"Gulistān"—Nocturne for Piano, commonly known as Gulistan, is a piano piece by Kaikhosru Shapurji Sorabji written in 1940. Its title refers to Golestan, a collection of poems and stories by 13th-century Persian poet and writer Sa'di. The piece lasts about 30 minutes in performance.
Persian poetry served as a source of inspiration for Sorabji throughout his life. Although not programmatic, Gulistān is inspired by Sa'di's book Golestan, parts of which Sorabji had set to music in his Trois poèmesdu "Gulistān" de Saʿdī for piano and baritone. Besides the reference to Sa'di's work, the preface in the manuscript also contains a quotation from South Wind, a 1917 novel by Norman Douglas. Sorabji began working on Gulistān before 6 January 1940 and completed it on 13 August 1940. Though originally dedicated to Frank Holliday, following the rupture of his friendship with Sorabji in 1979, the dedication was transferred to Sorabji's friend, the British poet, dramatist and translator Harold Morland, who, upon hearing the piece that same year, wrote: "This is no garden. But a spirit's Paradise."
Music
Gulistān is written in Sorabji's "tropical nocturne" genre, which is often described as evoking a hothouse, rainforest or tropical heat. The opening of the piece introduces a sinuous, chromaticmelody that reoccurs in various guises. Much of the piece uses series of diatonicchords, with the main ones having F, F-sharp, A or C as the root note, while the middlevoices present chant-like melodies and the upper ones use chromatic figurations. Despite the active, highly intricate ornamental writing, the piece is to be played at a subdued volume throughout. About two-thirds of the way in, the ornamental writing is interrupted by a slow passage in three-partcounterpoint, following which the earlier writing returns. The piece concludes with a reminiscence of the opening that ends on a low A.
Assessment
Gulistān occupies a very prestigious position among Sorabji's works. Pianist and composer Jonathan Powell, discussing Sorabji's nocturnes, calls it "arguably his most succesful essay in the genre". Pianist Michael Habermann describes it as a "superb, luscious piece", and musicologist Simon John Abrahams opines that it stands out among Sorabji's works "due to the remarkable integration of the texture and figuration, as well as the richness of the harmony." Musicologist Marc-André Roberge considers it "the most compelling work in Sorabji's entire production for the piano" and writes that " gorgeousness is probably unmatched in the entire repertoire".
