Alscribjiani: A Free Fantasy in Three Movements (2006) [Clint Tibbs, piano]

According to Tibbs:

"The form of [Alscribjiani] and certain thematic elements were preconceived, but the execution of most of the content was 'made up on the spot.' Preconceived ideas came together at the moment they were played, mixed with many moments of an improvised nature. None of this music was composed with pen and staff paper. It only exists in this recording and in the mind of the performer.

[Alscribjiani] was influenced by Alkan, Scriabin, and Sorabji. Sorabji was influenced by Alkan and Scriabin; an all the more fitting reason for such an amalgam of a title. The listener will notice that the greatest influence is from Sorabji not only in the music but also in the names of the first and second movements. Alscribjiani is also influenced by the music of two equally important and innovative Russian composer-pianists, namely, Nikolai Roslavets and Samuel Feinberg.

While there is no discernable tonal center for Alscribjiani, the music tends to wander around in D minor, C-flat major, B-flat minor, D-flat major, and G-flat major (and maybe other keys). The music is asymmetrical and does not conform to the symmetry of traditional 'classical' music; influences extend far beyond the range of traditional classical music. Thematic material exists in three forms: melodic themes, rhythmic themes, and textural themes; themes that are stated, developed, and interwoven to form a single tapestry throughout the entire piece.

All three movements are related through a similar soundscape that binds the piece together; tonality and atonality are blended to form a seamless 'impressionistic' sound without falling into total atonal abstraction and oblivion. The dissonant seconds and grace notes are played intentionally in chords and scales and are not mere 'mistakes.' They are meant to contribute to the overall ornamental effect of the music not unlike the effect of Sorabji's ornate music. Despite the duration of Alscribjiani, it is meant to be heard in one sitting.

The opening of the first movement, Rapidum Balisticum, mimics the opening of Scriabin's 7th sonata, 'White Mass.' The movement exhibits the kind of restlessness that Nikolai Medtner depicts in his Sonata Minacciosa in F minor, with hints of impressions from Ives' Concord Sonata and possibly from Copland's Piano Variations."