Sorabji: "VIII. Fuga III [Dux Alter]" from Opus Clavicembalisticum (Eric Xi Xin Liang) скачать в хорошем качестве

Sorabji: "VIII. Fuga III [Dux Alter]" from Opus Clavicembalisticum (Eric Xi Xin Liang)

Recorded on October 6th, 2023. Learned and refined in approximately 20 hours. [CONTEXT] Preceding part of the movement:    • Sorabji: "VIII. Fuga III [Dux Primus]" fro...   Read the description of that video. In all the fugues, Sorabji chooses to follow a general progression of fugal content, this fugue being: [0:00] Main subject introduction [0:19] Integration of subjects from previous fugal material [0:34] Countersubject introduction [2:18] Reversed subject introduction [3:22] Countersubject episode [4:09] Inverted subject introduction [5:30] Reversed and inverted subject introduction [7:09] Stretto of "VIII. Fuga III [Dux Primus]" (lmao) [8:19] Augmentations and diminutions of subject [10:04] D minor cadence 😂 and coda List of fugal elements (14) this fugue features: III. Fuga I [(subject), (countersubject 1)] V. Fuga II [(countersubject)] VIII. Fuga III [Dux Primus: (subject), Rev., Inv., Rev. Inv.] VIII. Fuga III [Dux Primus: (countersubject), Inv.] VIII. Fuga III [Dux Alter: (subject), Rev., Inv., Rev. Inv.] *** VIII. Fuga III [Dux Alter: (countersubject)] *** [COMMENTS] Oh man, I had SO much fun learning this. Coming to an end of development with this part of this movement is such a catharsis. So many things I learned and improved about my pianistic abilities. I'm gonna say this is my magnum opus. I have so many interesting things to say, but, first, I'm going to say it is an unparalleled privilege to be able to play this like this. Those who are familiar with this piece will recognize that this is the first time in history that this is brought anywhere near this degree of refinement. (I just wish I had a Steinway piano to play this on so it'll sound even more incredible.) Just saying, I made everything up in terms of flow while adhering to Sorabji's vague instruction here and there. It's so exciting every time since it's like solving an obfuscated puzzle that only musicality can reveal. Tbh, I didn't bother listening completely through Ogdon's and Madge's recordings because they're so damn unmusical, boring, and technically inaccurate. Ofc, there are reasons why that's the case, and I explain below. The naïve approach to playing this would've been playing everything in time and simply hacking out the main fugal subject (purple). Assuming one can handle the technique, it'd be music, but it'd have no form and become aimless and flat quick. I did that at first because I was struggling to connect all the numerous phrases and sections together. What I'm actually doing now is leveraging storytelling and psychology in the expression of each transformation. The persona I give the starting subject is naïvely confident and innocent, the reversed subject is arrogantly confident and a bit mocking, the inverted subject is more reflective and humbling, the reversed and inverted subject is inquisitive and doubtful. As the music progresses, the change of tone is critical as it creates that analogous sense of moral progression. I gained a miraculous level of hand independence from learning this because of all the desynchronized voicing of the fugal elements. As well, when, before, it was a challenge to jump from reading score like Gulistān to reading this (because of the non-planar distribution of notes on the score), now, I'm so comfortable with it. It requires a higher level of brain function to map and distribute the absolute position of notes across the hands rather than use the traditional position-relative approaches. Also, I noticed that this recording is way faster (even though it shouldn't necessarily be) than my recording of the preceding section, so just shows how much I've improved. I consider the "exposition" to be up until 2:51. The ending of the exposition is supposed to be boisterous to contrast the start of the "development". I use the countersubject episode at 3:22 like a commercial break to offer a respite for the main material to recuperate. From there, the "development" is a slow build-up towards the "recap" at 8:19. Like canonical "development"s, there's a lot exploratory material from 4:10 to 6:17 before an intermediate climax, which then introduces the foreboding octaves section (in 2 staves!). Then, biggest epiphany: all the strettos at 7:09 build-up to the climax. The only section I don't like and still have no idea how to integrate is 9:08. Too much disparate and concurrent information which doesn't complement itself. Just demonstrates how fluent all the other sections are. Overall, ascribing function to every part is key. So much more to say, but lacking video description space. [DISCLAIMER] If you're unfamiliar with this style of music, it is suggested that you go through the description of this previous video for the necessary background:    • Kaikhosru Sorabji: Gulistān (Eric Xi Xin L...  . At time of recording, Eric is a full-time software engineer working in Big Tech, graduated from the University of Waterloo, Computer Science major. #piano #music #sorabji