Name: Sorabji - 100 Transcendental Studies, Volume 1
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Sorabji - 100 Transcendental Studies, Volume 1

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The Transcendental Etudes are… well varied, continuously diverting and inventive; and in movements like No. 18, they rise to great and gorgeous piano music. Ullén… expounds Sorabji's with utter... — BBC Music Magazine, April 2006, 5 out of 5 stars More…

Release Date: 27th Feb 2006
Catalogue No: BISCD1373
Label: BIS
Series: Sorabji Transcendental Studies
Length: 70 minutes

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Sorabji: 100 Transcendental Studies

Work length1:10:58

$25.00

$32.50

$43.75

Fredrik Ullén
Recorded: July 2003, December 2005
Recording Venue: Nybrokajen 11, Stockholm, Sweden

No. 1: Mouvemente

Track length1:55

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No. 2: Vivace e leggiero

Track length1:12

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No. 3: —

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No. 4: (Scriabinesco)

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No. 5: Staccato e leggiero

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No. 6: —

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No. 7: Leggiero abbastanza

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No. 8: —

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No. 9: Staccato e leggiero

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No. 10: Con brio ed impeto - Volante

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No. 11: (Animato abbastanza)

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No. 12: Leggiero quasi 'saltando'

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No. 13: —

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No. 14: Tranquillamente soave

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No. 15 —

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No. 16: —

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No. 17: Molto accentato

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No. 18: Liscio. Tranquillamente scorrevole

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No. 19: Saltando e leggiero

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No. 20: Con fantasia

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No. 21: Con eleganza e disinvoltura

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No. 22: Leggiero volante e presto assai

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No. 23: Dolcemente scorrevole

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No. 24: Con fantasia e grazia

Track length5:42

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No. 25: Vivace e secco

Track length3:08

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Reviews
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Reviews

April 2006

The Transcendental Etudes are… well varied, continuously diverting and inventive; and in movements like No. 18, they rise to great and gorgeous piano music. Ullén… expounds Sorabji's with utter textural clarity and jaw-dropping virtuosity.

2010

Given the number of recordings now appearing, it was inevitable that Kaikhosru Sorabji's 100 Transcendental Studies be tackled, and Swedish pianist Fredrik Ullén has taken up the challenge.
Composed in 1940-44, the cycle constitutes the largest known collection of its kind – encompassing brief studies in piano technique and extended pieces amply illuminating the 'parallel universe' that is Sorabji's creativity.
Right from No 1 it is clear that Sorabji's conception of the study is all-embracing. No 3 scatters its melodic content over layers of intricate polyphony, while No 6 is a scintillating study in seconds (with studies for each interval to follow).
The febrile whole-tone volleys of No 10 and the delicate interplay of melodic patterns in No 14 touch on different but equally characteristic aspects of Sorabji's pianism – less so the Messiaen-like rhythmic unison writing of No 17. The liquid chains of fifths that inform No 18 and the coolly iridescent textures of No 20 confirm these studies as among the highlights of the cycle so far, with the cumulative rhythmic overlaying of No 23 likely to remain among the most technically demanding. The striding staccato chords of No 25 bring this first quarter of the cycle to a typically quizzical conclusion.
Ullén has the dexterity and finesse to do this music justice without making light of either its innate difficulty or its protean imagination.

June 2006

Those familiar with Ullén's Ligeti… will know that he has the dexterity and finesse to do this music justice without making light of either its innate difficulty or its protean imagination.

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