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Etude No. 32 Sheet Music by Heinrich Ernst Kayser

DESIGN: A randomized, prospective week trial in a free-living population evaluating two distinct macronutrient interventions on obesity and metabolic syndrome-related parameters during weight reduction. Gov't, P. Medical ClinicalTrials.

Supplemental Content. A brief and effective piece based on arpeggiated triads. As often in the cycle, the hands change roles on occasion.

Étude No 32; Fille Foulah

A delicate piece where elegantly flowing double-note passages are played by the right hand, the left hand or both together. A remarkably modern piece for its time. Both hands play staccato chords, first in perfect asynchrony, later on with irregular alternations between the hands. Frequently Sorabji has one hand play only on white keys and the other only on black keys, a device used much later by e.

Etude No.32 for piano, MVWV 263

The furious coda has few parallels in its wild virtuosity. Triplet figures ascend and descend irregularly in a winding motion round melody fragments in both hands. A study in staccato chords, where the piano imitates the string player saltando. Occasional, accentuated phrases in longer note-values appear as brief remarks from the wind section.

A remarkable study in trills and tremolos, erotic and emotionally overstrung.

An Oriental carpet of endless, aimlessly drifting melodic lines. A brief, homophonic intermezzo with accentuated chords that suggest trumpets and other wind instruments. The slow metronome indication is, unusally, given by Sorabji himself. A repeated, small cell of four jumping staccato chords, played first by the right hand, forms the basis of this piece. Sorabji maintains a weak sense of G major tonality throughout the piece.

A single, ornamented sotto voce singing line meanders above accompanying figures in the left hand.

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Later new strands enter to form a fabric of sound of a sensual complexity that is typical of Sorabji. The free, almost nonchalant, character of the piece can not hide its pianistic difficulties, which are absolutely Sorabjian.


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The piece explores an interesting, new device for pianistic fireworks: glissandi on chords. A quick, hazardous piece that passes by leaving you in wonder of what really happened. Melodic lines sometimes hover in the foreground, sometimes disappear into the vortices of the background. A very capricious and unpredictable study in sevenths.

This study, together with studies 1 and 10, was the first to be performed in concert by Yonty Solomon on Sept 30, A beautiful piece of night music — incidentally also one of the several etudes of which there exists a sketchy but interesting private recording in the Frank Holliday collection, made by Sorabji himself in relatively old age. A soft high-register motive in the right hand, later varied in different ways, shimmers like moon-light above warm, arpeggiated chords and melodies in the left hand.


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Etude no. As often Sorabji uses complex combinations of triadic harmonies without any clear sense of traditional tonal relations. The technique used here, to let melodic lines thicken into chordal counterpoint, is often used by Sorabji in his later works. The inversions first appear as echoes, but soon both motive and reflection are played together.