Sorabji and Geoffrey Madge
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It was an incredible honour for me to be invited by Sorabji to come and play the Opus Clavicembalisticum for him. During the
first few meetings Alistair Hinton accompanied me, later, I visited him a number
of times alone. The first time was not without a feeling of trepidation and
anxiousness on my part because of what was at stake. For a long time I wanted so
much to get deeply into his music, (and preferably not to be sent away like many
before me). Imagine my reaction when he answered, after listening to about
40 minutes of OC, that he didn’t realize that the work was so good and that he
would be only too happy if I were to perform it complete, at the same time
making a few suggestions as to how I should perform it. Following
this he then gave me complete permission to give performances, complete or in
part; later also confirming by sending me a letter with this permission;
After every performance he would ring; asking in great detail about the quality of the
instrument, the hall, and about my reactions during the performances.
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Although several articles that are mostly accurate in detail have been published on my various meetings with
Sorabji it is good perhaps to
repeat here several points. I remember him telling me that OC should not be much longer than the first performance on June
11, 1982, which was recorded live on LP for the Royal Conservatorium label (now
a collector’s item!). A second live recording a few years later in Chicago
issued on BIS is of a similar length. Before both these performances I had to control and correct the
sometimes huge differences in text between the published edition, (that was not
at all accurate), and the original manuscript of which I have a copy.
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He repeated always that it should sound like a very long song, not a technical
study. He was very concerned that the work should sing and not be played with
superficial virtuosity, being more interested in the total architecture and that
the whole work
be presented as one long song. Important was the expression and sound quality,
not just the speed for speeds sake, but the many ways of articulating and
bringing out the phrasing, inner dynamics and sound quality that make for a
great performance. He disliked pianists who “hit the keys or played digitally”,
demonstrating by playing several short passages and chords as an example of how
he wanted it to be played, his great idol was Egon Petri who
unfortunately didn't get around to performing it although he was very
interested.
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He often spoke and quoted the great Sufi poets and mystics, especially Rumi and Hafiz, both of whom he greatly admired, asking me
to read them, which of course I did.
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His comments, especially about the playing of Busoni, Godowsky and Medtner but
also several contemporary pianists were so important that they should have been
recorded.
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GDM
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Performances of Opus Clavicembalisticum, parts or complete:
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05/06/80
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AMSTERDAM (De IJsbreker) Holland Festival |
Pars
Prima I & II |
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09/06/80
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ALMELO
(De Hagen) Holland Festival
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Pars
Prima I & II |
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11/06/80
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DEN HAAG (Schönbergzaal) Holland Festival
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Pars
Prima I & II |
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24/07/80
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SYDNEY (ABC-TV
Australia)
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Pars
Prima I & II |
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05/07/81
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MIDDELBURG (Vleeshal) Festival Nieuwe Muziek
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Pars
Prima I & II |
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Prelude Fugue
& Toccata |
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In the hothouse |
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11/06/82
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UTRECHT (Muziekcentrum) Holland Festival
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COMPLETE PERFORMANCE of O.C. |
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28/06/82 |
LONDON
St. Bartholomew’s Festival
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Pars Tertia |
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24/04/83
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CHICAGO (Mandel Hall)
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2nd
COMPLETE PERFORMANCE of O.C. |
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10/05/83
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BONN (Beethovenhalle) Int. Beethovenfest |
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3rd
COMPLETE PERFORMANCE of O.C. |
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02/11/83
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AARHUS/Denmark
(Chamber Hall) ISCM days
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Pars Tertia |
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09/11/84
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MONTREAL (Mc Gill University)
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4th
COMPLETE PERFORMANCE of O.C. |
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14/11/84
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TORONTO (York
University)
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Pars
Prima I & II |
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14/11/84
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TORONTO (Music
Gallery)
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Pars
Prima I & II |
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02/08/86
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VIITASAARI/Finland
(Finnish TV)
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Pars
Prima I, II, IV |
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26/12/87
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MIDDELBURG ( Centrum voor Nieuwe Muziek)
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Fantasiettina |
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26/01/88
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AMSTERDAM (De IJsbreker)
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Fantasiettina |
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09/10/88
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PARIS (Opéra Comique) Festival d’Automne
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5th
COMPLETE PERFORMANCE of O.C. |
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24/02/89
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Hilversum (NOS
Radio) |
Quasi Habanera |
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Fantasiettina |
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Adagio
from O.C. |
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12/11/98
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NEW DELHI
(India International Centre)
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Pars
Prima I & II |
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20/11/98
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MUMBAI (National Centre for the Performing Arts)
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Pars
Prima I & II |
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22/11/98
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POONA (Gulati Hall)
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Pars
Prima I & II |
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28/11/98
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BANGALORE (Guru
Nanak Bhavan)
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Pars
Prima I & II |
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12/03/02
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BERLIN (Konzertsaal der Universität der Künste) |
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6th
COMPLETE PERFORMANCE of O.C. |
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