About the Edition It has always struck me as terribly unfortunate that a piece of this quality and general accessibility is virtually never performed. I’ve often made the claim that, were it not for Sorabji’s relative obscurity combined with his reputation for composing music of impenetrable difficulty, this piece could easily have found its way into the standard repertoire. Especially now, with the advent of platforms such as RUclips, Sorabji’s music has had a greater degree of exposure to wider audiences than ever before… and yet, it seems that despite this fact, it’s still always a surprising and noteworthy occasion whenever a new performance of Sorabji’s music happens to appear. It occurred to me that a major contributing factor to this is related to certain features that are lacking in the majority of existing editions. Of course, I immensely appreciate the efforts of every person who has invested their time and energy into producing the (often massive) typeset editions of Sorabji’s scores, so this is by no means a criticism of their significant and scrupulous work. However, it remains a fact that the vast majority of typeset editions of Sorabji's works do not include many things that performers (particularly those who are not specialists in performing modern/obscure works) generally rely on when learning new pieces (fingering, performance suggestions, editorial notes, etc.), which places a significant burden on the part of the performer. Taking a glance at my score of this work, one would see hundreds of fingerings written in by hand in addition to numerous other notes regarding how to make certain sections more manageable and pianistic than the notation of original score would imply. I started to consider the fact that other performers could also benefit from my labors, and from there, it was only a matter of time before my vision for a new edition came into focus. Eventually I ran the idea by Alistair Hinton, and he showed considerable support and enthusiasm toward the idea. And thus, the task was set before me. To those familiar with the original score (or Sorabji’s music in general), several aspects of this edition will stand out, since they noticeably deviate from the standard notational orthodoxy that is almost universally applied to Sorabji’s scores. In a sense, one might characterize my edition as an attempt to “de-Sorabji-ize” the score. While I’ve always loved the visual aesthetic of Sorabji’s notation style, the approach he takes is often not particularly clear in terms of how the music should be performed, a primary example being his penchant for using an upwards of three staves when writing solo piano music. Now, certainly there are many examples throughout his works where the complexity of the music would simply make any attempt to fit all the notes onto two staves (as in traditional piano notation) virtually illegible; however, in this particular work, the vast majority of the music can in fact be comfortably notated on two staves, often to the immense benefit of the general clarity of the score. Also, in the case of this work (and much to my surprise), the music is often so strongly based in traditional tonality that key signatures can be used effectively, significantly reducing the number of accidentals in several sections, and also removing quite a bit of the ambiguity that is frequently generated by his typical approach (i.e., accidentals only apply to the notes they directly precede - unless its a repeated note, or occasionally a repeated sequence of notes, or Sorabji just forgot to write them in, or…). Finally, Sorabji rarely makes any specifications in terms of how certain passages are meant to be distributed across the hands, and finding a way to play many sections comfortably often involves quite a bit of experimentation on the part of the performer. I have sought to notate the music in a much more pianistic way that leaves very little to the imagination. Additionally, this new edition will include detailed editorial notes, ossia sections taken from the existing manuscripts that were excluded from the first edition, corrections of misprints found in the original publication, and various other features typically found in a critical edition. My ultimate hope is that all of these features will make the work much more approachable to potential performers and help further increase the exposure of both this piece and Sorabji’s music in general. One final point of interest: while putting this video together, I discovered an interesting coincidence - the original edition was published in 1922, exactly one hundred years ago! It is indeed a distinct privilege to be the first editor after an entire century to produce an edition of this remarkable work. Note: There are likely mistakes and oversights in the samples I’ve included, as this edition is still very much a work in progress. All of what is shown here is subject (and likely) to change.
What a wonderful version that you have made! I believe that notation is an art form in of itself and I am sad to see things like key signatures etc. On the other hand, Im sure this made it more accessible for people not as well versed in Sorabji’s music to get into it. The promotion of Sorabji is always a good thing!
Don't sell yourself short! Have you heard the solo concerto before? I think it's generally quite accessible, tonal, and melodic, particularly compared to most of his other large-scale works -- I'd say, if one's ears are open to the types of harmonies in Gulistan, it definitely shouldn't be too difficult to get into. Also, many of his his shorter works recorded by Habermann and Amato are easily digestible by most, as are his lovely set of songs for soprano (primarily early works in the same sort of vein as Debussy or Ravel). And then, of course, there's this: ruclips.net/video/SYCI5zjs94g/видео.html
kind of late, but try his le jardin parfume. it's a gorgeous work, and it's quite short for sorabji at only ~20 minutes. it's the first piece of his that i really fell in love with
Amazing performance! It sounds vibrant, breath-taking and you managed to have a personal, heartfelt rendition in spite of the complexity. Thanks for bringing Sorabji's music into life :)
Wonderful! The clarity and rubato are perfect, and really gives it that dreamy character, not to mention the slower tempo which really does a work as complex as it justice.
Wow, what an incredible piece. Nothing like anything I've ever heard before. Looks like it was also the key to unlocking my ability to enjoy Sorabji's other pieces. Thank you so much!
Phenomenal recording and editing. It's high time this magnificent piece had an HD score-video, and you delivered fabulously. In fact, I had made an HD score-video with the old edition of the score and Donna Amato's performance, which Alistair Hinton copyright-claimed after 4K views. Thank you for bringing this new video to the RUclips community, and this new edition to the Sorabji following.
You know, I never thought I could fall in love with a Sorabji Piece, like I might a Chopin piece, or a Rachmaninoff piece. However, this particular recording has shined a new light on Sorabji for me. While I like his other pieces, this one struck me as particularly beautiful. I really love the way you interpreted it. This fantasy, to me is comparable to Chopin's ballades, and you played like Zimmerman. Apologies if this sounds strange, but I've listened to this recording every day for about the past month. That's how much I love this recording. You have me captivated! I wish you the best for producing the new edition, and am interested to see how you've notated the rest.
What piano did you use to record this? Some of the reverb gives away the impression that this was performed on an electronic keyboard, but I'm not sure.
@@rize118 Indeed, you're correct! Unfortunately, I published this recording shortly before purchasing a new Kawai MP11SE, which I generally think is better in terms of both dynamic range and overall realism. The Garritan CFX, despite having an incredibly rich and realistic sound *most of the time*, occasionally has moments that sound strangely unnatural in a way that I can't quite articulate, though I'm inclined to believe it's related to the subtle harmonic frequencies that one perceives in the sound of an acoustic piano that tend to be very hard to replicate convincingly. Still, for a library that costs under $300, it's pretty remarkable how good it is! I do wish it wasn't so difficult to record grand pianos. I actually have a rather decent Yamaha C3 grand, but unfortunately without the acoustics of a concert hall or professional recording studio, it ends up sounding like a clunky old practice room upright, even when using very high-end recording equipment...
The editing process will almost certainly be done some time before the end of the year. I'd love to have it done within the next 2-3 months, but I'm reluctant to make any proclamations that I may have to go back on, as I have quite a lot on my plate at the moment. But I do feel quite confident that the majority of _my_ work will be complete by December at the latest. From that point on I imagine the rest will be handled by Alistair Hinton/The Sorabji Archive, and I don't really know how long it usually takes them to include new editions in their catalogue once the typesetting process is complete (though I'm inclined to think that it wouldn't take much time at all). In any case, I'm glad to hear that you're excited about the edition. I will definitely post an announcement on this channel when the score is finally published!
Agreed! This edition is still a work in progress, but it *is* nearing completion; rest assured, I will post an update both here and on my main page when it's finally released!
Thank you! A few months ago I posted an update on my community page mentioning that I had finished the first draft of the edition. I have since taken some time off from the project to contend with a sudden influx of business in my personal and professional life that needed to take priority, but thankfully, all of that has recently come to an end and I will be back to work on this again very soon! When it is finally complete it will be available to purchase both in print and digital forms from the Sorabji Archive (www.sorabji-archive.co.uk); at that point, rest assured, I will post an update on both my main page and this video!
@@johncareycomposer Thank you for the update! I hope everything is going well with your personal life. I am very excited to be able to print some of this music when you're able to get it published. Absolutely stunning edition that you've made and I don't know who preformed this but the performance is also amazing!!! Thank you!
Interesting you should ask, because to me it’s always soundly vaguely reminiscent of a familiar tune that I can’t quite place… but, having first heard this piece 18 years ago, I’ve yet to discover what that other tune might be. Also, Marc-André Roberge (one of the foremost experts on Sorabji’s life and works, who both wrote the massive biographical and analytical work Opus Sorabjianum and performed the piece himself) neglects to mention any secondary source in his own description of the section, so I’m inclined to believe it probably originated in this piece (though folk music of any nationality tends to use a lot of similar, and often identical, melodic phrases).
I would kill to hear this piece orchestrated! At time, I think it feels like a piano arrangement of an orchestral piece, especially since this is a very lyrical piece by Sorabji.
I completely agree, many sections would seem to lend themselves quite naturally to orchestration. I'll take this into consideration as a future project of mine.
Hmm, interesting critique. For this particular recording I was definitely striving to be as faithful to the written score as possible, with the exception of a few sections here and there where I opted to take minor interpretive liberties. Sorabji's use of dynamics, articulation, phrasing, and expressive text is quite detailed in this piece, and, generally speaking, I feel like his directions enhance the character of the work significantly. Since you specify that the interpretation was too literal "this time", I'd be curious to hear an example of a section from the 2013 recording that you preferred. In any case, thank you for taking the time to listen and comment!
@@toothlesstoe Indubitably... and having had the displeasure of witnessing one of my own compositions get butchered beyond all recognition during its premiere, I sadly know all too what Sorabji was going through when he made the particular remark you've quoted. Regarding sluggishness, to be fair, a good portion of the piece _is_ marked "indolent"!
Until you post a video of yourself playing a piece of even moderate difficulty (let alone the present work), I will not believe that this is you playing Fantaisie Espagnole.
@@DIva1112 Finally I watched an actual video of John Carey playing a difficult work (by Liszt on your channel). My suspicions have now vanished. That's all it took.
@@notmusictheory74 You are not very bright, are you? I meant a video where we can actually see him playing that piece, or another difficult one. But like I mentioned on this thread, I just recently watched him perform a big piece by Liszt on another channel, so now I believe it's him playing the Sorabji work. Got it now? Good.
![Kaikhosru Sorabji: Gulistān (Eric Xi Xin Liang) [Score, Audio, Visuals]](http://i.ytimg.com/vi/CjZe5I2dJKc/mqdefault.jpg)
![Kaikhosru Sorabji: Gulistān (Eric Xi Xin Liang) [Score, Audio, Visuals]](/img/tr.png)
About the Edition
It has always struck me as terribly unfortunate that a piece of this quality and general accessibility is virtually never performed. I’ve often made the claim that, were it not for Sorabji’s relative obscurity combined with his reputation for composing music of impenetrable difficulty, this piece could easily have found its way into the standard repertoire. Especially now, with the advent of platforms such as RUclips, Sorabji’s music has had a greater degree of exposure to wider audiences than ever before… and yet, it seems that despite this fact, it’s still always a surprising and noteworthy occasion whenever a new performance of Sorabji’s music happens to appear.
It occurred to me that a major contributing factor to this is related to certain features that are lacking in the majority of existing editions. Of course, I immensely appreciate the efforts of every person who has invested their time and energy into producing the (often massive) typeset editions of Sorabji’s scores, so this is by no means a criticism of their significant and scrupulous work. However, it remains a fact that the vast majority of typeset editions of Sorabji's works do not include many things that performers (particularly those who are not specialists in performing modern/obscure works) generally rely on when learning new pieces (fingering, performance suggestions, editorial notes, etc.), which places a significant burden on the part of the performer. Taking a glance at my score of this work, one would see hundreds of fingerings written in by hand in addition to numerous other notes regarding how to make certain sections more manageable and pianistic than the notation of original score would imply. I started to consider the fact that other performers could also benefit from my labors, and from there, it was only a matter of time before my vision for a new edition came into focus. Eventually I ran the idea by Alistair Hinton, and he showed considerable support and enthusiasm toward the idea. And thus, the task was set before me.
To those familiar with the original score (or Sorabji’s music in general), several aspects of this edition will stand out, since they noticeably deviate from the standard notational orthodoxy that is almost universally applied to Sorabji’s scores. In a sense, one might characterize my edition as an attempt to “de-Sorabji-ize” the score. While I’ve always loved the visual aesthetic of Sorabji’s notation style, the approach he takes is often not particularly clear in terms of how the music should be performed, a primary example being his penchant for using an upwards of three staves when writing solo piano music. Now, certainly there are many examples throughout his works where the complexity of the music would simply make any attempt to fit all the notes onto two staves (as in traditional piano notation) virtually illegible; however, in this particular work, the vast majority of the music can in fact be comfortably notated on two staves, often to the immense benefit of the general clarity of the score.
Also, in the case of this work (and much to my surprise), the music is often so strongly based in traditional tonality that key signatures can be used effectively, significantly reducing the number of accidentals in several sections, and also removing quite a bit of the ambiguity that is frequently generated by his typical approach (i.e., accidentals only apply to the notes they directly precede - unless its a repeated note, or occasionally a repeated sequence of notes, or Sorabji just forgot to write them in, or…).
Finally, Sorabji rarely makes any specifications in terms of how certain passages are meant to be distributed across the hands, and finding a way to play many sections comfortably often involves quite a bit of experimentation on the part of the performer. I have sought to notate the music in a much more pianistic way that leaves very little to the imagination.
Additionally, this new edition will include detailed editorial notes, ossia sections taken from the existing manuscripts that were excluded from the first edition, corrections of misprints found in the original publication, and various other features typically found in a critical edition. My ultimate hope is that all of these features will make the work much more approachable to potential performers and help further increase the exposure of both this piece and Sorabji’s music in general.
One final point of interest: while putting this video together, I discovered an interesting coincidence - the original edition was published in 1922, exactly one hundred years ago! It is indeed a distinct privilege to be the first editor after an entire century to produce an edition of this remarkable work.
Note: There are likely mistakes and oversights in the samples I’ve included, as this edition is still very much a work in progress. All of what is shown here is subject (and likely) to change.
@Schuyler Bacn Remarkably, that was completely unplanned -- I came to realize that fact myself after about two full months of working on it!
What a wonderful version that you have made! I believe that notation is an art form in of itself and I am sad to see things like key signatures etc. On the other hand, Im sure this made it more accessible for people not as well versed in Sorabji’s music to get into it. The promotion of Sorabji is always a good thing!
Such a cool undertaking, John-this is the kind of effort that I think can really make a difference for all the reasons you've outlined
This piece is absolute garbage, what sells this piece short is the fact that it's poorly composed and full of random nonsense.
You should really pin this comment
Absolutely phenomenal recording, it's wild hearing the fistfuls of chords on the page resolve to such clear harmonic structures!
Really made all those dense textures shine beautifully through with this performance
The transition to E major at 16:13 is gorgeous. Love it.
Ahh yes, definitely one of my all-time favorite moments in this piece!
That stuck out to me as well.
by my current musical knowledge , Gulistan and Rhapsodie espagnole are the only compositions by sorabji that i could understand and enjoy
Don't sell yourself short! Have you heard the solo concerto before? I think it's generally quite accessible, tonal, and melodic, particularly compared to most of his other large-scale works -- I'd say, if one's ears are open to the types of harmonies in Gulistan, it definitely shouldn't be too difficult to get into. Also, many of his his shorter works recorded by Habermann and Amato are easily digestible by most, as are his lovely set of songs for soprano (primarily early works in the same sort of vein as Debussy or Ravel).
And then, of course, there's this: ruclips.net/video/SYCI5zjs94g/видео.html
kind of late, but try his le jardin parfume. it's a gorgeous work, and it's quite short for sorabji at only ~20 minutes. it's the first piece of his that i really fell in love with
Go study more theory right now
In the hothouse
Knowledge and understanding has little to do with enjoyment, especially in enjoying this trash.
So difficult and so accessible at the same time. Love watching the notes go by...
For me only a continuation of Godowsky. Busoni`s Elegies and Sonatinas are much more better.
Amazing performance! It sounds vibrant, breath-taking and you managed to have a personal, heartfelt rendition in spite of the complexity. Thanks for bringing Sorabji's music into life :)
Wonderful! The clarity and rubato are perfect, and really gives it that dreamy character, not to mention the slower tempo which really does a work as complex as it justice.
I know this pice could easily become muddled or with strict tempo become robotic.
Phenomenal performance, and the piece is so beautiful and atmospheric 😊
Even though I'm not usually the biggest Sorabji fan, the Spanish Fantasy is one of my favourite modern pieces
Wow, what an incredible piece. Nothing like anything I've ever heard before. Looks like it was also the key to unlocking my ability to enjoy Sorabji's other pieces. Thank you so much!
Phenomenal recording and editing. It's high time this magnificent piece had an HD score-video, and you delivered fabulously.
In fact, I had made an HD score-video with the old edition of the score and Donna Amato's performance, which Alistair Hinton copyright-claimed after 4K views.
Thank you for bringing this new video to the RUclips community, and this new edition to the Sorabji following.
I don’t Sorabji’s fan , and I don’t understand his music but this piece is really interesting and melodic with beautiful harmony and rhythm
You know, I never thought I could fall in love with a Sorabji Piece, like I might a Chopin piece, or a Rachmaninoff piece. However, this particular recording has shined a new light on Sorabji for me. While I like his other pieces, this one struck me as particularly beautiful. I really love the way you interpreted it. This fantasy, to me is comparable to Chopin's ballades, and you played like Zimmerman.
Apologies if this sounds strange, but I've listened to this recording every day for about the past month. That's how much I love this recording. You have me captivated!
I wish you the best for producing the new edition, and am interested to see how you've notated the rest.
The legend is back
This is very hard piece! Played beautifully. I can also see lots of room for various performances and that makes it a great composition.
Sorabji is a great composer. Too bad hes not played that much and not that well known. His music is so dreamy and representative of thoughts
Im not a big fan of him because his music just sounds like pure dissonance
You can hardly say that about this though
@@coreylapinas1000how exactly?
@@bigball45 pedal tones and widely-spread harmonies cushion the dissonance, making it much less jarring than some other modern composers
@@LeanneHolloway-cy2uoyeah the dissonance is pretty tame here for Sorabji
1:47 cool transitioning
Great effort. Wonderful Sound World
WONDERFUL! Thank you JOHN! ♥♥♥♥♥♥
Beautiful
The second part Is extraordinary
Great work. You've brought much much-needed accessibility to this piece.
"based" - Zewen
He's back
Highly pianistic and somewhat daunting to look at. However the piece is deeply sumptuous and seductive with gorgeous colour, gesture and great beauty.
What piano did you use to record this? Some of the reverb gives away the impression that this was performed on an electronic keyboard, but I'm not sure.
It's a digital piano, I think. I recognize the piano's sound and it's very similar to what I use which is the Garritan CFX Concert Grand.
@@rize118 Indeed, you're correct! Unfortunately, I published this recording shortly before purchasing a new Kawai MP11SE, which I generally think is better in terms of both dynamic range and overall realism. The Garritan CFX, despite having an incredibly rich and realistic sound *most of the time*, occasionally has moments that sound strangely unnatural in a way that I can't quite articulate, though I'm inclined to believe it's related to the subtle harmonic frequencies that one perceives in the sound of an acoustic piano that tend to be very hard to replicate convincingly. Still, for a library that costs under $300, it's pretty remarkable how good it is!
I do wish it wasn't so difficult to record grand pianos. I actually have a rather decent Yamaha C3 grand, but unfortunately without the acoustics of a concert hall or professional recording studio, it ends up sounding like a clunky old practice room upright, even when using very high-end recording equipment...
Epic
Prefer this to Chopin, by far.
When will the new score be available??? I am interresred!
The editing process will almost certainly be done some time before the end of the year. I'd love to have it done within the next 2-3 months, but I'm reluctant to make any proclamations that I may have to go back on, as I have quite a lot on my plate at the moment. But I do feel quite confident that the majority of _my_ work will be complete by December at the latest. From that point on I imagine the rest will be handled by Alistair Hinton/The Sorabji Archive, and I don't really know how long it usually takes them to include new editions in their catalogue once the typesetting process is complete (though I'm inclined to think that it wouldn't take much time at all).
In any case, I'm glad to hear that you're excited about the edition. I will definitely post an announcement on this channel when the score is finally published!
where can I get this score? the version on imslp is really bad and has many mistakes in it
Agreed! This edition is still a work in progress, but it *is* nearing completion; rest assured, I will post an update both here and on my main page when it's finally released!
do you have a pdf file that you could share? I love this piece this recording and this edition!
Thank you!
A few months ago I posted an update on my community page mentioning that I had finished the first draft of the edition. I have since taken some time off from the project to contend with a sudden influx of business in my personal and professional life that needed to take priority, but thankfully, all of that has recently come to an end and I will be back to work on this again very soon! When it is finally complete it will be available to purchase both in print and digital forms from the Sorabji Archive (www.sorabji-archive.co.uk); at that point, rest assured, I will post an update on both my main page and this video!
@@johncareycomposer Thank you for the update! I hope everything is going well with your personal life. I am very excited to be able to print some of this music when you're able to get it published. Absolutely stunning edition that you've made and I don't know who preformed this but the performance is also amazing!!! Thank you!
DAMN EPIC
Anyone know what theme 2 is inspired by?
Interesting you should ask, because to me it’s always soundly vaguely reminiscent of a familiar tune that I can’t quite place… but, having first heard this piece 18 years ago, I’ve yet to discover what that other tune might be. Also, Marc-André Roberge (one of the foremost experts on Sorabji’s life and works, who both wrote the massive biographical and analytical work Opus Sorabjianum and performed the piece himself) neglects to mention any secondary source in his own description of the section, so I’m inclined to believe it probably originated in this piece (though folk music of any nationality tends to use a lot of similar, and often identical, melodic phrases).
An acid trip in sheet music form.
Hehe, I think that description more accurately describes the music of George Crumb.
Crumb: Makrokosmos I - ruclips.net/video/pIEUS0-DDcs/видео.html
@@johncareycomposer Crumb is a cid trip gone wrong lmao
YOOOOOO
srsly nobody else should be allowed to play this piece, best interpretation hands down
sort of like debussys l'isle joyeuse, especially at the end
I am curious, what does the I/VIII "Time signature" mean on the top stave from section 4 onward?
It indicates that the staff is to be played an octave higher than notated.
I would kill to hear this piece orchestrated! At time, I think it feels like a piano arrangement of an orchestral piece, especially since this is a very lyrical piece by Sorabji.
I completely agree, many sections would seem to lend themselves quite naturally to orchestration. I'll take this into consideration as a future project of mine.
WOOO EPIC
Памятник пианисту)))
The invention of jazz
What year was this written?
1919.
Yay three staves
gnole
19:36
thx
Sono troppo difficili, non ci vuole molto a capirlo....
Questa bella, però, vero. Un peccato.
2:58
there are some mistakes, nervertheless it is a good recording.
Eh not my cup of tea
That's perfectly fine, different strokes for different folks, as they say. Thanks for listening!
sorjjjjjj
kosr shpjjjj sorjjjjj
That's a lot of notes. Sometimes too much of a good thing is just too much. I listened to 10 minutes then went for a snack before I returned.
meh
The score is interpreted a bit too literally this time (musically speaking) and the coda taken too slow. Good work nonetheless.
Hmm, interesting critique. For this particular recording I was definitely striving to be as faithful to the written score as possible, with the exception of a few sections here and there where I opted to take minor interpretive liberties. Sorabji's use of dynamics, articulation, phrasing, and expressive text is quite detailed in this piece, and, generally speaking, I feel like his directions enhance the character of the work significantly. Since you specify that the interpretation was too literal "this time", I'd be curious to hear an example of a section from the 2013 recording that you preferred.
In any case, thank you for taking the time to listen and comment!
I thought some parts were executed sluggishly, but I'd rather have that coupled with clarity and sumptuous musicality than an "obscene travesty."
Please forget about my comment above lol, I listened again and I'm quite convinced by the recording!
@@pjimenez08Haha, consider it forgotten -- I'm glad it managed to win you over!
@@toothlesstoe Indubitably... and having had the displeasure of witnessing one of my own compositions get butchered beyond all recognition during its premiere, I sadly know all too what Sorabji was going through when he made the particular remark you've quoted.
Regarding sluggishness, to be fair, a good portion of the piece _is_ marked "indolent"!
Until you post a video of yourself playing a piece of even moderate difficulty (let alone the present work), I will not believe that this is you playing Fantaisie Espagnole.
Cringe bro
I can guarantee it's him because I have seen him play it live.
@@DIva1112 Finally I watched an actual video of John Carey playing a difficult work (by Liszt on your channel). My suspicions have now vanished. That's all it took.
He already did, it’s Fantaisie Espagnole
@@notmusictheory74 You are not very bright, are you? I meant a video where we can actually see him playing that piece, or another difficult one. But like I mentioned on this thread, I just recently watched him perform a big piece by Liszt on another channel, so now I believe it's him playing the Sorabji work. Got it now? Good.
20 minutes of random noise which the composer pretends is music.
ok CEO of music 😢
20 minutes of music which WIM (a troll) pretends is random noise.
There is structure, not random.
@@omegads3862 no, there isn't, you only believe there to be, based on pseudoscientific criteria.
@@Whatismusic123 ok CEO of science 😢
19:34
Indeed.🤘