Composer: Kaikhosru Shapurji Sorabji (1891-1988)
Work: Opus Clavicembalisticum (1930)
Performer: Geoffrey Douglas Madge (piano)
Recording: Live concert performance, Chicago, April 24, 1983
Label: BIS CD-1062/1064
Date: October 2001
Kaikhosru Shapurji Sorabji’s Opus Clavicembalisticum is a sprawling, labyrinthine work that remains one of the most significant yet underappreciated compositions for solo piano of the 20th century. Its recent reissue performed by Geoffrey Douglas Madge captures not only the intricacies of Sorabji’s unique voice but also the essence of a musical world that straddles the line between the avant-garde and the romantic.
Sorabji’s oeuvre has often been relegated to the margins of musical discourse, a fate he seemed to embrace with a certain pride. His music, characterized by an extraordinary density and elaborate counterpoint, resists easy categorization, yet it is precisely this quality that renders it so compelling. The Opus Clavicembalisticum is divided into three parts, each rich with thematic development and emotional breadth, extending over nearly five hours of music—an ambitious undertaking for both performer and listener.
Madge’s interpretation is marked by a remarkable clarity and precision. His technique is formidable, allowing him to navigate the work’s formidable technical demands with an ease that belies the complexity of the score. In the Pars Prima, particularly in the Preludio-Corale (Nexus), Madge’s touch is both delicate and assertive, managing to evoke the contrasting moods of serenity and turbulence that Sorabji so masterfully conjures. The use of rubato is judicious, enhancing the lyrical lines without sacrificing the structural integrity of the intricate counterpoint. This balance is crucial, as Sorabji’s music often oscillates between the ethereal and the bombastic, a dichotomy that Madge handles with aplomb.
One of the work’s most striking features is its exploration of tonal ambiguity—Sorabji pushes the boundaries of tonality while still rooting his music in a profoundly emotional landscape. Throughout the Pars Altera, particularly in the Interludium Primum: Thema cum XLIX variationibus, Madge’s interpretation brings to the fore the work’s kaleidoscopic character. Here, the variations unfold with a sense of narrative progression, each one a distinct vignette that contributes to a larger tapestry of sound. The harmonic language, while often dissonant, retains a sense of direction under Madge’s careful guidance.
The engineering of this live recording merits comment. Captured in 1983, the clarity of the Yamaha grand piano resonates beautifully, allowing the subtleties of Sorabji’s writing to shine through. BIS’s engineers have preserved the acoustic ambiance of the concert hall, lending a sense of immediacy to the performance. The sound is full-bodied without being overwhelming, capturing the resonance of the piano while allowing Madge’s nuanced playing to remain in focus.
In comparison to other notable recordings, such as those by the late John Ogdon, Madge’s interpretation may be perceived as less flamboyant but ultimately more disciplined. While Ogdon’s performances often revel in a certain wildness that reflects the chaotic energy of Sorabji’s music, Madge offers a more reflective exploration that invites the listener to engage deeply with the intricacies of the score. This difference in approach highlights the multifaceted nature of Sorabji’s music—both interpretations are valid, yet they offer contrasting lenses through which to appreciate the composer’s vision.
The historical significance of Opus Clavicembalisticum cannot be overstated. Composed during a time of great upheaval in Europe, Sorabji’s work serves as a testament to the resilience of the human spirit in the face of adversity. It stands as an emblem of the avant-garde of its time, yet it also echoes the romantic traditions that preceded it. In its labyrinthine structures and emotional depth, it foreshadows the complexities of later 20th-century music, establishing Sorabji as a pivotal figure whose work deserves greater recognition.
In conclusion, Geoffrey Douglas Madge’s interpretation of Opus Clavicembalisticum is a significant contribution to the existing discography of Sorabji’s music. The BIS recording, with its excellent engineering and Madge’s astute musicianship, invites both the initiated and the curious listener to explore the rich, often enigmatic world of Sorabji. It is a work that, while demanding of attention, rewards the listener with profound insights into the human condition, all conveyed through the unique language of the piano. This set is not merely a recording; it is an invitation to engage with one of the 20th century’s most distinctive musical voices.
