“Too many notes”, complained Emperor Joseph II to Mozart in response to his opera Le Nozze de Figaro; quite how he would have reacted to the concert that took place a little over a week ago in Glasgow University Chapel—featuring the Finale from Kaikhosru Sorabji‘s Second Organ Symphony, a single movement lasting a little over three hours—is anyone’s guess. Having said that, the temptation into which many people fall when speaking about Sorabji’s music is precisely to get hung up on size. Much is made of the colossal time spans his works occupy, and the virtuosic demands of the material, in addition to the composer’s well-known reclusiveness and apparently disagreeable manner towards—well, pretty much anyone really. Such preoccupations do little to promote an active engagement with the music itself, seeming to regard mere quantity as a feature of merit, confining Sorabji’s fascinating output within a small, narrow and woefully inadequate box of clichés, half-truths and irrelevances. Read more
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