Sorabji - Gulistan

SORABJI: http://en.wikipedia.org/wiki/Kaikhosru_Shapurji_Sorabji

Kaikhosru Shapurji Sorabji - Gulistan: The Rose Garden

http://www.sorabji-archive.co.uk/compositions/piece.php?pieceid=63
http://www.sorabji-archive.co.uk/recordings/CD.php?cdid=16





Según Marc-André Hamelin: "La practicidad ejecutando Sorabji es un enorme obstáculo para los pianistas. Para ilustrar el punto - en Gulistan, que he editado para publicación, uno requiere un instrumento extremadamente sensible para lograr algún sentido  de la textura separando todas las líneas polifónicas.
Lograr tener algo así en los dedos es evidentemente  un proceso muy gradual y que consume mucho tiempo. Lo siento como dos o tres Ondines apiladas arriba de las demás! La proyección dinámica correcta de ser considerada; un tipo de técnica especial es requerida en donde uno debe pasar a través de muchas notas de una manera aérea, y delicada.
No ha nunca una indicación más fuerte que mezzo forte, y esto es un extremo. Acordes repetidos muy rápidamente deben ser proyectados dolcissimo. Un tal efecto no es algo que pueda alcanzarse fácilmente, en especial cuando el piano indicado no está bajo las manos. No tocaría nunca esta pieza sin conocer el piano de antemano. Requiere la más extraordinaria sensibilidad."






03:43 Michael Habermann:


- Siendo que el estaba interesado en la melodía, la melodía es lo que está arriba. Aquí está su melodía: 03:50 - 04:10.


- Como puedes notar, esta melodía se centra o gira alrededor de Fa#: 04:14


- Es un compositor tonal. Los compositores tonales son aquellos que creen que ciertas notas en la escala son más importantes que otras notas. Entonces siendo este el caso, Fa# es soportado por un acode de Si mayor (B),: 04:27 ... :32, y el acorde se está desvaneciendo, entonces tenemos otro acorde de Si mayor, pero esta vez con una nota agregada ... y otro Si mayor, un Si mayor desformado si se quiere ...


04:52 


- Sorabji después agrega alguna filigrana debajo de la melodía 04:57 ... 05:06: algo como esto.


- Entonces ahora tenemos: 05:09 - 05:30


- Te darás cuenta de la independencia en el pedal. En uno de sus libros, escribió dos libros, "Arround Music" y "Mi Contra Fa, the immoralisings of a Machiavellian Musician", y, en uno de los capítulos describe lo que él consideraría un piano ideal, en lugar de cuerdas tendrías diapasones y el instrumento probablemente sería tan pesado que caería aplastando este piso pero, le gustaba la resonancia de las cuerdas asi que pedía mucho uso del pedal en su música. 
Ahora, a esto, se le agrega un contramelodía 06:10 ... y aún otra contramelodía en un registro diferente, y en un ritmo diferente 06:22


- Así que ahora tenemos: 06:29 ...


- Y esto es una frase!

07:08 Michael Habermann:


- Acá estamos en Re Mayor (D), ... y se apoya en la repetición para crear un ambiente, pero esto es un poquito simplista para él, y agrega dos notas al acorde de Re mayor para lograr un choque, un poquito, cambia el aroma, y el la mano izquierda tiene de forma ingeniosa, un figura oscilante, nuevamente, La es muy prominente, pero tiene un Si y un Sib ahí. así que sólo el acompañamiento es: 07:42 ... y luego cambia a esto: 07:48 ... esto es Fa mayor, pero nuevamente con notas agregadas así que él usa una armonía con notas agregadas.
Y en el medio, tenemos la canción: 07:58 - 08:30 ...etc. 


 .......

transcripción de algunos fragmentos de lo que habla y responde Sorabji:


"Treat me like a cat, I'll purr and I'll do what I'm asked. But of course I'd like [to be] outdoors, you see. My [--] used to say: 'In every Sicilian house there was a Mount Edna. From time to time it's got to blow up, like Mount Edna'. Now, she used to say: 'Never forget people who are nice and kind to us. And with liking glasses we never forget those who are not'". continued...


In response to question:
"Have I? Oh, well that's useful"
"I didn't collect it from anywhere. It grows out of me. It's part of me. I'm very much my mother's son, you know. I'm equally my father's son, he was known as the worst man of anyone in Bombay."
"The books of reference have been deliberately mislead as to dates and places. I am not going to clarify that to anybody or for any reason whatsoever. Why don't you people know the facts? Among [life] is one or two only (response continued)


"It's no good you all trying to pump them, because the direst penalty it to reveal them. I've a [menu?] for privacy."
"My old master said to me: 'Look' he said, 'you aught to start composing'. 'What?' I said, 'I've never thought of doing that sort of thing.' [he then says his teacher, who had taken him through the regular routine of species counterpoint, 4-part, 5-part, etc, told him that he had finally gotten all that under control] So I thought "All right" [continued]

"well I started writing sort of short cadences, you know, very much "à la Ravel". Well he said: 'Yes yes yes, go on!' So the next thing was a concerto! I never had a lesson in orchestration in my life, and yet people say that I've got a marvelous command of orchestration. A [musician] who once looked at a score of mine said it was a marvel. Whether it is or not I don't know, I don't care if it is or not! I've had to go on writing, you see, like this. I've an enormous number of [large?] scores


"I wouldn't cross the road. Honestly. I would never be there! I'm not going to make an expression of myself, [---] not on your life! No no [dear?]."
Michael Habermann speaks. Then:


"Popularizing the arts, bringing the arts to the people, spreading culture, as though it were [muck or?] weedkiller. Give not that which is holy unto the dogs, neither cast ye your pearls before swine, lest they trample [them] under their feet and turn again and rend you!"


"It's only what is called labour that others call real work. I have not found a member of what is called the working classes who has the faintest notion of the toil, physical, yes, of writing a few pages of a complex modern orchestral score, let alone hundreds of them! The [formative] years of drudgery, on top of innate ability, plus unlimited and unpaid hours of overtime at all times. One of them once said to me:


'But naturally you can't understand our point of view, you are not familiar with who the working class is.' 'No indeed' I spat at him, 'I am not. I work!' I went on: 'When your hours, if not your work, are finished, off you go gleefully boozing or whoring or both. When my work is finished, I am so [dreadfully?] exhausted that I can't sleep for nights on end. You can't understand that either, can you!'


Sorry, one part was cut in the middle, after "I've an enormous number of [large?] scores":
"That thing, that cupboard there is full of enormous scores. One work, that's the High Mass, requires a chorus of 500. Of course I know it will never be performed, it doesn't matter to me a strap! I was free to the world to write them so that's that! What happens to me after I'm gone, I can't tell. It doesn't matter to me two hoots! I don't give a damn!"


"Treat me like a cat, I'll purr and I'll do whatever I'm not. But of course I'd like to life otherwise I'll claw you see.  My dear Mother used to say: 'In every true Sicilian house is aways a Mount Etna. From time to time it's got to blow up, like Mount Etna'. "


Question: "You were born in Chingford?"
Answer: '"the books of reference have been deliberately misled as to dates and places, I am not going to clarify that to anybody..."
What a weird thing to say - why would he want to keep hi


"I wouldn't cross the road. Honestly. I would never be there! I'm not going to make an expression of myself, [---] not on your life! No no [dear?]."
Michael Habermann speaks. Then:
"Popularizing the arts, bringing the arts to the people, spreading culture, as though it were [muck or?] weedkiller. Give not that which is holy unto the dogs, neither cast ye your pearls before swine, lest they trample [them] under their feet and turn again and rend you!"


Sorry, one part was cut in the middle, after "I've an enormous number of [large?] scores":
"That thing, that cupboard there is full of enormous scores. One work, that's the High Mass, requires a chorus of 500. Of course I know it will never be performed, it doesn't matter to me a strap! I was free to the world to write them so that's that! What happens to me after I'm gone, I can't tell. It doesn't matter to me two hoots! I don't give a damn!"







http://en.wikipedia.org/wiki/Gulistan_of_Sa'di