• Source: List of compositions by Kaikhosru Shapurji Sorabji

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. Since Sorabji's piece titles tend to contain various problems, Roberge's site amends them when necessary.




Works for orchestra with voices






= Symphonies

=
No. 1 for Piano, Large Orchestra, Chorus, and Organ, KSS30 (1921–22; 300 pp.)
The work bearing the name "Symphony II for Piano, Large Orchestra, Organ, Final Chorus, and Six Solo Voices" was intended as an orchestral work. Only the piano part (written 1930–31) was completed, yet it is one of Sorabji's longest piano compositions of all and has been described as self-sufficient. Roberge's catalogue renames it to Symphony No. 0 for Piano Solo (see the section on the piano symphonies for the full details of the item).
No. 2, Jāmī, for Large Orchestra, Wordless Chorus, and Baritone Solo, KSS72 (1942–51; 826 pp.)
I. (with chorus)
II. (with chorus)
III. (with chorus)
IV. Cantico (with chorus and baritone)




= Other

=
Messa grande sinfonica, for eight soloists, two choirs, and orchestra, KSS84 (1955–61; 1,001 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






= Piano concertos

=
Numbered:

No. 1, KSS6 (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, KSS14 (1916–17; only two-piano version survives; 49 pp.)
Modéré
Lent
Galvanique mais sans trop de hâte d'abord
No. 3, KSS16 (1918; 100 pp.)
Modérément animé, avec une expression très libre et fantaisiste
Assez lent
Vif et animé
No. 4, KSS18 (1918; 100 pp.)
I. Modérément animé
II. Très lent
III. Galvanique. Animé, mais pas trop vite
No. 5, KSS27 (1920; 144 pp.)
No. 6, KSS32 (1922; 144 pp.)
I. Animé
II. Lent
III. Vif
No. 7, Sīmurgh-‘Anqā, KSS38 (1924; 100 pp.)
I. Assez animé, nerveux
II. Lent mais pas traîné. Ordinairement très doux et "piano"
III. Très animé
No. 8, KSS45 (1927–28; 344 pp.)
I. Ardito—focosamente
II.
III. Rude, sauvage et brutal
Unnumbered:

Symphonic Variations for Piano and Orchestra, KSS78 (1935–37, 1953–56; Sorabji added an "Introitus" for orchestra alone and orchestrated the first volume [27 variations] of the three-book Symphonic Variations for Piano; 540 pp.)
Opus clavisymphonicum—Concerto for Piano and Large Orchestra, KSS80 (1957–59; 333 pp.)
I. Vivo
II. Toccata; Cadenza fugata; Adagio–Epilogo
Opusculum clavisymphonicum vel claviorchestrale, KSS94 (1973–75; 334 pp.)
I. Moderatamente animato
II. Variazioni sopra il Credo in qualsiasi modo del Gretchaninoff




= Other

=
Chaleur—Poème, KSS15 (1916–17; 40 pp.)
Opusculum for Orchestra, KSS34 (1923; 36 pp.)




Works for voice(s) and chamber ensemble


Music to "The Rider by Night" KSS22 (1919; libretto written by Robert Nichols; full score missing)
Cinque sonetti di Michelagniolo Buonarroti, for baritone, flute, oboe, clarinet, bassoon, piano, and strings, KSS36 (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


Suggested Bell-Chorale for St. Luke's Carillon, KSS82 (1961; 1 p.)




Works for voice and piano


The Poplars, KSS1 (1915; Ducic, translated by Selver; 2 versions; 3 pp.)
Chrysilla, KSS2 (1915; de Régnier; 4 pp.)
Roses du soir, KSS3 (1915; Louÿs; 4 pp.)
L'heure exquise, KSS4 (1916; Verlaine; 2 pp.)
Vocalise pour soprano fioriturata, KSS5 (1916; 2 versions; 3 pp.)
Apparition, KSS7 (1916; Mallarmé; 5 pp.)
Hymne à Aphrodite, KSS8 (1916; Tailhade; 2 versions; 5 pp.)
L'étang, KSS10 (1917; Rollinat; 2 pp.)
I Was Not Sorrowful—Poem for Voice and Piano [Spleen], KSS11 (between 1917 and 1919; Dowson; 3 pp.)
Trois poèmes pour chant et piano, KSS21 (1918, 1919; Baudelaire and Verlaine; 9 pp.)
Correspondances (Baudelaire)
Crépuscule du soir mystique (Verlaine)
Pantomime (Verlaine)
Trois fêtes galantes de Verlaine, KSS37 (c. 1924?; 11 pp.)
L'allée
à la Promenade
Dans la Grotte
Le mauvais jardinier KSS11a (1919; Gilkin; only the first page is extant)
Arabesque, KSS24 (1920; Shamsuʾd-Dīn Ibrāhīm Mīrzā; 2 pp.)
Trois Poèmes du "Gulistān" de Saʿdī, KSS42 (1926, rev. 1930; translated by Toussaint; 16 pp.)
La lampe
La Jalousie
La Fidelité
L'irrémédiable, KSS44 (1927; Baudelaire; 8 pp.)
Movement for Voice and Piano, KSS52 (1927, 1931; 9 pp.)
Trois poèmes, KSS65 (1941; Verlaine and Baudelaire; 13 pp.)
Le Faune (Verlaine)
Les Chats (Baudelaire)
La dernière fête galante (Verlaine)
Frammento cantato, KSS88 (1967; Harold Morland; 1 p.)




Chamber works






= Piano quintets

=
No. 1, KSS26 (1919–20; 72 pp.)
No. 2, KSS54 (1932–33; 432 pp.)
I. Introito; Fantasia; Coda–Finale
II. Preludio; Passacaglia
III. Adagio
IV. Finale: Introduction; Allegro; Intermezzo; Coda–Epilogo




= Other

=
Concertino non grosso for String Sextet with Piano obbligato quasi continuo, for 4 violins, viola, and cello, KSS89 (1968; 48 pp.)
I. Vivace assai
II. Adagio
III. Finale. Vivace, leggiero
Il tessuto d'arabeschi, for flute and string quartet, KSS99 (1979; 32 pp.)
Fantasiettina atematica, for oboe, flute, and clarinet, KSS103 (1981; 2 pp.)




Works for piano






= Symphonies

=
No. 0, KSS51 (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, KSS60 (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, KSS75 (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, KSS81 (1959–60; in one continuous movement consisting of multiple sections; 144 pp.)
No. 4, KSS85 (1962–64; 240 pp.)
I. Moderatamente allegro
II. Preludio corale; Interludio; Ostinato; Variazioni
III. Finale
No. 5, Symphonia brevis, KSS92 (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, KSS95 (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

=
No. 0, KSS9 (1917; discovered posthumously and unnumbered; 30 pp.)
No. 1, KSS20 (1919; 42 pp.)
No. 2, KSS28 (1920; 49 pp.)
No. 3, KSS29 (1922; 75 pp.)
No. 4, KSS48 (1928–29; 111 pp.)
I. Vivo—arditamente
II. Count Tasca's Garden
III. Preludio; Fantasia; Cadenza; Fuga duplex quatuor vocibus; Coda–Stretta
No. 5, Opus archimagicum, KSS58 (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 irae"
IX. Cadenza
X. Fuga libera a cinque voci e tre soggetti




= Multi-movement toccatas

=
No. 1, KSS46 (1928; 66 pp.)
I. Preludio–Corale
II. Passacaglia
III. Cadenza
IV. Fuga
V. Coda–Stretta
No. 2, KSS57 (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, KSS76 (1955; 91 pp.)
I. Movimento vivo
II. Adagio
III. Passacaglia
IV. Cadenza
V. Quasi fugato
VI. Corranta
VII. Fantasia
VIII. Interludio
IX. Cappriccio
X. Epilogo
No. 4, Toccata quarta, KSS87 (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 unto Him by the Fiend Asomuel
VI. Cadenza–Toccata
VII. Preludio adagio; Fuga quintuplex




= Variation sets

=
Variazioni e fuga triplice sopra "Dies irae" per pianoforte, KSS41 (1923–26; 64 variations; the work is in two parts of 32 variations each; 201 pp.)
Symphonic Variations for Piano, KSS59 (1935–37; 81 variations; in three books [each consisting of 27 variations], of which the first was later orchestrated; 484 pp.)
Sequentia cyclica super "Dies irae" ex Missa pro defunctis, KSS71 (1948–49; 27 variations; 335 pp.)
"Il gallo d'oro" da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978–79; 53 variations; 93 pp.)




= Sets of aphoristic fragments

=
Frammenti aforistici (Sutras) (104), KSS90 (1962–64; 37 pp.)
Frammenti aforistici (20), KSS86 (1964; 9 pp.)
Frammenti aforistici (4), KSS96 (1977; 1 p.)




= Transcriptions

=
Three Pastiches, KSS31 (1922; 17 pp.)
Pastiche on the "Minute Waltz" by Chopin (1922)
Pastiche on the Habanera from "Carmen" by Bizet (1922)
Pastiche on the Hindu Merchant's Song from "Sadko" by Rimsky-Korsakov (1922)
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano, KSS33 (first version; 1923; 16 pp.)
Pasticcio capriccioso sopra l'op. 64, no 1 del Chopin, KSS56 (1933; 8 pp.)
Transcription in the Light of Harpsichord Technique for the Modern Piano of the Chromatic Fantasia of J. S. Bach, Followed by a Fugue, KSS61 (1940; 15 pp.)
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano, KSS67 (second version; 1945; 26 pp.)
Transcription of the Prelude in E-flat by Bach, KSS68 (1945; based on BWV 815a; 4 pp.)
Schlussszene aus "Salome" von Richard Strauss—Konzertmäßige Übertragung für Klavier zu zwei Händen, KSS70 (1947; transcription of the closing scene of Strauss' opera Salome; 25 pp.)




= Other

=
Quasi habanera, KSS12 (1917; 6 pp.)
Désir éperdu (Fragment), KSS13 (1917; 1 p.)
Fantaisie espagnole, KSS19 (1919; 23 pp.)
Two Piano Pieces, KSS17 (In the Hothouse [1918] and Toccata [1920]; 20 pp.)
Prelude, Interlude, and Fugue for Piano, KSS25 (1920, 1922; 17 pp.)
Le jardin parfumé—Poem for Piano Solo, KSS35 (1923; 16 pp.)
Valse-fantaisie for Piano, KSS40 (1925; 16 pp.)
Fragment: Prelude and Fugue on FxAxx DAxEx, KSS41a (1926; 3 pp.)
Fragment Written for Harold Rutland, KSS43 (1926, 1928, 1937; 8 pp.)
Nocturne, "Djāmī", KSS47 (1928; 28 pp.)
Passacaglia, KSS48a (1929; unfinished; 41 pp.)
Introduction, Passacaglia, Cadenza, and Fugue (2004; Alexander Abercrombie's completion of the unfinished 1929 Passacaglia; 79 pp.)
Toccatinetta sopra C.G.F., KSS49 (1929; 8 pp.)
Opus clavicembalisticum, KSS50 (1929–30; 253 pp.)
Fantasia ispanica, KSS55 (1933; 54 pp.)
Quaere reliqua hujus materiei inter secretiora, KSS62 (1940; based on the story "Count Magnus" by M. R. James; 16 pp.)
"Gulistān"—Nocturne for Piano, KSS63 (1940; 28 pp.)
St. Bertrand de Comminges: "He was laughing in the tower", KSS64 (1941; based on the story "Canon Alberic's Scrap-Book" by M. R. James; 16 pp.)
Études transcendantes (100), KSS66 (1940–44; 456 pp.)
Concerto da suonare da me solo e senza orchestra, per divertirmi, KSS69 (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, KSS74 (1954; 26 pp.)
Passeggiata veneziana sopra la Barcarola di Offenbach, KSS77 (1955–56; based on "Barcarolle" from Offenbach's The Tales of Hoffmann; 24 pp.)
Rosario d'Arabeschi, KSS79 (1956; 45 pp.)
Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid, KSS83 (1961; 10 pp.)
Variazione maliziosa e perversa sopra "La morte d'Åse" da Grieg, KSS93 (1974; based on "The Death of Åse" from Grieg's Peer Gynt; 2 pp.)
Symphonic Nocturne for Piano Alone, KSS97 (1977–78; 113 pp.)
Villa Tasca: Mezzogiorno siciliano—Evocazione nostalgica e memoria tanta cara e preziosa del giardino meraviglioso, splendido, tropicale, KSS100 (1979–80; 47 pp.)
Opus secretum atque necromanticum, KSS101 (1980–81; 48 pp.)
Passeggiata variata sul nome del caro e gentile amico Clive Spencer-Bentley, KSS102 (1981; 3 pp.)
Passeggiata arlecchinesca sopra un frammento di Busoni ("Rondò arlecchinesco"), KSS105 (1981–82; based on material from Busoni's Rondò Arlecchinesco; 16 pp.)
Due sutras sul nome dell'amico Alexis, KSS104 (1981, 1984; 2 pp.)




Works for organ






= Symphonies

=
No. 1, KSS39 (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, KSS53 (1929–32; 350 pp.)
I. Introduction
II. Thema cum variationibus
III. Finale: Preludio; Adagio; Toccata; Fuga triplex
No. 3, KSS73 (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


Benedizione di San Francesco d'Assisi, KSS91 (1973; 2 pp.)




Lost works


Transcription of "In a Summer Garden", piano transcription of Delius's 1908 orchestral piece In a Summer Garden (1914)
Vocalise No. 2 (1916)
Medea (1916)
The Reiterated Chord (1916; only sketches survive)
Black Mass (1922)
Music for "Faust" (c. 1930)
The Line (1932)
Le agonie (1951)




Notes and references


Notes

References




Sources


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. 11 (1). Ottawa: Société de musique des universités canadiennes: 68–88. doi:10.7202/1014831ar. Retrieved 28 July 2012.

Kata Kunci Pencarian:

• List of compositions by Kaikhosru Shapurji Sorabji
• Kaikhosru Shapurji Sorabji
• Opus clavicembalisticum
• Nocturne
• Transcendental Studies (Sorabji)
• Marc-André Hamelin
• Sequentia cyclica
• List of longest non-repetitive piano pieces
• Classical music lists
• Étude