Recorded on January 3rd, 2023. Learned and refined in approximately 2.5 hours. For completionist sake mostly. Also, I just wanted to put an interpretation that flows better than the other recordings in existence imo. [INSIGHTS] Here's some interesting info on my interpretation decisions. ------------ At 0:00, I play 3 notes simultaneously as indicated optionally, but I actually play the top note much weaker, otherwise the theme in the original register is lost. I start loud, but continue to crescendo towards the bass, which creates shape, direction, and anticipation. ------------ At 0:29, I choose not to play the septuplets too quickly because they, with importance, serve to heighten tension (and this true with odd numbered note groupings in general at least 5 in Sorabji's music). Their incongruousness is remarkable and the subdivision of 4 and 3 within the septuplet creates an irregular pulse. As well, I choose not the play the opening bit too quickly either as the LH D# minor chord statements also contribute to the tension. Without either element emphasized as stated, the middle-voiced chords would sound too thin and unpropelling, since those elements provide a constraining pulse as well as depth and volume. ------------ At 0:48, a sort of cadence is established for the entire first page (before the RH statement). The RH is mostly an afterthought and contrast to what preceded it, not intended to be blasted at full volume, hence the "mf". The tempo is also slowed a bit, because once again the LH contains an irregular polyrhythm (subdivision 3 and 2) which supports the RH. The RH should be treated as a phrase, with phrase-like properties. The first half note chord in the RH is the height of the tension, and the second half note chord is the (sort of) resolution of the tension. Note the consonance between the LH and RH at the second half note chord. In the space of a held chord in the RH, the LH takes over and propels into the next idea. ------------ At 0:59, did the tuplet in contrast with triplet groupings apparently! ------------ At 1:07, one shouldn't relax here. Notice the next idea starts on an offbeat after a held dotted quarter note. Immediately drag into the next idea. With this next section, I desired a certain effect. I wanted the 2-chord protrusions from the LH to sound more unhinged than the held RH chords, but the RH chords almost have a kind of mellow toughness to them. Juxtaposed with a sort of aggressive LH, it creates a conflict of personalities. What's funny is that the RH is almost impassive to the LH's attacks. ------------ At 1:48, it's a crescendo all the way to the next idea, with increasing impetuousness. ------------ At 2:20, how to create "fff" with just some lonely notes at the ends of the keyboard? Just do the apparent relative effect of "intensity increase" instead. Increase speed, increase crispness, and hold pedal (in a very particular way I can't get into here). ------------ Tons of other small intentional choices everywhere. [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: https://youtu.be/CjZe5I2dJKc. All movements from Opus Clavicembalisticum I've recorded: https://youtube.com/playlist?list=PLIDZcmE0XODCfwXtlHvJ3-fZSYVOf5MMR "VIIa. Preludio" from Opus Archimagicum: https://youtu.be/z_VIs6uDpv8 "VIIc. Cadenza" from Opus Archimagicum: https://youtu.be/WD3emJnTrPA All works by Sorabji I've recorded: https://youtube.com/playlist?list=PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME At time of recording, Eric is a full-time software engineer working in Big Tech, graduated from the University of Waterloo, Computer Science major. @musicforever60_official on IG: https://www.instagram.com/musicforever60_official/ ... https://www.youtube.com/watch?v=-GOSxxUlijk

Recorded on June 8th, 2024. This is a piece I learned back in 2021, so I simply spent 1 - 2 hours relearning it up to speed, though I have little recollection of what it sounded like before. What I do know is that, before, I recorded it at home such that I had to play very lightly on the keys so it was flawed mainly in that aspect. So, it's been a while since my last upload, but I was busy learning pieces nonetheless. I learned two more A-tier piano sonatas by Medtner but didn't have much motivation to record them. I also got to the 80% mark of a large-scale Sorabji piece but I need to write a possibly ML-based program to do some data analysis on the themes and motifs because I cannot trivially deduce it. It's so much easier to play music by Ives now after playing so much by Sorabji. Both piano sonatas by Ives are among the most unique and outstanding in all of piano repertoire, especially the second piano sonata. The prosaic nature of these pieces by Ives are very fitting of the music I like and play, drawing comparisons with Turandot and Sorabji's music in general. I haven't done a thorough analysis of the thematic composition of this movement yet so it's still a bit mystifying how all these seemingly disparate sections connect together meaningfully, but it's all so attractive. I have done a thorough analysis and read-through of some papers that focus on the thematic analysis of Ives' Piano Sonata No.2 though, so expect another recording in a moment of "II. Hawthorne". Few of you may know this, but I had recorded "I. Emerson", "III. The Alcotts", and "IV. Thoreau" back in 2021 but they suffered from the same light touch (which is kind of the antithesis of these sonatas). Knowing what I know about the extensive thematic "borrowing" that's present in the second piano sonata, I already know the second piano sonata is actually surprisingly thematically tight, which may surprise a certain percentage of new listeners since a lot of it may sound random. Thus, I have some reasonable assurance that it's similar for this first piano sonata. I'm not sure really how to describe this music... uncanny and weird, but quite homely? Nonetheless, I love it. Just listen to that rhythmic thrashing and sweeping at 4:05 all the way to 5:49. [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: https://youtu.be/CjZe5I2dJKc All movements from Opus Clavicembalisticum I've recorded: https://youtube.com/playlist?list=PLIDZcmE0XODCfwXtlHvJ3-fZSYVOf5MMR All works by Sorabji I've recorded: https://youtube.com/playlist?list=PLIDZcmE0XODBZjc2ISVcJB9--pTWaWRME At time of recording, Eric is a full-time software engineer working in Big Tech and AI, graduated from the University of Waterloo, Computer Science major. @musicforever60_official on IG: https://www.instagram.com/musicforever60_official/ #piano #music #ives ... https://www.youtube.com/watch?v=7rnhtN_sWK4