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Kaikhosru Shapurji Sorabji - Toccata quarta V. Intermezzo secondo (HQ)Florian Steininger, piano. The fifth movement, an “Intermezzo secondo” (pp. 97–103) marked “Minaccioso” (i.e., threatening), carries the inscription “Of a neophyte and how the Black Art was revealed to him [ unto Him by the Fiend Asomuel]”, which is the caption of an illustration in pen and ink by Aubrey Beardsley (1872– 98) for Le morte d’Arthur (1485) by Sir Thomas Mallory (ca. 1415–71).³⁵ The Asomuel featured in the original caption means insomnia, and is a word coined by Beardsley, who probably wished to suggest that he himself was the neophyte who was taught the black art (i.e., the art of black and white drawing).³⁶ The drawing shows a figure dressed with a cape and overlooked by a naked figure from behind and by a head from above his shoulder; in the centre three tall candles cut across the second figure’s hair. The rather fragmented style of the “Intermezzo” recalls that used in the two pieces based on ghost stories by M. R. James from the 1940s (see chapter 15); the movement’s first system indeed features the melody quoted in these works. The bell motive (a series of three chords in fourths) found in the earliest one, “ ”, is heard right after the Gregorian melody (marked “Quasi campane”); it is recalled on pp. 102 and 103. The movement’s Gregorian melody (marked “Quasi campane”); it is recalled on pp. 102 and 103. The movement’s final right-hand notes (F#, D#) bring back the beginning of the passacaglia’s theme. © Marc-André Roberge's "Opus sorabjianum: the life and works of Kaikhosru Shapurji Sorabji" I do not own anything in this video. All rights goes to The Sorabji Archive and Alistair Hinton for preserving the music; Marc-André Roberge for creating a biography of the composer - which an excerpt of it is used above; and Florian Steininger for performing the work.