Sorabji - 100 Transcendental Studies, Volume 1


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Sorabji - 100 Transcendental Studies, Volume 1



Catalogue No:




Release date:

27th Feb 2006




70 minutes


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Sorabji - 100 Transcendental Studies, Volume 1


Nos. 1-25 from 100 Transcendental Studies



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Kaikhosru Sorabji: 100 Transcendental Studies

No. 1: Mouvemente

No. 2: Vivace e leggiero

No. 3:

No. 4: (Scriabinesco)

No. 5: Staccato e leggiero

No. 6:

No. 7: Leggiero abbastanza

No. 8:

No. 9: Staccato e leggiero

No. 10: Con brio ed impeto - Volante

No. 11: (Animato abbastanza)

No. 12: Leggiero quasi 'saltando'

No. 13:

No. 14: Tranquillamente soave

No. 15

No. 16:

No. 17: Molto accentato

No. 18: Liscio. Tranquillamente scorrevole

No. 19: Saltando e leggiero

No. 20: Con fantasia

No. 21: Con eleganza e disinvoltura

No. 22: Leggiero volante e presto assai

No. 23: Dolcemente scorrevole

No. 24: Con fantasia e grazia

No. 25: Vivace e secco

BBC Music Magazine

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.”

Gramophone Classical Music Guide


“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.”

Gramophone Magazine

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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