dissonance too much to tolerate and i find it random. No disrespect though, and those guys composition are ironically hard to play.
Música horrible para seres sin alma.
You can always start off with these if you're a mother's boy:
ruclips.net/p/PLIDZcmE0XODCQZOTbI6MFMaNnYHIkhmu_
and then eventually work towards these once you become a man:
ruclips.net/p/PLIDZcmE0XODCQZOTbI6MFMaNnYHIkhmu_