Dear Alistair,
It appears that you have defended this atrocity of a recording on several ocassions. While I do respect your opinion, I must disagree with you. In this post, I will provide solid evidence that Mr. Madge fakes his way through most of the OC. I hope you will reply to this post. I am very interested in hearing what you think.
Let’s start at the very beginning. Madge does not play the first movement cleanly. The fact that he struggles with every note is evident. At least he is trying. With the second movement, it is pretty much the same problem, though on page 15, it is obvious he is improvising.
His recording
Now, let’s listen to how Habermann plays this section. Habermann’s Recording
Notice that there is a huge difference. Madge plays what the music looks like, but does not really care about the notes that Sorabji actually wrote. That is a scandal.
Now, I will jump to one of my favorite movements of the OC. A movement that I have entered into a musical notation program, note by note. I know what it is supposed to sound like. Madge doesn’t, apparently.
Rather than dissecting the entire movement, which would take hours, I will only point out a few sections, first of all…
Madge’s Recording
Here is the computer, playing the same section - johncareycompositions.com/madge/real2.mp3. You see how he simplified it for himself? I have no idea why he did this. This is certainly not one of the more difficult sections of the work. Now, you may be thinking, “Well, that’s a very small section. Not much harm was done.” However, further on, you reach this:
Madge’s Recording
Here is the computer’s recording - johncareycompositions.com/madge/real3.mp3
Hmm… how funny. I see/hear no clusters in there… how come Madge adds them, then? What a mystery…
And of course, as Etude pointed out in another thread, Madge’s interpretation of this section is quite interesting…
Madge’s Version
The Computer’s Version
I must admit, I prefer the computer…
Now, we will move on to the Interludium Primum. We only have to examine one variation. #34.
Notice that the large, leaping chords are not dissonant. They are simple e major chords. Then, b diminished chords follow. Well, Madge apparently decided that that wasn’t enought. The chords that Sorabji wrote didn’t provide enough “oomph” for Madge, apparently. So he decided to change it a bit - johncareycompositions.com/ma … mprov5.mp3
Such beauty! Such passion! Such… noise. Enough said.
As much fun as this is, I think I’ll end now with the Coda_Stretta. My, my, my, where to start? He practically improvises the entire movement. Let’s start at the beginning -
johncareycompositions.com/ma … mprov6.mp3
Wait a minute! Where is that? I don’t see that written anywhere! And neither does my computer - johncareycompositions.com/madge/real5.mp3
Here is another example that I had up here a while ago.
johncareycompositions.com/madge/Coda-Stretta (Madge).mp3
Play it slowly, or just look at it and imagine what it sounds like. Now listen to the recording.
The last two pages are so ridiculous, there is no point in analyzing them. I’d be surprised if he played 1/50 of the right notes. Even the VERY LAST CHORD is played incorrectly! I have played that chord myself, and what he plays is not the same.
So, I am curious as to whether or not you have noticed this yourself. What are your opinions?
Best regards,
John Carey
