In My Dreams

I keep thinking about this self-indulgent course I want to teach, all European music. My Advanced Analysis seminars usually encompass three pieces from different historical periods, analyzed in depth. And I desperately want to teach one based around the unfinished fugue from Bach’s The Art of Fugue; Ferruccio Busoni’s Fantasia Contrappuntistica, which is based on that Bach fugue; and Kaikhosru Sorabji’s five-hour Opus Clavicembalisticum, which also uses the same fugue theme and is heavily indebted to Busoni. I figure I’d probably attract one student, if I taught it in a year in which I had one student who was totally devoted to me. And he’d probably drop it.


  1. says

    I would love to take a class like that. And I wouldn’t drop it as long as the tests weren’t too hard, lol.

    But, seriously, this is a very interesting pedagogical idea. Instead of the well-worn subjects of analysis it would be fascinating to see it from a different perspective. Who knows? One could learn something that way. Be careful.

  2. says

    Wow! I’m so impressed that you know the Sorabji. I have loved that piece since I first heard of it in Keyboard magazine (believe it or not) back in 1985. I wrote a paper on Sorabji in college, and have collected and listened to many of his pieces since then.