100 Transcendental Studies (French: Études transcendantes)[note 1] by Kaikhosru Shapurji Sorabji are a series of 100 piano études written between 1940 and 1944. Swedish pianist Fredrik Ullén has released all 100 études on BIS Records.[2][3][4][5][6][7]
Description
The études vary greatly in style, character, and length, with the shortest running about a minute and the longest running approximately 45 minutes. According to the Sorabji Archive, the following études have yet to be premiered: Nos. 27, 33, 39, 42, 45–48, 51, 53–58, 60–64, 68, 74, 82, 87, 90, 91 and 93.[8]
Sorabji almost certainly intended for these Études to be compared with Franz Liszt's Transcendental Études. The style of Sorabji's études is typical of his work, consisting of atonal melodies, dissonant harmonies, complex polyrhythms, rapid changes in texture and mood, and extreme technical challenges for the pianist to work through. Taken individually, these are some of the shortest pieces Sorabji ever composed. A complete list of the études is included below. World première pianists and dates from The Sorabji Archive.[9]
World première pianists and dates
| Number | Title | Duration | Premiere artist | Premiere date | Notes |
|---|---|---|---|---|---|
| 1 | Mouvementé | 1:50 | Yonty Solomon | 9/30/1979 | An opening theme is presented and then repeated in multiple keys, inversions, and voices. Somewhat reminiscent of the opening of Chopin's 24 Preludes, Op. 28 |
| 2 | Vivace e leggiero | 1:09 | Carlo Grante | 7/20/1995 | Rapid jumps in both hands alternating between high and low notes meander up and down the keyboard in unison |
| 3 | (no marking) | 4:17 | Carlo Grante | 3/24/2000 | A wistful melody moves slowly around the keyboard, containing many expressive passages and rich harmonies |
| 4 | Scriabinesco. Soave e con tenerezza nostalgica | 2:53 | Carlo Grante | 10/18/1998 | As the marking indicates, this study evokes a mood reminiscent of Scriabin's late works, with a soft, expressive melody and harmonies reminiscent of Scriabin's works built around his "mystic chord" |
| 5 | Staccato e leggiero | 1:24 | Fredrik Ullén | 4/27/2002 | Both hands play triplets of large chords marked staccato; played with effective use of the sostenuto pedal |
| 6 | (no marking) | 1:37 | Fredrik Ullén | 7/15/2002 | The first in a sequence of double-note études that explore every interval; an étude in seconds with frequent 3:4 polyrhythms. |
| 7 | Leggiero abbastanza | 1:07 | Carlo Grante | 7/20/1995 | |
| 8 | (no marking) | 1:56 | Fredrik Ullén | 2/15/2003 | An étude in thirds --- mostly appearing in the right hand, with the left accompanying, but occasionally transferred to the left hand. The accompaniment consists of chords and countermelodies; the mood is contemplative. |
| 9 | Staccato e leggiero | 0:58 | Andrew Ball | 11/2/1997 | |
| 10 | Con brio ed impeto - Volante | 3:09 | Yonty Solomon | 9/30/1979 | An intense, fiery etude consisting of rapidly ascending and descending arpeggios (some mirrored between the hands) underpinned by sharply dissonant chords. |
| 11 | Animato abbastanza | 1:37 | Fredrik Ullén | 8/17/2003 | |
| 12 | Leggerio quasi “saltando” | 1:44 | Carlo Grante | 8/23/1996 | |
| 13 | (no marking) | 3:31 | Fredrik Ullén | 2/15/2003 | Another piece evoking Scriabin, beginning with groups of three note pairs in chromatic scales that move slowly and tremblingly up and down, developing into larger structures but with the underlying tremolo texture consistent throughout |
| 14 | Tranquillamente soave | 4:35 | Fredrik Ullén | 2/15/2003 | |
| 15 | (no marking) | 1:40 | Andrew Ball | 11/2/1997 | |
| 16 | (no marking) | 2:43 | Carlo Grante | 2/8/1998 | |
| 17 | Molto accentato | 1:56 | Giampaolo Nuti | 11/13/1999 | |
| 18 | Liscio. Tranquillamente scorrevole | 5:13 | Giampaolo Nuti | 11/13/1999 | |
| 19 | Saltando e leggiero | 2:12 | Carlo Grante | 6/2/1996 | As the name implies, this etude consists of clusters of four notes in both hands which require the pianist to "jump" up and down the keyboard rapidly |
| 20 | Con fantasia | 5:24 | Fredrik Ullén | 7/9/2003 | This nocturne-like slower etude consists of a melody in the right hand with wispy, complex rhythms against simple arpeggios and chords in the left hand |
| 21 | Con eleganza e disinvoltura | 4:37 | Fredrik Ullén | 7/9/2003 | |
| 22 | Leggiero volante e presto assai | 1:24 | Fredrik Ullén | 7/9/2003 | |
| 23 | Dolcemente scorrevole | 1:24 | Fredrik Ullén | 9/22/2005 | |
| 24 | Mouvementé | 5:40 | Yonty Solomon | 9/30/1979 | |
| 25 | Vivace e secco | 2:42 | Fredrik Ullén | 8/11/2003 | |
| 26 | Dolcissimo | 9:56 | Fredrik Ullén | 8/11/2003 | |
| 27 | Staccato e leggiero a capriccio | 2:57 | (unperformed) | ||
| 28 | Leggiero e volante | 2:15 | Fredrik Ullén | 8/17/2003 | |
| 29 | A capriccio. Leggiero | 2:09 | Fredrik Ullén | 9/22/2005 | |
| 30 | Con fantasia | 4:36 | Fredrik Ullén | 9/22/2005 | |
| 31 | Vivace assai | 2:14 | Carlo Grante | 7/20/1995 | |
| 32 | Legato possibile, quasi dolce | 3:12 | Fredrik Ullén | 8/17/2003 | |
| 33 | Vivace e brioso | 4:42 | (unperformed) | ||
| 34 | Soave e dolce. Insinuante | 4:11 | Fredrik Ullén | 8/17/2003 | |
| 35 | (no marking) | 2:17 | Fredrik Ullén | 3/22/2006 | |
| 36 | Mano sinistra sempre sola | 7:16 | Nicola Ventrella | 11/20/1999 | A two-part etude for the left hand alone, the first part consisting of a warm, expressive melody with typically complex harmonies, the second consisting of a technically challenging one-handed fugue with some voices in two- and three-note chords in parts |
| 37 | Riflessioni. Moderato | 3:54 | Fredrik Ullén | 8/11/2003 | |
| 38 | Con fantasia | 4:53 | Sid Samberg | 9/10/2013 | An étude in minor ninths --- mostly appearing in the right hand, with the left accompanying, but occasionally transferred to the left hand. Littered with complex polyrhythms and contrapuntal passages in the accompaniment. |
| 39 | (no marking) | 3:34 | (unperformed) | ||
| 40 | Moderato | 3:09 | Fredrik Ullén | 8/17/2003 | |
| 41 | (no marking) | 3:40 | Fredrik Ullén | 8/19/2006 | |
| 42 | Impetuoso e con fuoco ed energia | 4:15 | (unperformed) | ||
| 43 | (no marking) | 4:39 | Fredrik Ullén | 8/19/2006 | |
| 44 | Ben cantato. Dolce e chiaro | 15:25 | Kentaro Noda | 11/2/2008 | |
| 45 | (no marking) | 1:26 | (unperformed) | ||
| 46 | (no marking) | 2:44 | (unperformed) | ||
| 47 | Leggiero e a capriccio | 2:35 | (unperformed) | ||
| 48 | Volante | 3:14 | (unperformed) | ||
| 49 | Vivace ma non troppo | 2:23 | Fredrik Ullén | 8/17/2003 | |
| 50 | Per il pedale 3 | 4:50 | Fredrik Ullén | 8/17/2003 | |
| 51 | (no marking) | 3:15 | (unperformed) | ||
| 52 | (no marking) | 3:14 | Alexander Abercrombie | 4/12/2003 | |
| 53 | A capriccio | 1:59 | (unperformed) | ||
| 54 | (no marking) | 4:17 | (unperformed) | ||
| 55 | (no marking) | 2:43 | (unperformed) | ||
| 56 | Moderato | 3:10 | (unperformed) | ||
| 57 | (no marking) | 3:15 | (unperformed) | ||
| 58 | Leggiero | 3:31 | (unperformed) | ||
| 59 | Quasi fantasia. Moderato | 10:46 | Fredrik Ullén | 5/18/2003 | |
| 60 | Saltando, leggiero | 3:07 | (unperformed) | ||
| 61 | (no marking) | 4:12 | (unperformed) | ||
| 62 | (no marking) | 2:37 | (unperformed) | ||
| 63 | En forme de valse. Leggiero con disinvoltura | 17:00 | (unperformed) | ||
| 64 | (no marking) | 2:38 | (unperformed) | ||
| 65 | (no marking) | 2:33 | Fredrik Ullén | 8/12/2003 | |
| 66 | (no marking) | 6:07 | Nicola Ventrella | 7/9/1996 | |
| 67 | (no marking) | 4:10 | Fredrik Ullén | 8/12/2003 | |
| 68 | Sotto voce | 2:28 | (unperformed) | ||
| 69 | La punta d’organo. Sotto voce | 25:39 | Florian Steininger | 2/1/2014 | |
| 70 | Rhythmes brisés | 4:08 | Alexander Abercrombie | 4/12/2003 | |
| 71 | Aria | 13:14 | Fredrik Ullén | 8/8/2014 | |
| 72 | Canonica. Marcato | 2:11 | Nicola Ventrella | 12/19/1997 | |
| 73 | Quasi Preludio-corale. Sonorità piena, morbida e dolcissima | 17:57 | Kentaro Noda | 11/2/2008 | |
| 74 | Ostinato. Secco | 4:22 | (unperformed) | ||
| 75 | Passacaglia. Largo | 28:50 | Fredrik Ullén | 8/17/2003 | A passacaglia with 100 variations, a microcosm of the entire series of 100 etudes |
| 76 | Imitations. Presto assai | 1:10 | Nicola Ventrella | 12/19/1997 | |
| 77 | (no marking) | 1:34 | Nicola Ventrella | 12/19/1997 | |
| 78 | (no marking) | 1:44 | Ernest So | 3/21/2020 | |
| 79 | The inlaid line. Legatissimo il tema melodico | 2:08 | Jørgen Hald Nielsen | 4/9/2011 | |
| 80 | La linea melodica. Mormorando sordamente | 5:46 | Kentaro Noda | 11/2/2008 | |
| 81 | The Suspensions. Lento quasi Adagio e gravemente solenne | 5:35 | Nicola Ventrella | 7/9/1996 | |
| 82 | Sordamente e oscuramente minaccioso | 2:28 | (unperformed) | ||
| 83 | Arpeggiated fourths | 4:12 | Nicola Ventrella | 11/20/1999 | |
| 84 | Tango habanera. Leggiero, con grazia indolente | 8:00 | Jonathan Powell | 2/1/2003 | |
| 85 | (no marking) | 1:40 | Nicola Ventrella | 11/20/1999 | |
| 86 | Adagietto. Legatissimo | 2:20 | Carlo Grante | 1/23/1996 | |
| 87 | Studio gammatico | 3:15 | (unperformed) | ||
| 88 | (no marking) | 1:20 | Nicola Ventrella | 12/19/1997 | |
| 89 | Chopsticks. Vivace | 1:20 | Fredrik Ullén | 8/12/2003 | |
| 90 | (no marking) | 3:00 | (unperformed) | ||
| 91 | Volante leggiero | 1:45 | (unperformed) | ||
| 92 | Legato possibile. Velato, misterioso | 1:30 | Fredrik Ullén | 8/17/2003 | |
| 93 | Leggiero, saltando | 2:10 | (unperformed) | ||
| 94 | Ornaments. Con fantasia | 3:30 | Florian Steininger | 2/15/2013 | |
| 95 | (no marking) | 0:45 | Nicola Ventrella | 11/20/1999 | |
| 96 | (no marking) | 2:50 | Kentaro Noda | 11/2/2008 | |
| 97 | (no marking) | 3:00 | Kentaro Noda | 7/19/2007 | |
| 98 | Staccato e vivace | 2:40 | Kentaro Noda | 7/19/2007 | |
| 99 | Quasi fantasia. Scorrevole | 16:05 | Kentaro Noda | 1/4/2006 | An expansion on the fantasia from J. S. Bach’s Chromatic Fantasia and Fugue in D minor, BWV 903 |
| 100 | Coda-finale. Fuga a cinque soggetti | 56:00 | Kentaro Noda | 1/4/2006 | The longest of the 100 etudes, this is a quintuple fugue which develops five themes extensively |
References
- ↑ Roberge, Marc-André. "Linguistic, Terminological, and Musical Problems in Titles of Works". Retrieved 13 November 2022.
- ↑ "100 Transcendental Etudes (1940-1944)". www.bis.se. Archived from the original on 5 March 2016. Retrieved 11 May 2019.
- ↑ "100 Transcendental Etudes (1940-1944)". www.bis.se. Archived from the original on 4 March 2016. Retrieved 11 May 2019.
- ↑ "100 Transcendental Etudes (1940-1944)". www.bis.se. Archived from the original on 5 March 2016. Retrieved 11 May 2019.
- ↑ "100 Transcendental Etudes (1940-1944)". www.bis.se. Archived from the original on 22 March 2016. Retrieved 11 May 2019.
- ↑ "100 Transcendental Etudes (1940-1944)". www.bis.se. Archived from the original on 6 May 2019. Retrieved 11 May 2019.
- ↑ "The Sorabji Archive — News".
- ↑ "100 Transcendental Etudes (1940-1944)". www.sorabji-archive.co.uk. Retrieved 11 May 2019.
- ↑ "100 Transcendental Etudes (1940-1944)". www.sorabji-archive.co.uk. Retrieved 11 May 2019.
Notes
- ↑ The original title given by Sorabji is Études transcendentales. This title, however, is unidiomatic, as the French word "transcendentale" is used to describe a certain philosophy or meditation, not something surpassing a certain level. For this reason, Paul Rapoport and Roberge, Marc-André suggest the corrected title Études transcendantes be used.[1]
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