This article needs additional citations for verification .(June 2011) |
Opus clavicembalisticum | |
---|---|
Piano piece by Kaikhosru Shapurji Sorabji | |
Catalogue | KSS 50 |
Form | Piano piece |
Composed | 1929 June 1930 | –25
Dedication | Christopher Murray Grieve |
Published | 1931 London : |
Publisher | J. Curwen and Sons Ltd. |
Recorded | 1980 |
Duration | 4 hours |
Movements | 12 |
Premiere | |
Date | 1 December 1930 |
Location | Stevenson Hall, Glasgow |
Performers | Kaikhosru Shapurji Sorabji |
Opus clavicembalisticum is a work for solo piano, notable for its length and difficulty, composed by Kaikhosru Shapurji Sorabji and completed on 25 June 1930. [1]
At the time of its completion, it was the longest piano piece in existence, taking around 4–4½ hours to play, depending on tempo. Several of Sorabji's later works, such as the Symphonic Variations for Piano (which probably last about nine hours) are even longer.
At the time of its completion, it was possibly the most technically demanding solo piano work in existence, mainly due to its extreme length and rhythmic complexity. However, some works conceived by New Complexity, modernist and avant-garde composers, along with Sorabji himself, were even more demanding; it is in this particular area that Opus clavicembalisticum is highly regarded and primarily receives its notoriety.
Sorabji may have partly been inspired to compose the work after hearing a performance of Busoni's Fantasia contrappuntistica by Egon Petri; [2] Opus clavicembalisticum is a homage to Busoni's work to some degree. [3] Sorabji's earlier Toccata No. 1 (1928) (also for piano solo and a multi-movement work) shows similar Busonian influence and is in some ways a precursor of Opus clavicembalisticum.
Opus clavicembalisticum has twelve movements of hugely varying dimensions: from a three-minute-long cadenza to an hour-long interlude, containing a toccata, adagio, and passacaglia (with 81 variations). The work's movements are set in three parts, each larger than the last:
Pars Prima | |
I. | Introito |
II. | Preludio-corale [Nexus] |
III. | Fuga I. quatuor vocibus |
IV. | Fantasia |
V. | Fuga II. [duplex] |
Pars Altera | |
VI. | Interludium primum [Thema cum XLIX variationibus] |
VII. | Cadenza I |
VIII. | Fuga tertia triplex |
Pars Tertia | |
IX. | Interludium alterum (Toccata:Adagio:Passacaglia cum LXXXI variationibus) |
X. | Cadenza II |
XI. | Fuga IV. Quadruplex |
XII. | CODA. Stretta |
The manuscript and publication both erroneously say that the sixth movement (Interludium primum) has forty-four variations instead of forty-nine. [4]
In a letter upon completion of the massive work on 25 June 1930, [2] Sorabji wrote to a friend of his:
With a wracking head and literally my whole body shaking as with ague I write this and tell you I have just this afternoon early finished Clavicembalisticum... The closing 4 pages are so cataclysmic and catastrophic as anything I've ever done—the harmony bites like nitric acid—the counterpoint grinds like the mills of God... (underneath he quotes the last chord of the work, with "I am the Spirit that denies!") [lower-alpha 1]
The dedication on the title page reads:
"TO MY TWO FRIENDS (E DUOBUS UNUM) HUGH M'DIARMID and C.M. GRIEVE"
and proceeds
"LIKEWISE TO THE EVERLASTING GLORY OF THOSE FEW MEN BLESSED AND SANCTIFIED IN THE CURSES AND EXECRATIONS OF THOSE MANY WHOSE PRAISE IS ETERNAL DAMNATION."
J. Curwen & Sons of London published the score in 1931. [5]
There have to date been over 20 performances of the complete Opus clavicembalisticum. [6]
The first was by Sorabji himself on 1 December 1930, in Glasgow, under the auspices of "The Active Society for the Propagation of Contemporary Music".
Pars prima was performed by John Tobin on 10 March 1936; this performance is noted to have taken approximately twice as long as the score dictates. This performance, and its reception, may have led to Sorabji's "ban" on public performances of his works; he asserted that "no performance at all is vastly preferable to an obscene travesty". Sorabji maintained this veto until 1976.
Opus clavicembalisticum was unperformed for the following 46 years until it was played by Geoffrey Douglas Madge in 1982. A recording of the performance was released on a set of four LPs, which are now out of print. Madge performed it in public in its entirety on six occasions from 1982 to 2002, including once in 1983, at Mandel Hall in Chicago, a recording of which was released by BIS Records in 1999.
John Ogdon publicly performed the work in London twice, towards the end of his life, and produced a studio recording of the work. [5] Jonathan Powell gave his first performance of the work in London in 2003; [7] he has since played it in New York (2004), Helsinki and St. Petersburg (2005) and, in 2017, he embarked on a tour with it to include performances in Brighton, London, Oxford, Karlsruhe, Glasgow, Brno and elsewhere.
The only other verifiable and complete public performances of this work have been given by Daan Vandewalle in Brugge, Madrid and Berlin, although some pianists have performed excerpts, which are usually the first two movements. For example, Jean-Jaques Schmid performed part of the work at the Biennale Bern 03 and Alexander Amatosi performed the first movement at the University of Durham School of Music in 2001.
Ferruccio Busoni was an Italian composer, pianist, conductor, editor, writer, and teacher. His international career and reputation led him to work closely with many of the leading musicians, artists and literary figures of his time, and he was a sought-after keyboard instructor and a teacher of composition.
Sir Donald Francis Tovey was a British musical analyst, musicologist, writer on music, composer, conductor and pianist. He had been best known for his Essays in Musical Analysis and his editions of works by Bach and Beethoven, but since the 1990s his compositions have been recorded and performed with increasing frequency. The recordings have mostly been well received by reviewers.
Toccata is a virtuoso piece of music typically for a keyboard or plucked string instrument featuring fast-moving, lightly fingered or otherwise virtuosic passages or sections, with or without imitative or fugal interludes, generally emphasizing the dexterity of the performer's fingers. Less frequently, the name is applied to works for multiple instruments.
Charles-Valentin Alkan was a French composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life.
Kaikhosru Shapurji Sorabji was an English composer, music critic, pianist and writer whose music, written over a period of seventy years, ranges from sets of miniatures to works lasting several hours. One of the most prolific 20th-century composers, he is best known for his piano pieces, notably nocturnes such as Gulistān and Villa Tasca, and large-scale, technically intricate compositions, which include seven symphonies for piano solo, four toccatas, Sequentia cyclica and 100 Transcendental Studies. He felt alienated from English society by reason of his homosexuality and mixed ancestry, and had a lifelong tendency to seclusion.
John Andrew Howard Ogdon was an English pianist and composer.
The Fantasy on Themes from Mozart's Figaro and Don Giovanni, S.697, is an operatic paraphrase for solo piano by Franz Liszt, based on themes from two different Mozart's operas: The Marriage of Figaro, K.492 and Don Giovanni, K.527.
Fantasia contrappuntistica(BV 256) is a solo piano piece composed by Ferruccio Busoni in 1910. Busoni created a number of versions of the work, including several for solo piano and one for two pianos. It has been arranged for organ and for orchestra under the composer's supervision.
Jonathan Powell is a British pianist and self-taught composer.
Geoffrey Douglas Madge is an Australian classical pianist and composer.
The Piano Concerto in C major, Op. 39 (BV 247), by Ferruccio Busoni, is one of the largest works ever written in this genre. Completed and premiered in 1904, it is about 70 minutes long and laid out in five movements played without a break; in the final movement a quiet men's chorus intones words from the verse-drama Aladdin by Adam Oehlenschläger.
Bernard Hélène Joseph van Dieren was a Dutch composer, critic, author, and writer on music, much of whose working life was spent in England.
The Bach-Busoni Editions are a series of publications by the Italian pianist-composer Ferruccio Busoni (1866–1924) containing primarily piano transcriptions of keyboard music by Johann Sebastian Bach. They also include performance suggestions, practice exercises, musical analysis, an essay on the art of transcribing Bach's organ music for piano, an analysis of the fugue from Beethoven's 'Hammerklavier' sonata, and other related material. The later editions also include free adaptations and original compositions by Busoni which are based on the music of Bach.
A piano symphony is a piece for solo piano in one or more movements. It is a symphonic genre by virtue of imitating orchestral tone colour, texture, and symphonic development.
Sequentia cyclica super "Dies irae" ex Missa pro defunctis, commonly known as Sequentia cyclica, is a piano composition by Kaikhosru Shapurji Sorabji. Written between 1948 and 1949, it is a set of 27 variations on the medieval sequence Dies irae and is widely considered one of Sorabji's greatest works. With a duration of about eight hours, it is one of the longest piano pieces of all time.
"Gulistān"—Nocturne for Piano, commonly known as Gulistan, is a piano piece by Kaikhosru Shapurji Sorabji written in 1940. Its title refers to Golestan, a collection of poems and stories by 13th-century Persian poet and writer Sa'di. The piece lasts about 30 minutes in performance and is often considered one of Sorabji's greatest works.
{{cite book}}
: CS1 maint: location missing publisher (link)