I'd like to do a double-blind study with people who "appreciate" this type of "music", and those who fervently dislike it. My hypothesis is that there are much higher rates of mental illness in the former group.
@onlymusiciansallowed you're free to dislike any music you want, but i think it's a little unfair to call it "completely meaningless", dont you think? :)
This sounds like black metal of it's time, something which is further supported by the people maintaining this is exceptional music and if you don't agree you're just stupid.
not bad actually ,he is trying to get new sounds out of piano .. and Of course he may be trying to describe a nightmare , i still don't understand why people hate this kind of music so much
@ThoughtsofaPerson You know, that correction crosses the line between actual helpful criticism and just being a judgmental asshole. If you enjoy listening to such tuneless music, I won't try to stop you or anything. The thing is, I don't mind songs that have no chords or chord progressions as long as they don't sound like they could have been written by a three-year-old.
@pcred566 I'm not aware of having judged anyone. As for a lack of chords, you only need to listen to this piece (or look at the score) to see that it is full of thirds.
@ThoughtsofaPerson "Thirds" do not equal "chords", they equal intervals. That statement in itself already proves to me that you are not one to search for when in need of good listening material. Thank you for your opinions.
@pcred566 In traditional tonality, chords are composed of 3rds. If you want to run away and accuse others of promoting false claims, then so be it. The right hand starts thus: C Major - A-flat Major - G-sharp minor - B-flat Major. Such harmonies might have been written down by, say, Bruckner's or Dvořák's pen (since you have chords related by 3rds), but the accompaniment found in the other hand (the roles are later reversed) puts this piece pretty firmly into the 20th century.
@pcred566 Also, another remark: This piece has very few chords; however, it does include numerous arpeggios. Hence my remark about 3rds playing an important role in this piece is correct, while your is misguided. Like my nitpicking?
@ThoughtsofaPerson This piece DOES contain many arpeggios (in fact, the entirety of its components are pretty much only arpeggios), and while it is true that chords consist of thirds (obviously, for something like C, it would be C - E and E - G), I would consider a third as more of a base unit than a chord in itself. In that, I will agree with you. Also, the slightly irregular placement of the "chords" (as I will, for the sake of this, refer to them) is very unnatural. C Major comes (contd.)
@pcred566 (contd.) out being 1 beat and A-flat Major comes out being 3 altogether (given that it actually goes back up the arpeggio to link in with the G-sharp) but later in the piece, this pattern doesn't really continue. Perhaps that is what I dislike about it. It does have a definite movement, but it doesn't preserve this movement very well. I guess I'm trying to say that it doesn't hold together as a single movement.
@pcred566 It really depends on the context they are used in, you could call an interval a chord in the right context, they are known as dyads. In trying to correct that guy on his understanding of music you have made your own understanding seem limited. There is a moral to this.
@Bojangulz87 Does "dy-" equal "tri-"? They are two completely different prefixes. The key here is IN THE RIGHT CONTEXT. I'm not trying to correct his understanding. I'm sharing my views on this piece as a whole. Saying my understanding is limited could be considered an attempt at correcting my understanding of music, oh, maybe, in the right context?
@pcred566 Don't be gay, I was trying to help you. I really don't know or care what you are arguing about, but what I said remains a fact. Dy- doesn't mean tri- it means dy- don't really know what you mean by this. Fuck the right context within this peice, you made a statement that intervals couldn't be chords that's all there is to this argument. I WAS correcting your understanding of music. Just doing what you were doing, you don't seem to like it though, perhaps another life lesson.
@Bojangulz87 Woah, sorry about your ego there. I said it was a base unit rather than a chord in itself, which, somehow, equated to not being a chord at all when I, in fact, didn't say that directly. Which is something you took out of context. The whole point of the statement was the etude, not that intervals are never chords. My point with the dy/tri thing was that dyads are not triads, regardless. And what's with the whole "life lessons" thing? Do you teach a second grade class or something?
@pcred566 Don't really get the ego remark. This is your quote: " "Thirds" do not equal "chords", they equal intervals." You just proved yourself wrong. I never said that dyads were triads, don't know where you got that from, but the sobering fact remains that dyads are chords, so stop being a pussy and admit that you were wrong instead of trying to spare your dignity in a childish way. I teach those who act like they're in year two, such as yourself you fucking fairey >:D
@Bojangulz87 Thirds are not chords by themselves, the have to be put into context for them to establish an Identity. If you had the notes C and E, Its could either be (C E G) or (A C E)
@TheShredworthy That was never our argument though, it was that "thirds equal intervals" meant as a correction, meaning that they can't be chords to which I replied that they could. As for the second half of your message, I agree but the same can be said of augmented and diminished chords and their context too.
@Bojangulz87 You've slipped into simply using direct accusation and ridiculous insults. I corrected my statement in my second reply to his original comment, in which I did, in fact, say, "I would consider a third as more of a base unit than a chord in itself..." You failed to acknowledge that you weren't part of the original conversation between he and I. I understand that you think that you have some kind of supreme knowledge, and this may be hard for you. I'm afraid our conversation is over.
@pcred566 Exactly, you said you would consider it more of a base unit, again not acknowledging it as a chord. Do not try and paste the joke that you knew all along over this conversation, you didn't and only just attempted to imply that now. I saw that part of the conversation and again the statement you made acts in isolation of the rest of your dialogue. I'll translate the last part of your message for you: I'm afraid, therefore I want our conversation to be over.
@Bojangulz87 You're beginning to sound like you have something actually going for you, at least with the insults thing.
I didn't say dyads weren't chords, and I didn't say they were.You haven't suddenly changed my opinion of what a third interval is. And since you feel at liberty to jump into a conversation, I'm going to take a part of another conversation you're having (a subject who has a similar viewpoint to myself). "Thirds... have to be put into context for them to establish an Identity."
@pcred566 You said yourself that you agreed with the above statement. That's what I meant by the whole "context is everything" statement.
And, for the record, I considered posting a reply only because you dropped off on the whole "illusion of superiority" thing and did away with most of the derision.
@pcred566 As seems to be the trend with your replies the first part holds no meaning. Are you saying that I am skilled at insulting you? beause that's what it reads as. Again you try and stear the conversation all over the place, I'm not interested in any of this other shit, you made the statment 'thirds do not equal chords they equal intervals', that statment shows your lack of knowledge that you refuse to admit to your ignorance on the subject. Then you try and back out of it when proven wrong
@pcred566 Anyone could make any number of wild assumptions about things and then change their mind later when their original statment embarrases them, I'm sure you are very well versed in the fact that you can have a two note chord now, I just want you to admit that you didn't initially. I would respect you a lot more if you did that.
@Bojangulz87 I was trying to condense my comment to fit the character limit, which explains the apparent lack of clarity. Like I said, you didn't suddenly change my opinion on what a third is, I am not embarrassed that human diversity has resulted in two perspectives on a single subject, if that's what your delusion was, and there is no formal writing of any kind stating that a chord can consist of two notes. I do, in fact, understand what you're concept is, as little as you think I do.
@pcred566 It wasn't the fact that you said that thirds are intervals, ofcourse they are but you said very specificly 'not chords' if anything leaving all of that part out would have condensed your comment much more. I have seen several formal writings on dyads, the oxford dictionary of music for one if my memory serves me. Even if there was no writing on the subject it still wouldn't change anything, all music started out informally.
@Bojangulz87 You also didn't respond to my other statement, in which I quoted (from AEFic),"Thirds... have to be put into context for them to establish an Identity.", which is to directly say that thirds are not chords by themselves. Just to jog your memory, you said that you agreed with this. If you would like to further contend in this argument, please reply.
And, to be fair, I was very unspecific in that statement. But that was barely part of the conversation we were having.
@pcred566 I never said that thirds were chords by themselves but like I say your statement was that thirds equal intervals and not chords. I'm saying that they can be either. my intital statment to you was that they 'can be chords' rather than 'are chords' if I'm not mistaken. I understand that it wasn't really part of what you were saying which is why I have been dissmissive of the rest of your argument, my focus and interest is on this one subject of dyads and intervals.
@Bojangulz87 Oh. When I said I was trying to condense my comment, I wasn't referring to my original comment. You said that the first part of my comment didn't make sense at all, which I was trying to account for. I was only unspecific in my original comment because I considered it a matter peripheral to the one we were originally discussing, and didn't give it too much thought. And I didn't mean there aren't any formal writings on dyads, I meant that there aren't any defining 2 notes as a chord.
@pcred566 Good then we're in agreement excluding the last part. As far as I am concerned the name dyad and 2 note chord can be used interchangeably so a formal writing on a dyad is essentially a formal writing on a two note chord.
@titusbeertsen Are you trying to say aggressiveness has no place in music? Are you one of those who adhere to the view that music should be comforting?
@ThoughtsofaPerson I'm a big fan of Ornstein's Wild Men's Dance, that should answer your question. The imported thing for me is music that is inspired and has musical merit.
The first C major chord revealed me that Sorabji was actually quoting (in his own creative way) the first Etude op.10 by Chopin. ( watch?v=e8TqlIVRpPI ) It's a set of developing variations on Chopin's idea.
nice, but it has no new gospel to the current view of contemporary music. seems like Ravel and Liszt in a bathouse trying to figure out who stole the soap after wrestling. a Nice harmonic play, but it's only nice. Though, as a composer myself (a very lazy one) - It's great to see an effort of some sort. I . know I'm not that blessed.
@Vesivian Sorry to disappoint you, but 1) this piece is tonal, and 2) atonality has nothing to do with athematic music (although Schoenberg played a crucial role in its development).
@HerlockSholmes123 Fine. I feel there is so much nonsense being posted here that one should not feed the trolls by posting things they might exploit in their favor, even if they are intended as jokes.
@HerlockSholmes123 Joking now or in your previous post? In any case, I disagree with you and, if you'll ever read about Sorabji's life, you'll find out that your statements (regardless of whether you believe them or not), are false.
@HerlockSholmes123 Given that Sorabji wrote this piece a few years after having banned public performances of his own music, it is quite inaccurate to describe him as someone who sought to get the public's attention at all costs. Fail.
and btw, am i the only one here that likes this piece because of its combination of crazy technique and atmospheric sound??? i guess noone here listens to death metal. things are easy that way
Oftentimes, I feel that composers who write works of such simply ridiculous scale as this (both length and difficulty) are doing so because they can. It's simply a show of craftsmanship. Excellent craftsmanship, but still just that.
@fuckslipknot21 WHY did you have to start with that? For your information, I have listened to a plethora of atonal pieces, and the only composers so far of atonal music that I have grown to love are Alban Berg, some of Webern, Takemitsu, and Charles Ives. I love their music because, while some of it is grandiose, it never feels like it's being INTENTIONALLY too long, drawn-out, or having a severe case of gigantism.
@Wagnerlover777 what can i say. i like it really much. it is like ascending and descending harmonic scales on the right hand and tritone based chords on the left. spooky. i love such music. whatever, i guess there is a difference in taste. so theres not much to say. peace.
@Wagnerlover777 Wrong. An etude is a 'technical study piece' by definition. While you obviously have a subjective inclination towards Chopin's etudes, I am making the point that "excessive difficulty" is the point of writing an etude. And a 3 minute piece is of excessive scale for you? Man, you should hear how long Mahler's symphonies drag on for....
@AfroDeezeeYak For fuck's sake, I KNOW. I have listened to just about every major classical piece in Western musical history, and a shitload of the minor ones. How do you think I even heard about Sorabji? Through Mahler's 8th. It's that kind of a connection. I can say, quite objectively, that Chopin's craftsmanship and musicality, ESPECIALLY on his etudes, positively destroys Sorabji. Maybe I just hate pieces that focus too much on technical aspects, but there you have it.
@Wagnerlover777 You can objectively say Chopin is more musical than Sorabji?
Can you also objectively say lamb is more tasty than beef? Red is a better color than blue? Get over yourself: composers aren't sports teams who compete against one another. Chopin is Chopin, Sorabji is Sorabji. They both intend to do different things with their music and your attempting to compare the two and 'objectively' say one is a better composer is a testament to just how little you know.
@AfroDeezeeYak First off, generally speaking, you in fact CAN judge composers on their musicality. Am I a bit of a bitch for doing so? Yes. Is is particularly unbiased? No. Is is true? Hell yes. At least give me credit for saying what I actually think, as opposed to the whole "well, this music is...nice".
@Wagnerlover777 If you hate pieces which 'focus too much on technical aspects' i.e., all etudes, then maybe you should stick to listening to Eric Whitacre and Danny Elfman?
@AfroDeezeeYak By the way, I don't hate all etudes, just the ones that are irritatingly non-musical. This one just feels like Czerny's School of Velocity if he had been born some 100 years later. This is a GREAT exercise for the piano, don't get me wrong, but it's trite and musically uninteresting. Add on to that: Elfman and Whitacre are two of my favourite modern composers. So there.
@Toccataquarta I think you seem to be confused as to what words like 'bias' and 'subjective' mean, but that's okay. It's okay to mostly look for only one thing in music, but one needs to understand there are many grounds for which a work can be good, if not a work of genius (not using this word to necessarily describe this piece).
For example, look at Webern's Symphony Op. 21. Most would find it 'unmusical', but it's function as a precedent for much of music today is remarkable.
@Toccataquarta Well, it's my credibility to destroy. Funny thing is that many people have the same opinion as I do, contrariwise many have the same as you do. Aren't opinions fun? I just find Elfman (Whitacre's only on my list because I've sung his choir pieces) more engaging than Sorabji. Often I have the same problems with Schoenberg and Webern who focus a LITTLE too much on the musicality. Conversely, Berg used the same composition methods (mostly), and his music is just more...musical.
I think everybody saying this is rubbish music ought to take the time to study the score and listen to more of Sorabji's music. I'm sure you'll find that his music is actually incredibly deep and, having developed a taste for it, you may find it hard to stay away.
@Shunarjuna - Have you heard any of his organ symphonies? They're the most ridiculously overblown and hard-to-listen-to pieces of music ever written! One of them is nine hours long... I listened to the first movement of the first symphony (IIRC) which is on YouTube. It's about 22 minutes long and it's horrible! I quite like this, though.
NO ! This does definitly *NOT* sound like a little child tapping a pianos keys. This is - believe it or not - brilliant music. Consider the late Liszt. Think of the music he would write if he were still alive. This music has left tonality behind, but this appears to be an improvement to me. After all, we are in the year 2011, right ? To appreciate this kind of music you have to change your listening habits. No more major and minor. No cadences you've heard a thousand times. But music. New music.
I agree -- this is different from random piano stuff. It's use of color and texture justifies its abandonment of typical tonality. It may not be the same kind of beauty that many others have made, but it is strangely beautiful.
I do understand why people may be put off by this kind of stuff, though, and I don't think it makes them intellectually inferior in any way, like some do. Sometimes it's just subjective ^_^
Thanks for the comment. Well, there's lot of contemporary music I can't understand, Stockhausen, Boulez, Scelsi just to name a few. And I am quite sure there are some quacks, too. For me to accept music as "good" one of two (or both) conditions must be met: I must "understand" it or I must "like" it. Concerning Soraji this is not true anymore. I hardly understand his music and in most cases I'm not even sure whether I like it. It's like you said - strange beauty.
@ZachEatonMusic Two months after and I discovered this marvelous piece has also been on your radar Zach ^_^. I love atonal pieces like this....for some reason, it doesnt come off as harsh. Heck, this piece reminds me of polytonality actually. I feel like my ears are hearing two different,interesting parts- arpeggios and a dissonant bass melody. Sorabji probably wasnt too influenced by atonalists of the 2nd Viennese school.
Ok, thanks for the reply. Sorabij's music (yes, music) still needs to be explored. Few did yet, me NOT among them. I'm just a guy who loves music, from Pop over Rock to Jazz and Classics, btw. From this point I'm just claiming that Sorabij's music is lasting as is music from Bach, Beethoven, Liszt, Beatles, Miles Davis, imho.
One last word: one needs to listen to more than one piece of a composer. I do while I'm writing this. Ever listened to Sorabij's Etude No 20 ?
I just listened to Gulistan. This is complex and very beautiful music. Every time you hear it you'll discover something new. In my opinion Sorabji is one of the greatest composers of all time.
@divvy1400yam600 Chopin's music is all nice and dandy, but aren't you sick of only listening to Chopin? I've been listening to Chopin for 20 years, I can stand to every now and then but the music just no longer interests me.
Try Lutoslawski, Bartok, Xenakis and Perle. These composers have written some really exciting etudes that anyone could find to be 'musical', yet fresh and exciting.
"No variety of structure/tone, no resolution, no emotion or psychological appeal"
There is variety and resolution; the penultimate chord is rooted in the tritone, while the end is as consonant as it gets. It is clear that you are lying. As for emotion and appeal, that is subjective, and is refuted by the amount of likes (as well as reviews of this music by professional critics) that this video has received.
@Toccataquarta "Just running up/down the keyboard in straight lines. accompanied by thumping LH octaves."
The lines are not always straight, and in any case, the same could be said about countless other études. Furthermore, your post shows that you did not even listen to the whole piece, since the roles of the hands are later modified.
"This kind of 'rat on the keys' sound appeals to intellectual snobs."
And your evidence for this statement is found where?
this is some bad ass stuff=) this is not a doodle=) if it doesnt sound like liszt of chopin - doesnt mean it doesnt have musical value. And to those of you who say its a child hitting piano keys - please back it up by something=) Because now it doesnt mean anything. Try playing it! And the pianist was not forced to play it - he did it on his own=) Because after this - you can play anything=)
Folks, this is an transcendental etude, not a fucking ballad. Just because it lies eternally beyond your intellectual grasp doesn't mean it isn't musically worthy.
@marcphilos, ah, we have an elitist here. You may be able to get away with that snippety, condescending tone on the internet, or in some of the conservatories (I sincerely hope you aren't teaching in one), but people rightfully will not put up with that in real life.
I can see when anyone criticizes anything you happen to like, instead of defending what you like in a rational manner, you resort to ad-hominem attacks against the other person's intellect.
@marcphilos, bad art and bad music do indeed exist. Just because someone dislikes something doesn't mean it's automatically because they can't understand it. It is very possible that when someone dislikes something, it's because it just plain sucks. It's a shame that so-called musicians must have obvious truths explained to them ad nauseam. Such is the world we live in.
I feel sorry for the person that spent all that time learning this because even though they played it correctly, it still sounds like a 3 year old plonking on the keys
@jn2585 Yes, I feel so sorry for the pianist who was forced to learn this piece and obviously knows less about kids' banging on pianos than you do. LOL.
@sumimimi0 There isn't really a 'hardest' piece. Every piece has it's own technical challenges and they're all different. Can't possibly compare them =)
@pianist7137 i noe that. just saying but there are hard songs and easy songs for sure, as i play piano. but i don't like his music, sounds weird to me
this not enjoyable for me at all and it is not that hard too you never actually play 3 stashes at same time he could have written all to 2 stashes.This guy is nothing compared to chopin.
@milamok1002 For me, Sorabji was an acquired taste. But after repeated listenings and reading what Mr Ullen (the performer) has to say about these works, I've come to appreciate the depth of their virtuosity and beauty.
I'd like to do a double-blind study with people who "appreciate" this type of "music", and those who fervently dislike it. My hypothesis is that there are much higher rates of mental illness in the former group.
Remstrom 2 days ago
@Remstrom What type of music is this?
AfroDeezeeYak 1 day ago
I love this etude; it's the pure embodiment of angst: restless, agitated, and disquieted.
mountainmanchuck 3 days ago
I enjoyed it, found it rather Liszt - like (could have been an inspiration, in my opinion)
stemmenimitator 1 week ago
@stemmenimitator
Funny, since this reminds of Chopin etude no.1 ;)
twooffour 6 days ago
@onlymusiciansallowed you're free to dislike any music you want, but i think it's a little unfair to call it "completely meaningless", dont you think? :)
bacardifebreezer 3 weeks ago
On dirait l'étude Op. 10/1 de Chopin mais modifié et transcris dans un mode "atonal"!!!
Nganguenf 1 month ago
I love this :D
Guitareben 1 month ago
....... How does this have so many likes?
eggplant1994 1 month ago
Music is a form of communication.
It requires consruction, development, variety, change in emphasis, tension release and resolution.
Genius composers can move even further and introduce emotional impact.
Even they cant do that all the time.
What is presented here is no better than banging on a saucepan to frighten the birds away.
Avian communication I agree, but to the human mind, worthless.
divvy1400yam600 1 month ago
@divvy1400yam600 What is your ideal piece of music?
loudoutsound 1 month ago
The comments found here are priceless at times. Is it really too hard to get Sorabji's harmonic language?
Toccataquarta 1 month ago
Chopin's Op.10/1 is much more interesting
newFranzFerencLiszt 2 months ago
@newFranzFerencLiszt That may be true, but this is a million times harder :p.
PhillyB702 1 month ago
@PhillyB702 I don't mind the difficulty, but the beauty. Anyway, these are only opinions.
newFranzFerencLiszt 1 month ago
Comment removed
gen6k 2 months ago
This sounds like black metal of it's time, something which is further supported by the people maintaining this is exceptional music and if you don't agree you're just stupid.
LucidCatnap 2 months ago
This is great! love this! this is a TRUE powerful music!
hag01 2 months ago
this sucks terribly
lordlactose 2 months ago
noise
oswaldovernet 2 months ago
Now this isn't the "monkey bang on piano" modern classical music. Take that Cage
EinSofVirtuoso 2 months ago
Sounds a bit like Scriabin having a fit ...
UniquePlagiarism 2 months ago
Who plays this? Great interpretation!
fabptitpom 2 months ago
It was heavenly towards the end ;D
stripedman201 2 months ago
not bad actually ,he is trying to get new sounds out of piano .. and Of course he may be trying to describe a nightmare , i still don't understand why people hate this kind of music so much
arastoo1374 2 months ago
@arastoo1374 actually this is much more "listenable" than OC to me. It has a cool contour and cool harmonies. Its not even "that" atonal.
tombennettpiano 2 months ago
how can a human play it, I ask?
paulinaluc 2 months ago
Sounds a LOT better than some of the other ridiculous shit by this guy.
pcred566 2 months ago
@pcred566 Such as?
ThoughtsofaPerson 2 months ago
@ThoughtsofaPerson Just look at some of the other songs by him, and you'll know what I mean.
pcred566 2 months ago
@pcred566 "Pieces", not "songs", and I actually know and like them.
ThoughtsofaPerson 2 months ago
@ThoughtsofaPerson You know, that correction crosses the line between actual helpful criticism and just being a judgmental asshole. If you enjoy listening to such tuneless music, I won't try to stop you or anything. The thing is, I don't mind songs that have no chords or chord progressions as long as they don't sound like they could have been written by a three-year-old.
pcred566 2 months ago
@pcred566 I'm not aware of having judged anyone. As for a lack of chords, you only need to listen to this piece (or look at the score) to see that it is full of thirds.
ThoughtsofaPerson 1 month ago
@ThoughtsofaPerson "Thirds" do not equal "chords", they equal intervals. That statement in itself already proves to me that you are not one to search for when in need of good listening material. Thank you for your opinions.
pcred566 1 month ago
@pcred566 In traditional tonality, chords are composed of 3rds. If you want to run away and accuse others of promoting false claims, then so be it. The right hand starts thus: C Major - A-flat Major - G-sharp minor - B-flat Major. Such harmonies might have been written down by, say, Bruckner's or Dvořák's pen (since you have chords related by 3rds), but the accompaniment found in the other hand (the roles are later reversed) puts this piece pretty firmly into the 20th century.
ThoughtsofaPerson 1 month ago
@pcred566 Also, another remark: This piece has very few chords; however, it does include numerous arpeggios. Hence my remark about 3rds playing an important role in this piece is correct, while your is misguided. Like my nitpicking?
ThoughtsofaPerson 1 month ago
@ThoughtsofaPerson This piece DOES contain many arpeggios (in fact, the entirety of its components are pretty much only arpeggios), and while it is true that chords consist of thirds (obviously, for something like C, it would be C - E and E - G), I would consider a third as more of a base unit than a chord in itself. In that, I will agree with you. Also, the slightly irregular placement of the "chords" (as I will, for the sake of this, refer to them) is very unnatural. C Major comes (contd.)
pcred566 1 month ago
@pcred566 (contd.) out being 1 beat and A-flat Major comes out being 3 altogether (given that it actually goes back up the arpeggio to link in with the G-sharp) but later in the piece, this pattern doesn't really continue. Perhaps that is what I dislike about it. It does have a definite movement, but it doesn't preserve this movement very well. I guess I'm trying to say that it doesn't hold together as a single movement.
pcred566 1 month ago
@pcred566 It really depends on the context they are used in, you could call an interval a chord in the right context, they are known as dyads. In trying to correct that guy on his understanding of music you have made your own understanding seem limited. There is a moral to this.
Bojangulz87 1 month ago
@Bojangulz87 Does "dy-" equal "tri-"? They are two completely different prefixes. The key here is IN THE RIGHT CONTEXT. I'm not trying to correct his understanding. I'm sharing my views on this piece as a whole. Saying my understanding is limited could be considered an attempt at correcting my understanding of music, oh, maybe, in the right context?
pcred566 1 month ago
@pcred566 Don't be gay, I was trying to help you. I really don't know or care what you are arguing about, but what I said remains a fact. Dy- doesn't mean tri- it means dy- don't really know what you mean by this. Fuck the right context within this peice, you made a statement that intervals couldn't be chords that's all there is to this argument. I WAS correcting your understanding of music. Just doing what you were doing, you don't seem to like it though, perhaps another life lesson.
Bojangulz87 1 month ago
@Bojangulz87 Woah, sorry about your ego there. I said it was a base unit rather than a chord in itself, which, somehow, equated to not being a chord at all when I, in fact, didn't say that directly. Which is something you took out of context. The whole point of the statement was the etude, not that intervals are never chords. My point with the dy/tri thing was that dyads are not triads, regardless. And what's with the whole "life lessons" thing? Do you teach a second grade class or something?
pcred566 1 month ago
@pcred566 Don't really get the ego remark. This is your quote: " "Thirds" do not equal "chords", they equal intervals." You just proved yourself wrong. I never said that dyads were triads, don't know where you got that from, but the sobering fact remains that dyads are chords, so stop being a pussy and admit that you were wrong instead of trying to spare your dignity in a childish way. I teach those who act like they're in year two, such as yourself you fucking fairey >:D
Bojangulz87 1 month ago
@Bojangulz87 Thirds are not chords by themselves, the have to be put into context for them to establish an Identity. If you had the notes C and E, Its could either be (C E G) or (A C E)
TheShredworthy 1 month ago
@TheShredworthy That was never our argument though, it was that "thirds equal intervals" meant as a correction, meaning that they can't be chords to which I replied that they could. As for the second half of your message, I agree but the same can be said of augmented and diminished chords and their context too.
Bojangulz87 1 month ago
@TheShredworthy Generally, if you have C and E, it implies a C chord. You're not going to hear it as an a minor.
AEFic 1 month ago
@Bojangulz87 You've slipped into simply using direct accusation and ridiculous insults. I corrected my statement in my second reply to his original comment, in which I did, in fact, say, "I would consider a third as more of a base unit than a chord in itself..." You failed to acknowledge that you weren't part of the original conversation between he and I. I understand that you think that you have some kind of supreme knowledge, and this may be hard for you. I'm afraid our conversation is over.
pcred566 1 month ago
@pcred566 Exactly, you said you would consider it more of a base unit, again not acknowledging it as a chord. Do not try and paste the joke that you knew all along over this conversation, you didn't and only just attempted to imply that now. I saw that part of the conversation and again the statement you made acts in isolation of the rest of your dialogue. I'll translate the last part of your message for you: I'm afraid, therefore I want our conversation to be over.
Bojangulz87 1 month ago
@Bojangulz87 You're beginning to sound like you have something actually going for you, at least with the insults thing.
I didn't say dyads weren't chords, and I didn't say they were.You haven't suddenly changed my opinion of what a third interval is. And since you feel at liberty to jump into a conversation, I'm going to take a part of another conversation you're having (a subject who has a similar viewpoint to myself). "Thirds... have to be put into context for them to establish an Identity."
pcred566 1 month ago
@pcred566 You said yourself that you agreed with the above statement. That's what I meant by the whole "context is everything" statement.
And, for the record, I considered posting a reply only because you dropped off on the whole "illusion of superiority" thing and did away with most of the derision.
pcred566 1 month ago
@pcred566 As seems to be the trend with your replies the first part holds no meaning. Are you saying that I am skilled at insulting you? beause that's what it reads as. Again you try and stear the conversation all over the place, I'm not interested in any of this other shit, you made the statment 'thirds do not equal chords they equal intervals', that statment shows your lack of knowledge that you refuse to admit to your ignorance on the subject. Then you try and back out of it when proven wrong
Bojangulz87 1 month ago
@pcred566 Anyone could make any number of wild assumptions about things and then change their mind later when their original statment embarrases them, I'm sure you are very well versed in the fact that you can have a two note chord now, I just want you to admit that you didn't initially. I would respect you a lot more if you did that.
Bojangulz87 1 month ago
@Bojangulz87 I was trying to condense my comment to fit the character limit, which explains the apparent lack of clarity. Like I said, you didn't suddenly change my opinion on what a third is, I am not embarrassed that human diversity has resulted in two perspectives on a single subject, if that's what your delusion was, and there is no formal writing of any kind stating that a chord can consist of two notes. I do, in fact, understand what you're concept is, as little as you think I do.
pcred566 1 month ago
@pcred566 It wasn't the fact that you said that thirds are intervals, ofcourse they are but you said very specificly 'not chords' if anything leaving all of that part out would have condensed your comment much more. I have seen several formal writings on dyads, the oxford dictionary of music for one if my memory serves me. Even if there was no writing on the subject it still wouldn't change anything, all music started out informally.
Bojangulz87 1 month ago
@Bojangulz87 You also didn't respond to my other statement, in which I quoted (from AEFic),"Thirds... have to be put into context for them to establish an Identity.", which is to directly say that thirds are not chords by themselves. Just to jog your memory, you said that you agreed with this. If you would like to further contend in this argument, please reply.
And, to be fair, I was very unspecific in that statement. But that was barely part of the conversation we were having.
pcred566 1 month ago
@pcred566 I never said that thirds were chords by themselves but like I say your statement was that thirds equal intervals and not chords. I'm saying that they can be either. my intital statment to you was that they 'can be chords' rather than 'are chords' if I'm not mistaken. I understand that it wasn't really part of what you were saying which is why I have been dissmissive of the rest of your argument, my focus and interest is on this one subject of dyads and intervals.
Bojangulz87 1 month ago
@Bojangulz87 Oh. When I said I was trying to condense my comment, I wasn't referring to my original comment. You said that the first part of my comment didn't make sense at all, which I was trying to account for. I was only unspecific in my original comment because I considered it a matter peripheral to the one we were originally discussing, and didn't give it too much thought. And I didn't mean there aren't any formal writings on dyads, I meant that there aren't any defining 2 notes as a chord.
pcred566 1 month ago
@pcred566 Good then we're in agreement excluding the last part. As far as I am concerned the name dyad and 2 note chord can be used interchangeably so a formal writing on a dyad is essentially a formal writing on a two note chord.
Bojangulz87 1 month ago
@Bojangulz87 Ah. So, this whole time, we were arguing the same point?
pcred566 4 weeks ago
@pcred566 It would seem so
Bojangulz87 4 weeks ago
@Bojangulz87 ...Ouch.
pcred566 4 weeks ago
@pcred566 not to worry, it happens
Bojangulz87 4 weeks ago
sounds horrendous to me
I AM A PLEB
barisre 2 months ago
This performance really brings out the inner voices.
miker2001 2 months ago
Don't listen to this farce by Sorabji, but instead try his piece 'Gulistan'. Now that's actually inspired music.
titusbeertsen 3 months ago
@titusbeertsen Are you trying to say aggressiveness has no place in music? Are you one of those who adhere to the view that music should be comforting?
ThoughtsofaPerson 3 months ago
@ThoughtsofaPerson I'm a big fan of Ornstein's Wild Men's Dance, that should answer your question. The imported thing for me is music that is inspired and has musical merit.
titusbeertsen 3 months ago
@titusbeertsen The inspiration required for writing this piece is just as genuine as that required for "Gulistan".
ThoughtsofaPerson 3 months ago
@ThoughtsofaPerson Well, I think we've reached a point were we can only agree to disagree unfortunately :)
titusbeertsen 3 months ago
The first C major chord revealed me that Sorabji was actually quoting (in his own creative way) the first Etude op.10 by Chopin. ( watch?v=e8TqlIVRpPI ) It's a set of developing variations on Chopin's idea.
OrbiliusMagister 3 months ago
thank you very much for bringing this pianist to my attention. It definitely has brought a new page in my musical experience.
frtac 3 months ago
a feast of bravery... thank you for posting
frtac 3 months ago
can anyone tell me who the pianist is?
frtac 3 months ago
@frtac Fredrik Ullen.
ThoughtsofaPerson 3 months ago
or how to be angry in all the wrong/right places. a little beethoven of the 20th/21st century. bravissimo. and bellissimo.
frtac 3 months ago
i know nothing about this type of music, but, somehow, i like it. to my ear, if you ask me the theme, i would say it's about flow and stop...
frtac 3 months ago
nice, but it has no new gospel to the current view of contemporary music. seems like Ravel and Liszt in a bathouse trying to figure out who stole the soap after wrestling. a Nice harmonic play, but it's only nice. Though, as a composer myself (a very lazy one) - It's great to see an effort of some sort. I . know I'm not that blessed.
thisisspiel 3 months ago
This has been flagged as spam show
I can't make up my mind about this thing...
CheekyVimto08 3 months ago
What does this music talk about? What's the main theme?
leon00thomasian 3 months ago
@leon00thomasian HAHAHAH funny you asked, THERE IS NO MAIN THEME! It's atonal :)
Vesivian 3 months ago
@Vesivian Ya I figured. =) It LOOKS nice, though.
leon00thomasian 3 months ago
@Vesivian Sorry to disappoint you, but 1) this piece is tonal, and 2) atonality has nothing to do with athematic music (although Schoenberg played a crucial role in its development).
ThoughtsofaPerson 3 months ago
top 40 is junk and not art thanks
gen6k 3 months ago
you need an organ, for the sake of using pedals for the bass clef :)
contrebombarde1895 3 months ago
dieser Vortrag ist schlecht,zerrissen an einfachen Stellen. schade
wiesnase8 3 months ago
it's a bit...vertical?
rgrannell1 3 months ago
I only have one word to say and that is: :O
meimeichao 3 months ago
He was a showman. :)
ramalamalin 3 months ago
This has been flagged as spam show
Sorry, I don't understand.
Chiu19931993 4 months ago
@HerlockSholmes123 Fine. I feel there is so much nonsense being posted here that one should not feed the trolls by posting things they might exploit in their favor, even if they are intended as jokes.
ThoughtsofaPerson 4 months ago
@HerlockSholmes123 Joking now or in your previous post? In any case, I disagree with you and, if you'll ever read about Sorabji's life, you'll find out that your statements (regardless of whether you believe them or not), are false.
ThoughtsofaPerson 4 months ago
@HerlockSholmes123 Given that Sorabji wrote this piece a few years after having banned public performances of his own music, it is quite inaccurate to describe him as someone who sought to get the public's attention at all costs. Fail.
ThoughtsofaPerson 4 months ago
and btw, am i the only one here that likes this piece because of its combination of crazy technique and atmospheric sound??? i guess noone here listens to death metal. things are easy that way
fuckslipknot21 4 months ago
Oftentimes, I feel that composers who write works of such simply ridiculous scale as this (both length and difficulty) are doing so because they can. It's simply a show of craftsmanship. Excellent craftsmanship, but still just that.
Wagnerlover777 4 months ago 2
@Wagnerlover777 boooo, havent you ever heard of atonality???
fuckslipknot21 4 months ago in playlist Αγαπημένα του χρήστη fuckslipknot21
@fuckslipknot21 WHY did you have to start with that? For your information, I have listened to a plethora of atonal pieces, and the only composers so far of atonal music that I have grown to love are Alban Berg, some of Webern, Takemitsu, and Charles Ives. I love their music because, while some of it is grandiose, it never feels like it's being INTENTIONALLY too long, drawn-out, or having a severe case of gigantism.
Wagnerlover777 4 months ago
@Wagnerlover777 so you mean this piece gives you the feeling that its just a show-off?
fuckslipknot21 4 months ago
@fuckslipknot21 Yep. I don't know why, but it sorta feels like the MOST pompous piece by Liszt on crack- A LOT of crack. With a hint of meth.
Wagnerlover777 4 months ago
@Wagnerlover777 what can i say. i like it really much. it is like ascending and descending harmonic scales on the right hand and tritone based chords on the left. spooky. i love such music. whatever, i guess there is a difference in taste. so theres not much to say. peace.
fuckslipknot21 4 months ago
@Wagnerlover777 Well, to appreciate this work, one probably ought to know what an 'etude' entails......
AfroDeezeeYak 1 month ago
@AfroDeezeeYak One word: Chopin.
Wagnerlover777 1 month ago
@Wagnerlover777 Wrong. An etude is a 'technical study piece' by definition. While you obviously have a subjective inclination towards Chopin's etudes, I am making the point that "excessive difficulty" is the point of writing an etude. And a 3 minute piece is of excessive scale for you? Man, you should hear how long Mahler's symphonies drag on for....
AfroDeezeeYak 1 month ago
@AfroDeezeeYak For fuck's sake, I KNOW. I have listened to just about every major classical piece in Western musical history, and a shitload of the minor ones. How do you think I even heard about Sorabji? Through Mahler's 8th. It's that kind of a connection. I can say, quite objectively, that Chopin's craftsmanship and musicality, ESPECIALLY on his etudes, positively destroys Sorabji. Maybe I just hate pieces that focus too much on technical aspects, but there you have it.
Wagnerlover777 1 month ago
@Wagnerlover777 You can objectively say Chopin is more musical than Sorabji?
Can you also objectively say lamb is more tasty than beef? Red is a better color than blue? Get over yourself: composers aren't sports teams who compete against one another. Chopin is Chopin, Sorabji is Sorabji. They both intend to do different things with their music and your attempting to compare the two and 'objectively' say one is a better composer is a testament to just how little you know.
AfroDeezeeYak 1 month ago
@AfroDeezeeYak First off, generally speaking, you in fact CAN judge composers on their musicality. Am I a bit of a bitch for doing so? Yes. Is is particularly unbiased? No. Is is true? Hell yes. At least give me credit for saying what I actually think, as opposed to the whole "well, this music is...nice".
Wagnerlover777 1 month ago
@Wagnerlover777 If you hate pieces which 'focus too much on technical aspects' i.e., all etudes, then maybe you should stick to listening to Eric Whitacre and Danny Elfman?
AfroDeezeeYak 1 month ago
@AfroDeezeeYak By the way, I don't hate all etudes, just the ones that are irritatingly non-musical. This one just feels like Czerny's School of Velocity if he had been born some 100 years later. This is a GREAT exercise for the piano, don't get me wrong, but it's trite and musically uninteresting. Add on to that: Elfman and Whitacre are two of my favourite modern composers. So there.
Wagnerlover777 1 month ago
@Wagnerlover777 Elfman and Whitacre over Sorabji. Hmmmmm. Way to destroy your credibility, dude.
Toccataquarta 1 month ago
@Toccataquarta I think you seem to be confused as to what words like 'bias' and 'subjective' mean, but that's okay. It's okay to mostly look for only one thing in music, but one needs to understand there are many grounds for which a work can be good, if not a work of genius (not using this word to necessarily describe this piece).
For example, look at Webern's Symphony Op. 21. Most would find it 'unmusical', but it's function as a precedent for much of music today is remarkable.
AfroDeezeeYak 1 month ago
@Toccataquarta Well, it's my credibility to destroy. Funny thing is that many people have the same opinion as I do, contrariwise many have the same as you do. Aren't opinions fun? I just find Elfman (Whitacre's only on my list because I've sung his choir pieces) more engaging than Sorabji. Often I have the same problems with Schoenberg and Webern who focus a LITTLE too much on the musicality. Conversely, Berg used the same composition methods (mostly), and his music is just more...musical.
Wagnerlover777 1 month ago
@Toccataquarta That is, Schoenberg and Webern focus too much on TECHNICAL aspects. Whoops!
Wagnerlover777 1 month ago
I think everybody saying this is rubbish music ought to take the time to study the score and listen to more of Sorabji's music. I'm sure you'll find that his music is actually incredibly deep and, having developed a taste for it, you may find it hard to stay away.
Shunarjuna 4 months ago 2
@Shunarjuna - Have you heard any of his organ symphonies? They're the most ridiculously overblown and hard-to-listen-to pieces of music ever written! One of them is nine hours long... I listened to the first movement of the first symphony (IIRC) which is on YouTube. It's about 22 minutes long and it's horrible! I quite like this, though.
AnOrganCornucopia 4 months ago
NO ! This does definitly *NOT* sound like a little child tapping a pianos keys. This is - believe it or not - brilliant music. Consider the late Liszt. Think of the music he would write if he were still alive. This music has left tonality behind, but this appears to be an improvement to me. After all, we are in the year 2011, right ? To appreciate this kind of music you have to change your listening habits. No more major and minor. No cadences you've heard a thousand times. But music. New music.
MertzAllur 4 months ago 12
@MertzAllur
I agree -- this is different from random piano stuff. It's use of color and texture justifies its abandonment of typical tonality. It may not be the same kind of beauty that many others have made, but it is strangely beautiful.
I do understand why people may be put off by this kind of stuff, though, and I don't think it makes them intellectually inferior in any way, like some do. Sometimes it's just subjective ^_^
ZachEatonMusic 4 months ago
@ZachEatonMusic
Thanks for the comment. Well, there's lot of contemporary music I can't understand, Stockhausen, Boulez, Scelsi just to name a few. And I am quite sure there are some quacks, too. For me to accept music as "good" one of two (or both) conditions must be met: I must "understand" it or I must "like" it. Concerning Soraji this is not true anymore. I hardly understand his music and in most cases I'm not even sure whether I like it. It's like you said - strange beauty.
MertzAllur 4 months ago
@ZachEatonMusic Two months after and I discovered this marvelous piece has also been on your radar Zach ^_^. I love atonal pieces like this....for some reason, it doesnt come off as harsh. Heck, this piece reminds me of polytonality actually. I feel like my ears are hearing two different,interesting parts- arpeggios and a dissonant bass melody. Sorabji probably wasnt too influenced by atonalists of the 2nd Viennese school.
Arrow9100kj 2 months ago
@MertzAllur if you want to hear some REAL atonal music, try Scriabin Etude Op.65 No.1.
Sorabji is nothing but shit
Superstarrockmetal 2 months ago
@MertzAllur 'No more major and minor. No cadences you've heard a thousand times'
No variety of structure/tone, no resolution, no emotion or psychological appeal
Just running up/down the keyboard in straight lines. accompanied by thumping LH octaves.
This kind of 'rat on the keys' sound appeals to intellectual snobs.
Sets them apart.
If they took this to a desert island they would go mad within a very short time.
divvy1400yam600 2 months ago
Comment removed
gen6k 2 months ago
@divvy1400yam600
Ok, thanks for the reply. Sorabij's music (yes, music) still needs to be explored. Few did yet, me NOT among them. I'm just a guy who loves music, from Pop over Rock to Jazz and Classics, btw. From this point I'm just claiming that Sorabij's music is lasting as is music from Bach, Beethoven, Liszt, Beatles, Miles Davis, imho.
One last word: one needs to listen to more than one piece of a composer. I do while I'm writing this. Ever listened to Sorabij's Etude No 20 ?
MertzAllur 2 months ago
@MertzAllur Listen to Sorabji's Gulistan.
titusbeertsen 2 months ago
@titusbeertsen
I just listened to Gulistan. This is complex and very beautiful music. Every time you hear it you'll discover something new. In my opinion Sorabji is one of the greatest composers of all time.
MertzAllur 2 months ago 3
@divvy1400yam600 "Stupidest comment below the video" award.
Toccataquarta 1 month ago
@Toccataquarta What I posted about the music is accurate.
This piece does not even have the snob value of difficulty.
Any competent classical pianist would find this very easy to play.
It will be forgotton in a very short time.
Listen to Chopin's study using thirds.
All the marvellous set of studies are Op 10.
Wonderful. Real worthwhile music and long lasting.
divvy1400yam600 1 month ago
@divvy1400yam600 Chopin's music is all nice and dandy, but aren't you sick of only listening to Chopin? I've been listening to Chopin for 20 years, I can stand to every now and then but the music just no longer interests me.
Try Lutoslawski, Bartok, Xenakis and Perle. These composers have written some really exciting etudes that anyone could find to be 'musical', yet fresh and exciting.
AfroDeezeeYak 1 month ago
@divvy1400yam600 Everything you said is wrong. Let's see:
"No variety of structure/tone, no resolution, no emotion or psychological appeal"
There is variety and resolution; the penultimate chord is rooted in the tritone, while the end is as consonant as it gets. It is clear that you are lying. As for emotion and appeal, that is subjective, and is refuted by the amount of likes (as well as reviews of this music by professional critics) that this video has received.
Toccataquarta 2 weeks ago
@Toccataquarta "Just running up/down the keyboard in straight lines. accompanied by thumping LH octaves."
The lines are not always straight, and in any case, the same could be said about countless other études. Furthermore, your post shows that you did not even listen to the whole piece, since the roles of the hands are later modified.
"This kind of 'rat on the keys' sound appeals to intellectual snobs."
And your evidence for this statement is found where?
Toccataquarta 2 weeks ago
@Toccataquarta "If they took this to a desert island they would go mad within a very short time"
History proves you wrong; composers more dissonant than Sorabji have survived.
In short: you get an F.
Toccataquarta 2 weeks ago
This has been flagged as spam show
@Toccataquarta "Any competent classical pianist would find this very easy to play."
The difficulty involved in executing this piece is of no consequence to its quality.
"It will be forgotton in a very short time."
The amount of views this video has received appears to contradict that.
"Wonderful. Real worthwhile music and long lasting."
Because?
Toccataquarta 2 weeks ago
what is this, trying to save papers?
iif5 4 months ago
You can write truckload of etudes like that (if you buy ink in a special offer).
LiSaiFun 4 months ago
this is some bad ass stuff=) this is not a doodle=) if it doesnt sound like liszt of chopin - doesnt mean it doesnt have musical value. And to those of you who say its a child hitting piano keys - please back it up by something=) Because now it doesnt mean anything. Try playing it! And the pianist was not forced to play it - he did it on his own=) Because after this - you can play anything=)
elrondsch 4 months ago
Folks, this is an transcendental etude, not a fucking ballad. Just because it lies eternally beyond your intellectual grasp doesn't mean it isn't musically worthy.
marcphilos 4 months ago 2
@marcphilos, ah, we have an elitist here. You may be able to get away with that snippety, condescending tone on the internet, or in some of the conservatories (I sincerely hope you aren't teaching in one), but people rightfully will not put up with that in real life.
I can see when anyone criticizes anything you happen to like, instead of defending what you like in a rational manner, you resort to ad-hominem attacks against the other person's intellect.
KhagarBalugrak 4 months ago
@marcphilos, bad art and bad music do indeed exist. Just because someone dislikes something doesn't mean it's automatically because they can't understand it. It is very possible that when someone dislikes something, it's because it just plain sucks. It's a shame that so-called musicians must have obvious truths explained to them ad nauseam. Such is the world we live in.
KhagarBalugrak 4 months ago
@KhagarBalugrak "Obvious truths"? To whom?
ThoughtsofaPerson 4 months ago
I feel sorry for the person that spent all that time learning this because even though they played it correctly, it still sounds like a 3 year old plonking on the keys
jn2585 5 months ago
@jn2585 Yes, I feel so sorry for the pianist who was forced to learn this piece and obviously knows less about kids' banging on pianos than you do. LOL.
ThoughtsofaPerson 5 months ago
@jn2585 don't admit that. pretend you can hear invention.
nondor13 5 months ago
This what I doodle when I'm bored in class
AverageGamerz 6 months ago
Sounds like a reminiscence of Busoni's Etude en arpèges.
ls2019 6 months ago
He's drawing pictures, not writing music
TheMrknownothing 7 months ago 60
@TheMrknownothing And you are not writing sentences, but rather banging on your computer's keyboard. Yeah. Whatever.
ThoughtsofaPerson 5 months ago
@TheMrknownothing Way to live up to your name there, bud.
fussbudget 4 months ago
@TheMrknownothing its atonality silly :)
Vesivian 3 months ago
@TheMrknownothing Do you have any plans to delete your fucktardish comment, given how much this piece relies on thirds?
ThoughtsofaPerson 2 months ago
@ThoughtsofaPerson Really sounds like it, doesn't it. >_>
pcred566 2 months ago
@pcred566 Sounds like what?
ThoughtsofaPerson 2 months ago
Sorabji has had the same glasses for all of his life...
searchfgold6789 7 months ago 3
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2hyeok 7 months ago
Write lots of arpegios in various keys, add a few octaves. Mark forte throughout. Job done. I hear no musical interest in this whatsover.
I agree it does seem loosely based on Chopin C Major Etude.
Gaspard is far more difficult, maybe not all the notes are harder, but combined with the control of sound, expression etc makes it much, much harder
ukdavepianoman 7 months ago
Thank you for posting the entire manuscript!
ryuutane 7 months ago
@ryuutane This isn't the manuscript; it's a hand-written edition by Marc-Andre Hamelin. I imagine Sorabji's writing would be much harder to read.
georgecziffra 5 months ago
ty for uploading
scv2222 7 months ago
I think this is totally mad! But I am so grateful youtube gives us the chance to get to know this bizarre music … thanks for uploading it!
mizzothify 7 months ago
... The thing about this music is the ideas and themes, not necessarily the harmonies (although there are some very nice harmonies here).
If you look kind of deeper into it, it's actually a really interesting piece.
5BLD 8 months ago
i think maybe gaspard la nuit is not the hardest song
sumimimi0 8 months ago
@sumimimi0 There isn't really a 'hardest' piece. Every piece has it's own technical challenges and they're all different. Can't possibly compare them =)
pianist7137 8 months ago
@pianist7137 i noe that. just saying but there are hard songs and easy songs for sure, as i play piano. but i don't like his music, sounds weird to me
sumimimi0 7 months ago
this touched my heart XD
mikedeliv 8 months ago
@mikedeliv Me too. I had a heart attack :-)
MrOrganist007 8 months ago 3
it just doesn't seem worth it to me
coolsnak3 9 months ago
this not enjoyable for me at all and it is not that hard too you never actually play 3 stashes at same time he could have written all to 2 stashes.This guy is nothing compared to chopin.
95superbad 9 months ago
I have no idea how this is enjoyable. This is the exact reason why I can't listen to Chopin. I'll take Bach or Vivaldi any day.
Samoriah 9 months ago
how can I go about appreciating this?
milamok1002 9 months ago
@milamok1002 For me, Sorabji was an acquired taste. But after repeated listenings and reading what Mr Ullen (the performer) has to say about these works, I've come to appreciate the depth of their virtuosity and beauty.
marcphilos 9 months ago