Strange | =a usic The World of Kaikhosru Sorabji By MICHAEL HABERMANN Pianist Michael Haberman’s recording of the piano music of Raikbusr Sorabjt bas recently been released! by Elan Recordings Since Sorabjt’s musi notorious Jor its alinast impossible viriuusie demands, very few pianists have attempted fo tackle it, sn addition, Jor a good many years the composer forbade the pesfin mance of his works, 1onh be greed Special permission to Michael Haberman We asked Mr. Haber- ‘nan to explain bis fascination with Sorabys, and 10 dis- cuss bis recording project aikhosty Shapurii Sorabji (1892-1988), the English-Parsee composer, will probably always be remembered for his pursuit of extremes: daz Ting difficulties of execution, and works of Sumwmoth dimensions. Equally associated with the coms poset is the ban he imposed upon the public execution ‘his svorks. These are but the external characteristics The imaginative coexistence aNd fescinating, ywerac> tion of a deluge of rhythms, melodies, hurmonies, snd textures is simply awe-inspiring The mood he creates in his music is unique. The Nocturnes explore mystical irance states, His transcriptions bring undeniable xhindeur and dignity to their themes. The energeric pieces transfix in thelr sheer obstinacy and determina Ton. culminating in massive climaxes that engulf the Centine arsenal af the piano (and plans) Sorabi’s piano output is hige. A complete list appears fn Serabji. a Critical Celebration. edited by Put Rapoport (Ashgate, 1992). Bypassing his insurrneuntably Challenging Piano Symphonies, Toceatin, Variations, and the famous Opus Clavicemhalisticum (1930). 1 find a ‘number of “shorter” works of great interest, By shorter 1 fein st composition not exceeding a half hour in lengthy hor longer than 40 pages. | recorded 3 number of these for MusieMasters (Misical Hesitage Society) some years iu0. The feuit of miny more years of concentrated work iS how presented on Ekin CD 82264. recently released The following is 2 brief description of the musi¢ on the ‘compact disc, ‘Gulistan” (The Kose Garden}—Nocturne for Piano 940) ts exsentially postimpressionistic in style. Tt is a wperl, lufeious pico featuring. low successions Of dia tonic chorus (generally in broken form) in the lower Tegions and shimmering chromatic Figures inthe upper Fegisiers [nthe amidange we hear hypnowe enhbe melodies. The dite Gulisian sefers to the verse und prose ‘he Kese Garden (258) by the Sufi Persian poet Sadi 4713-1290) ‘Ouevre reliqua bryjus materiet ter secretiona” (Seek the rest of this matter among the things that are more secret) (1940), on the other hand, is programmatic rie climax. Itis piece depicting sinister events und Tyne on 4 ghost story, Count Magnus. by M. R. fumes. Ihe auunerdus contrasts For quite ain interpretive chal —— Music of dazzling difficul- ties! and mammoth size. SS for = VOLUME 15 + wumpen 6 + Novensen}DEcEMBER 1995