Kaikhoshru Sorabji: Opus Clavicembalisticum (Ges.-Aufn.) (5 CDs)

Kaikhoshru Sorabji: Opus Clavicembalisticum (Ges.-Aufn.)

Kaikhoshru Sorabji (1892-1988)

Opus Clavicembalisticum (Ges.-Aufn.)

Daan Vandewalle

5 CDs

CD (Compact Disc)

Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.

Kaikhoshru Sorabji (1892-1988): Opus Clavicembalisticum (Ges.-Aufn.), 5 CDs

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EUR 54,99*

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Künstler: Daan Vandewalle (Klavier)
Label: Passacaille, DDD, 2023
Bestellnummer: 11709939
Erscheinungstermin: 2.2.2024

Radikales Mammutwerk
Das Opus Clavicembalisticum von Kaikhosru Shapurji Sorabji ist ein Werk von nie dagewesener Komplexität, das als eines der längsten und kompliziertesten Stücke gilt, die je für Klavier geschrieben wurden. Der Komponist erweiterte damit radikal die Grenzen dessen, was in der Klaviermusik bis dato möglich schien und schuf eines der nach wie vor faszinierendsten und anspruchsvollsten Werke im Bereich der klassischen Musik. Der Pianist Daan Vandewalle ist einer der wenigen Pianisten weltweit, die das gesamte Opus Clavicembalisticum von Sorabji beherrschen.

Tracklisting
Details
Mitwirkende

Disk 1 von 5 (CD)

Opus Clavicembalisticum

1 I. Introito
2 II. Preludio-Corale (Nexus)
3 III. Fuga I quatuor vocibus
4 IV. Fantasia
5 V. Fuga II duplex

Disk 2 von 5 (CD)

1 VI. Interludium primum (Thema cum XLIV variationibus)
2 VII. Cadenza I

Disk 3 von 5 (CD)

1 VIII. Fuga tertia triplex: Dux primus
2 VIII. Fuga tertia triplex: Dux alter
3 VIII. Fuga tertia triplex: Dux tertius

Disk 4 von 5 (CD)

1 IX. Interludium alterum: Toccata
2 IX. Interludium alterum: Adagio
3 IX. Interludium alterum: Passacaglia cum LXXXI variationibus

Disk 5 von 5 (CD)

1 X. Cadenza II
2 XI. Fuga IV quadruplex: Dux primus
3 XI. Fuga IV quadruplex: Dux alter
4 XI. Fuga IV quadruplex: Dux tertius
5 XI. Fuga IV quadruplex: Dux quartus
6 XII. Coda-Stretta

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22. März 2024

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OC number 4
This is the 4th commercial recording of Sorabji's Opus Clavicembalisticum (OC) and those who can tolerate repeat hearings of this cacophony will be occupied for some time.
The earlier recordings include 2 by Geoffrey Douglas Madge: the 1st was consigned to vinyl oblivion where it deserves to remain and the 2nd ( on BIS ) is almost as deserving. The other recording is by John Ogdon who was at first specifically prohibited by Sorabji himself from making a recording. Eventually Sorabji relented though he really had no choice: he gave permission to Madge and once the recording was out, that was the end of his so-called ban. At the time, most reviews pointed to the circa 1hr difference in the Madge/Ogdon performances. Mostly in the fugues. Madge was faster but he skimmed over a lot of passages. Those who have heard Madge groping his way through Godowsky etudes will not by surprised to be told that there was a lot of cheating and playing around passages. The Ogdon performance, yes an hour longer, was very disappointing. There was no contrast at all in the movements and Ogdon was of course past his peak and even quite ill at the time. Had his health been better things might have been different, but that's far from certain. Ogdon also had to make compromises especially in the fugues.
The new recording by Daan Vandewalle clocks in at over 5hours making it the longest of the 4. So what do you get for your extra minutes? The answer is not much in the way of music for sure. The performance is accurate but careful. The sound is clear and even unusual but the performance still does not excite. This is not just the "music" itself. There needs to be drive and risk taking. There is more scope for variance and contrast. The climaxes just don't happen. It's midi playing.
The production is good and the CDs are well packaged. The booklet could be better. The author claims OC was inspired by Egon Petri's recording of Busoni's Fantasia Contrappuntistica but this is plain wrong. Petri recorded it decades later. But this inaccuracy is typical in the Sorabji lore. The usual false comparisons with Busoni's work are made. Chords over a bass are common in piano music so that does not make an analogous passage. A repeated note in the bass under chords is also common and does not therefore justify comparison with the Liszt sonata. In 5hrs of relentless note spinning the listener's mind is bound to amuse itself by seeking references.
As for the work, the question begs why bother? This is not "clear thoughts calmly expressed." Lack of calmness is no problem for me but there are no "clear thoughts" in evidence. Indeed there are no thoughts at all. Just tons of notes thrown on a page in a vain effort to look skilled. Notice "look:" not sound. In interview Sorabji said he had a cupboard full of scores. He said "Any good? I don't know... don't care." How could he not know? A composer, as he was pleased to call himself, must have either belief or self critical ability. Clearly both of these were as lacking as his talent.
Yet a 5th recording is rumoured. Jonathon Powell wants to record this and is awaiting a producer. I'm not volunteering.
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Kaikhoshru Sorabji: Opus Clavicembalisticum (Ges.-Aufn.) auf 5 CDs