List of compositions by Kaikhosru Shapurji Sorabji

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The following list includes all the known compositions of Kaikhosru Shapurji Sorabji sorted by instrumentation. Within the individual sections, the pieces are arranged by genre and chronologically.

The list of works found here is based on the information provided by Marc-André Roberge's Sorabji Resource Site.[1][2][3] Since Sorabji's piece titles tend to contain various problems, Roberge's site amends them when necessary.[4]

Works for orchestra with voices[edit]

Symphonies[edit]

  • No. 1 for Piano, Large Orchestra, Chorus, and Organ, KSS 30 (1921–22; 300 pp.)[n 1]
  • The second symphony was intended for piano, large orchestra, organ, chorus, and six solo voices; only the piano part (written 1930–31) was completed, yet it is one of Sorabji's longest piano compositions of all[6] and has been described as self-sufficient.[7] It was later renamed to Symphony No. 0 for Piano Solo (though not by Sorabji).[8]
  • No. 2, Jāmī, for Large Orchestra, Wordless Chorus, and Baritone Solo, KSS 72 (1942–51; 333 pp.)
    • I. (with chorus)
    • II. (with neither chorus nor baritone)
    • III. (with chorus)
    • IV. Cantico (with chorus and baritone)

Other[edit]

  • Messa alta sinfonica, for 8 Soloists, 2 Choirs, and Orchestra, KSS 84 (1955–61; 1001 pp.)
    • I. Kyrie
    • II. Gloria [with 11 settings of the text]
      • [Passacaglia]
      • [Interlude]
      • [Di nuovo la passacaglia]
    • III. Credo—Offertorium [the Credo with 6 settings of the text]
    • IV. Sanctus [with 5 settings of the text]
    • V. Pater noster [with 15 settings of the text]
    • VI. Agnus dei [with 3 settings of the text]
    • VII. Amen

Works for orchestra without voices[edit]

Piano concertos[edit]

Numbered:[n 2]

  • No. 1, KSS 6 (1915–16; 177 pp.)
    • I. Modéré
    • II. Très lent. Toujours enveloppé d'une atmosphère de chaleur tropicale et langoureuse
    • III. Impétueux et impatient
  • No. 2, KSS 14 (1916–17; only two-piano version survives; 49 pp.)
    • Modéré
    • Lent
    • Galvanique mais sans trop de hâte d'abord
  • No. 3, KSS 16 (1918; 100 pp.)
    • Modérément animé, avec une expression très libre et fantaisiste
    • Assez lent
    • Vif et animé
  • No. 4, KSS 18 (1918; 100 pp.)
    • I. Modérément animé
    • II. Très lent
    • III. Galvanique. Animé, mais pas trop vite
  • No. 5, KSS 27 (1920; 144 pp.)
  • No. 6, KSS 32 (1922; 144 pp.)
    • I. Animé
    • II. Lent
    • III. Vif
  • No. 7, Sīmurgh-‘Anqā, KSS 38 (1924; 100 pp.)
    • I. Assez animé, nerveux
    • II. Lent mais pas traîné. Ordinairement très doux et "piano"
    • III. Très animé
  • No. 8, KSS 45 (1927–28; 344 pp.)
    • I. Ardito—focosamente
    • II.
    • III. Rude, sauvage et brutal

Unnumbered:

  • Symphonic Variations for Piano and Orchestra, KSS 78 (1935–37, 1953–56; Sorabji added an "Introitus" for orchestra alone and orchestrated the first volume of the three-book Symphonic Variations for Piano, 540 pp.)
  • Opus clavisymphonicum—Concerto for Piano and Large Orchestra, KSS 80 (1957–59; 333 pp.)
    • I. Vivo
    • II. Toccata; Cadenza fugata; Adagio–Epilogo
  • Opusculum clavisymphonicum vel claviorchestrale, KSS 94 (1973–75; 334 pp.)
    • I. Moderatamente animato
    • II. Variazioni sopra il Credo in qualsiasi modo del Gretchaninoff

Other[edit]

  • Chaleur—Poème, KSS 15 (1916–17; 40 pp.)
  • Opusculum for Orchestra, KSS 34 (1923; 36 pp.)

Works for voice(s) and chamber ensemble[edit]

  • Music to "The Rider by Night" KSS 22 (1919; libretto written by Robert Nichols; full score missing[n 3])
  • Cinque sonetti di Michelagniolo Buonarroti, for baritone, flute, oboe, clarinet, bassoon, piano, and strings, KSS 36 (1923; 40 pp.)
    • "Tu sa' ch'i' so, signor mie, che tu sai"
    • "Non so se s'è la desïata luce"
    • "A che più debb'i' mai l'intensa voglia"
    • "Veggio nel tuo bel viso, signor mio"
    • "Se nel volto per gli occhi il cor si vede"

Works for bells[edit]

  • Suggested Bell-Chorale for St. Luke's Carillon, KSS 82 (1961; 1 p.)[n 4]

Works for voice and piano[edit]

  • The Poplars, KSS 1 (1915; Ducic, translated by Selver; 2 versions; 3 pp.)
  • Chrysilla, KSS 2 (1915; de Régnier; 4 pp.)
  • Roses du soir, KSS 3 (1915; Louÿs; 4 pp.)
  • L'heure exquise, KSS 4 (1916; Verlaine; 2 pp.)
  • Vocalise pour soprano fioriturata, KSS 5 (1916; 2 versions; 3 pp.)
  • Apparition, KSS 7 (1916; Mallarmé; 5 pp.)
  • Hymne à Aphrodite, KSS 8 (1916; Tailhade; 2 versions; 5 pp.)
  • L'étang, KSS 10 (1917; Rollinat; 2 pp.)
  • I Was Not Sorrowful—Poem for Voice and Piano [Spleen], KSS 11 (between 1917 and 1919; Dowson; 3 pp.)
  • Trois poèmes pour chant et piano, KSS 21 (1918, 1919; Baudelaire and Verlaine; 9 pp.)
    • Correspondances (Baudelaire)
    • Crépuscule du soir mystique (Verlaine)
    • Pantomime (Verlaine)
  • Trois fêtes galantes de Verlaine, KSS 37 (c. 1924?; 11 pp.)
    • L'allée
    • à la Promenade
    • Dans la Grotte
  • Le mauvais jardinier KSS 11a. (1919; Gilkin; only the first page survives[12])
  • Arabesque, KSS 24 (1920; Shamsuʾd-Dīn Ibrāhīm Mīrzā; 2 pp.)
  • Trois Poèmes du "Gulistān" de Saʿdī, KSS 42 (1926; translated by Toussaint; 2 versions; 16 pp.)
    • La lampe
    • La Jalousie
    • La Fidelité
  • L'irrémédiable, KSS 44 (1927; Baudelaire; 8 pp.)
  • Movement for Voice and Piano, KSS 52(1927, 1931; 9 pp.)
  • Trois poèmes, KSS 65 (1941; Verlaine and Baudelaire; 13 pp.)
    • Le Faune (Verlaine)
    • Les Chats (Baudelaire)
    • La dernière fête galante (Verlaine)
  • Frammento cantato, KSS 88 (1967; Harold Morland; 1 p.)

Chamber works[edit]

Piano quintets[edit]

  • No. 1, KSS 26 (1919–20; 72 pp.)
  • No. 2, KSS 54 (1932–33; at 432 pages, it is possibly the longest non-repetitive chamber work ever written)
    • I. Introito; Fantasia; Coda–Finale
    • II. Preludio; Passacaglia
    • III. Adagio
    • IV. Finale: Introduction; Allegro; Intermezzo; Coda–Epilogo

Other[edit]

  • Concertino non grosso for String Sextet with Piano obbligato quasi continuo, for 4 violins, viola, and cello, KSS 89 (1968; 48 pp.)
    • I. Vivace assai
    • II. Adagio
    • III. Finale. Vivace, leggiero
  • Il tessuto d'arabeschi, for flute and string quartet, KSS 99 (1979; 32 pp.)
  • Fantasiettina atematica, for oboe, flute, and clarinet, KSS 103 (1981; 2 pp.)

Works for piano[edit]

Symphonies[edit]

  • No. 0, KSS 51 (1930–31; piano part of the otherwise unfinished Symphony II for Piano, Large Orchestra, Organ, Final Chorus, and Six Solo Voices; 333 pp.)
    • I. Prologo; Introito; Fantasia; Cadenza; Coda–Stretta
    • II. Adagio; Punta d'organo; Notturno–Fantasia; Ritournelle–point d'orgue
    • III. Prelude; Toccata variata; Cadenza–fugata; Coda–Epilogo
  • No. 1, Tāntrik, KSS 60 (1938–39; 284 pp.)
    • I. Mūlādhāra
    • II. (Svādhiṣṭhāna)
    • III. (Maṇipūra)
    • IV. (Anāhata Cakra). Mormorando e morbidissimo
    • V. Viśuddha
    • VI. Ājñā
    • VII. Sahasrāra [Padma]. Fuga libera a cinque voci
  • No. 2, KSS 75 (1954; 248 pp.)
    • Parte Prima
      • I. Intrecciata politematica
    • Parte Seconda
      • II. Aria fiorita: piuttosto notturno
      • III. Moto perpetuo; Interludio; Coda
    • Parte Terza
      • IV. Fanfare; Introito; Toccata; Punta d'organo constanziata; Fuga
      • V. Adagio–Finale
  • No. 3, KSS 81 (1959–60; 144 pp.)
  • No. 4, KSS 85 (1962–64; 242 pp.)
    • I. Moderatamente allegro
    • II. Preludio corale; Interludio; Ostinato; Variazioni
    • III. Finale
  • No. 5, Symphonia brevis, KSS 92 (1973; 120 pp.)
    • I. Preludio; Intreccio; Stretta
    • II. Adagio; Preludio quasi toccata; Aria fiorita; Interludio; Notturno; Nexus; Quasi fuga; Coda–Epilogo
  • No. 6, Symphonia claviensis, KSS 92 (1975–76; 270 pp.)
    • Prima Parte
      • I. Introito; Intrecciata; Interludio fugato; Coda–Epilogo
    • Seconda Parte
      • II. Preludio; Interludio placido; Animato quasi scherzo; Moto perpetuo; Ostinato
      • III. Quasi adagio
      • IV. Quasi Alkan
    • Terza Parte
      • V. Arabesque-Nocturne
      • VI. Quasi fuga
      • VII. Coda–Epilogo

Sonatas[edit]

  • Sonata. Opus VII, KSS 9, discovered posthumously (unnumbered) (1917; 30 pp.)
  • No. 1, KSS 20 (1919; 42 pp.)
  • No. 2, KSS 28 (1920; 49 pp.)
  • No. 3, KSS 29 (1922; 75 pp.)
  • No. 4, KSS 48 (1928–29; 111 pp.)
    • I. Vivo—arditamente
    • II. Count Tosca's Garden
    • III. Preludio; Fantasia; Cadenza; Fuga duplex quatuor vocibus; Coda–Stretta
  • No. 5, Opus archimagicum, KSS 58 (1934–35; 336 pp.)
    • Pars Prima: Arcana Minora
      • I. Fiero, ardito
      • II. Presto, sotto voce inquieto
      • III. Punta d'organo
      • IV. Con fuoco, ardito e fiero
    • Pars Altera: Arcana Majora
      • V.
      • VI. Adagio
    • Pars Tertia et Ultima: Archimagus
      • VII. Preludio
      • VIII. Preludio-corale sopra "Dies iræ"
      • IX. Cadenza
      • X. Fuga libera a cinque voci e tre soggetti

Multi-movement toccatas[edit]

  • No. 1, KSS 46 (1928; 66 pp.)
    • I. Preludio–Corale
    • II. Passacaglia
    • III. Cadenza
    • IV. Fuga
    • V. Coda–Stretta
  • No. 2, KSS 57 (1933–34; 111 pp.)
    • I. Preludio-Toccata
    • II. Preludio-Corale
    • III. Scherzo
    • IV. Aria
    • V. Ostinato
    • VI. Notturno
    • VII. Interludio–Moto perpetuo. Riflesso del Preludio–Toccata
    • VIII. Cadenza–Punta d'organo
    • IX. Fuga libera a cinque voci
  • No. 3, KSS 76 (lost; 1937?–38?)
  • No. 4, Toccata quarta, KSS 87 (1964–67; 149 pp.)
    • I. Theme [with 24 variations]; Nexus
    • II. Quasi corale
    • III. Intermezzo primo: Moto perpetuo; Punta d'organo; Aria
    • IV. Passacaglia
    • V. Intermezzo secondo. Of a neophyte and how the Black Art was revealed to him
    • VI. Cadenza–Toccata
    • VII. Preludio adagio; Fuga quintuplex

Variation sets[edit]

  • Variazioni e fuga triplice sopra "Dies irae" per pianoforte, KSS 41 (1923–26; two parts of 32 variations each; 201 pp.)
  • Symphonic Variations for Piano, KSS 59 (1935–37; 81 variations; in three books, of which the first was later orchestrated. 484 pp.)
  • Sequentia cyclica super "Dies irae" ex Missa pro defunctis, KSS 71 (1948–49; 27 variations; 335 pp.)
  • "Il gallo del gallino d'oro" da Rimsky-Korsakov: variazioni frivole con una fuga anarchica, eretica e perversa (1978–79; 53 variations; 93 pp.)

Sets of aphoristic fragments[edit]

  • Frammenti aforistici (Sutras) (104), KSS 90 (1962–72?; 37 pp.)
  • Frammenti aforistici (20), KSS 86 (1964; 9 pp.)
  • Frammenti aforistici (4), KSS 96 (1977; 1 p.)

Transcriptions[edit]

  • Three Pastiches, KSS 31 (1922; 17 pp.)
  • Rapsodie espagnole de Maurice Ravel: transcription de concert pour piano, KSS 33 (first version; 1923; 15 pp.)
  • Pasticcio capriccioso sopra l'op. 64, no 1 del Chopin, KSS 56 (1933; 8 pp.)[n 5]
  • Transcription in the Light of Harpsichord Technique for the Modern Piano of the Chromatic Fantasia of J. S. Bach, Followed by a Fugue, KSS 61 (1940; 15 pp.)
  • Rapsodie espagnole de Maurice Ravel: transcription de concert pour piano, KSS 67(second version; 1945; 26 pp.)
  • Transcription of the Prelude in E-flat by Bach, KSS 68 (1945; based on BWV 815a; 4 pp.)
  • Schlussszene aus "Salome" von Richard Strauss—Konzertmäßige Übertragung für Klavier zu zwei Händen, KSS 70 (1947; transcription of the finale of Strauss' opera Salome; 25 pp.)

Other[edit]

  • Quasi habanera, KSS 12 (1917; 6 pp.)
  • Désir éperdu—Fragment, KSS 13 (1917; 1 p.)
  • Fantaisie espagnole, KSS 19 (1919; 23 pp.)
  • Two Piano Pieces, KSS 17 (In the Hothouse [1918] and Toccata [1920]; 20 pp.)
  • Prelude, Interlude, and Fugue for Piano, KSS 25 (1920, 1922; 17 pp.)
  • Le jardin parfumé: Poem for Piano Solo, KSS 35 (1923; 16 pp.)
  • Valse-fantaisie [Hommage à Johann Strauss], KSS 40 (1925; 16 pp.)
  • Fragment: Prelude and Fugue on FxAxx DAxEx, KSS 41a. (1926; 3 pp.)
  • Fragment Written for Harold Rutland, KSS 43 (1926, 1928, 1937; 8 pp.)
  • Nocturne, "Djāmī", KSS 47 (1928; 28 pp.)
  • Passacaglia, KSS 48a. (1929; unfinished; 41 pp.)
  • Introduction, Passacaglia, Cadenza and Fugue (2004; Alexander Abercrombie's completion of the unfinished 1929 Passacaglia)
  • Toccatinetta sopra C.G.F., KSS 49 (1929; 8 pp.)
  • Opus Clavicembalisticum, KSS 50 (1929–30; 253 pp.)[n 6]
    • Pars Prima
      • I. Introito
      • II. Preludio-Corale
      • III. Fuga I, quatuor vocibus
      • IV. Fantasia
      • V. Fuga II [duplex]
    • Pars Altera
      • VI. Interludium primum: Thema cum XLIV variationibus
      • VII. Cadenza I
      • VIII. Fuga tertia triplex
    • Pars Tertia
      • IX. Interludium Alterum: Toccata-Adagio-Passacaglia cum LXXXI variationibus
      • X. Cadenza II
      • XI. Fuga IV, quadruplex
      • XII. Coda. Stretta
  • Fantasia ispanica, KSS 55 (1933; 54 pp.)
  • Quaere reliqua hujus materiei inter secretiora, KSS 62 (1940; based on the story "Count Magnus" by M. R. James; 16 pp.)
  • "Gulistān"—Nocturne for Piano, KSS 63 (1940; inspired by The Rose Garden by Saʿdī; 28 pp.)
  • St. Bertrand de Comminges: "He was laughing in the tower", KSS 64 (1941; based on the story "Canon Alberic's Scrap-Book" by M. R. James; 16 pp.)
  • Études transcendantales (100), KSS 66 (1940–44; these range from short virtuoso studies to expansive concert works; 456 pp.)
  • Concerto da suonare da me solo e senza orchestra, per divertirsi, KSS 69 (1946; 70 pp.)
    • I. Incomincia l'orchestra arrogante e pomposa
    • II.
    • III. Scherzo diabolico
  • Un nido di scatole sopra il nome del grande e buon amico Harold Rutland, KSS 74 (1954; 26 pp.)[n 7]
  • Passeggiata veneziana sopra la Barcarola di Offenbach, KSS 77 (1955–56; based on "Barcarolle" from Offenbach's Les Contes d'Hoffman; 24 pp.)
  • Rosario d'Arabeschi, KSS 79 (1956; 45 pp.)
  • Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid, KSS 83 (1961; 10 pp.)
  • Variazione maliziosa e perversa sopra "La morte d'Åse" da Grieg, KSS 93 (1974; based on "The Death of Åse" from Grieg's Peer Gynt; 2 pp.)
  • Symphonic Nocturne for Piano Alone, KSS 97 (1977–78; 113 pp.)
  • Villa Tasca: mezzogiorno siciliano—evocazione nostalgica e memoria tanta cara e preziosa del giardino meraviglioso, splendido, tropicale, KSS 100 (1979–80; 47 pp.)
  • Opus secretum atque necromanticum, KSS 101 (1980–81; 48 pp.)
  • Passeggiata variata sul nome del caro e gentile amico Clive Spencer-Bentley, KSS 102 (1981; 3 pp.)
  • Passeggiata arlecchinesca sopra un frammento di Busoni ("Rondò arlecchinesco"), KSS 105 (1981–82; based on material from Busoni's Rondò Arlecchinesco; 16 pp.)
  • Due sutras sul nome dell'amico Alexis, KSS 104(1981, 1984; 3 pp.)

Works for organ[edit]

Organ Symphonies[edit]

  • No. 1, KSS 39 (1924; 81 pp.)
    • I. Prelude; Passacaglia; Postlude
    • II. Introduction; [Quasi fugue]; Coda
    • III. Moderato; Cadenza de' pedali; [Di nuovo il moderato]; Cadenza–Toccata; Coda–Stretto
  • No. 2, KSS 53 (1929–32; 350 pp.)
    • I. Introduction
    • II. Thema cum variationibus
    • III. Finale: Preludio; Adagio; Toccata; Fuga triplex
  • No. 3, KSS 73 (1949–53; 305 pp.)
    • I. Introito; Fantasia; Coda–Ripieno
    • II. Grave; Corale–Fantasia; Ripieno
    • III. Toccata; Passacaglia; Cadenza fantasiata; Fuga sextuplex

Works for baritone and organ[edit]

  • Benedizione di San Francesco d'Assisi, KSS 91 (1973; 2 pp.)

Lost works[edit]

  • Transcription of "In a Summer Garden," a piano transcription of Delius's piece of the same name (1914)
  • Vocalise No. 2 (1916)
  • Medea (1916)
  • The Reiterated Chord (1916; only sketches survive[17])
  • Black Mass (1922)
  • Music for "Faust" (c. 1930)
  • The Line (1932)
  • Piano Toccata No. 3, KSS 76 (1955?)
  • Le agonie (1951)

Notes and references[edit]

Notes
  1. ^ Alistair Hinton has described this work as a piano concerto.[5]
  2. ^ The numbering used by Roberge is based on reconstructed chronology, not on the numbers found in the manuscripts; "Concerto V for Piano and Large Orchestra" (1927–28), for instance, was the eighth in order of composition. Some of these concertos received no number from Sorabji.
  3. ^ Pp. 21–40 of the 54-page manuscript are lost.[9]
  4. ^ The piece was written for and dedicated to Norman Pierre Gentieu, one time a bell-ringer at St. Luke's Church in Germantown, Pennsylvania (now incorporated into Philadelphia).[10][11]
  5. ^ According to Roberge, this work and Sorabji's 3 transcriptions from 1922 are not pastiches, and the most accurate description of them—even more than "transcription"—is "Nachdichtung".[13]
  6. ^ This work has been described as a toccata.[14]
  7. ^ Simon John Abrahams classifies this piece as a variation set.[15] If considered as such, it is one with 16 variations.[16]
References

Sources[edit]

  • Abrahams, Simon John (2002). Le mauvais jardinier: A Reassessment of the Myths and Music of Kaikhosru Shapurji Sorabji (Ph.D.). King's College London.
  • Roberge, Marc-André (1991). "The Busoni Network and the Art of Creative Transcription" (PDF). Canadian University Music Review. Ottawa: Société de musique des universités canadiennes. 11 (1): 68–88. Retrieved 28 July 2012.