Analytical Texts in Scores
This page lists, in chronological order, the works for which Kaikhosru Shapurji Sorabji provided material of a technical or analytical nature, such as:
- table of contents
- extensive remarks
- analytical notes
- schemata of voice entries in fugues
Many of these texts are reproduced in SCC, 179-92, as indicated by a bullet (•) in the third column.
Also included are the analytical markings found in some of the fugues, which identify sections (e.g., expositions, strettos) are labelled and statements of the themes and of their various forms (e.g., cancrizans, inversus) as well as of the countersubjects are identified.
The short notes concerning the symbols used to indicate octave transposition, are dealt with elsewhere. The inscriptions referring to the weather conditions prevailing at the time of completion and the quotations from beloved authors inserted by Sorabji to express his approval or disapproval of some idea or behaviour are not included here; they are reproduced in SCC, 179-92.
Click on a column heading to sort, then shift-click on other headings to sort on multiple columns.
Surround strings with quotation marks for specific searches. Refresh the page to revert to the initial order.
| Title | Comments | SCC |
|---|---|---|
| Title | Comments | SCC |
| The Poplars (1915; 3 pp.) | Footnote on the character of the vocal line, which is a kind of melodeclamation. | • |
| Chaleur—Poème (1916-17; 32 pp.) | Long introductory text describing the programme of the work | • |
| Concerto II pour piano et grand orchestre (1916-17; 49 pp.) | Long introductory text entitled “In the guise of a programme Note” about the piano reduction of the orchestral part and the absence of a programme. | • |
| Concerto pour piano et grand orchestre [no. 4] (1918; 100 pp.) | Note on the need for the conductor not to drown the piano in the orchestral sound | • |
| Concerto for Piano and Orchestra [no. 5] (1920; 144 pp.) | Introductory text insisting on the need for a “steady smooth extra-metrical flow” and on the inappropriateness of memorization | • |
| Sonata seconda for Piano (1920; 49 pp.) | Note requiring a playing of the “strictest integrity”, pointing out the inappropriateness of memorization, and suggesting that the work be played as the first item on the programme because of its difficulty. | • |
| Concerto per pianoforte e piccola orchestra, “Simorg-Anka” [no. 7] (1924; 100 pp.) | Short note leaving the dynamic nuances to the performer’s taste | |
| Variazioni e fuga triplice sopra “Dies irae” per pianoforte (1923-26; 201 pp.) | Analytical markings in the fugue | |
| Toccata [no. 1] for Piano (1928; 66 pp.) | List of sections and “Thematic Table” | |
| Sonata IV for Piano (1928-29; 111 pp.) | “Analytical Note” (2 pp.) describing the work as meant to occupy an entire programme and giving a description of each section; “Distribuzione dell’Opera” (with indication of the number of themes for each section); “Schemata of voice entries in Fugues”. Analytical markings in the fugue. | |
| Opus clavicembalisticum (1929-30; 253 pp.) | “Constitution of the Work”; “Shortform-Analysis of Opus Clavicembalisticum” (7 pp.) consisting of an introductory text concluding with a note prohibiting the separate performance of sections and emphasizing the intellectual and technical difficulties of the work and followed by a “Theme Table” reproducing the themes of the “Introito” and “Preludio corale” and the fugue themes in their various presentations. Analytical markings in the fugues (especially “Fuga I”). | • (note only) |
| Symphony no. 0 for Piano Solo (1930-31; 333 pp.) | Uses numbers in the first movement from the “Fantasia” onwards (pp. 11-110) to identify motives as well as in vars. 37 to 42 of the “Toccata variata” (pp. 234-308), each of which uses a number of motives that increases by one each time (e.g., 1, 1-2, 1-3, etc.). | |
| Second Symphony for Organ (1929-32; 350 pp.) | Uses numbers to identify motives in the “Introduction” (pp. 1-62) and in vars. 42-48 of the second movement (pp. 179-215); in the latter case the variations use a number of motives that increases by one each time (e.g., 1, 1-2, 1-3, etc.). Analytical markings in the fugue. | |
| Toccata seconda per pianoforte (1933-34; 111 pp.) | Listing of sections | |
| Sonata V (Opus archimagicum) (1934-35; 336 pp.) | Analytical markings in the fugue | |
| Symphonic Variations for Piano (1935-37; 484 pp.) | Labelling of each section of the three-part theme and of the variations by the letters A, B, and C. Analytical markings in the fugue. | |
| Tāntrik Symphony for Piano Alone (1938-39; 284 pp.) | Uses numbers to identify motives in the first three movements (pp. 1-151). Analytical markings in the fugue. | |
| Transcription in the Light of Harpsichord Technique for the Modern Piano of the Chromatic Fantasia of J. S. Bach, Followed by a Fugue (1940; 15 pp.) | Includes an extensive “Prefatory Note” denouncing those who perform Bach’s work on the piano without “any substitution in pianistic terms” and who have never heard Wanda Landowska and explaining the choice of another fugue. | • |
| Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.) | Note explaining the comparative lack of expression marks, which are left to the intelligence of the performer. | • |
| Third Organ Symphony (1949-53; 305 pp.) | Note denouncing the baroque organ and calling for an instrument of tonal splendour and magnificence | • |
| Second Symphony for Piano (1954; 248 pp.) | Uses numbers to identify motives (pp. 1-9) whose recurrences in the first movement are also identified. | |
| Opus clavisymphonicum—Concerto for Piano and Large Orchestra for Piano and Large Orchestra (1957-59; 333 pp.) | Note (in the separate solo part) explaining how the work revolves around the piano as the solar system revolves around the sun and giving the soloist the widest latitude, with the conductor being guided in his direction by the soloist. | • |
| Third Symphony for Piano Solo (1959-60; 144 pp.) | Uses numbers to identify motives (pp. 1-68, 85-88, 92-95, 141-42). | |
| Fourth Symphony for Piano Alone (1962-64; 240 pp.) | Uses numbers to identify motives (pp. 73-115, 196 ss.). | |
| Toccata quarta (1964-67; 149 pp.) | Uses numbers to identify motives (pp. 118 ss.). | |
| Concertino non grosso for String Sextet with Piano obbligato quasi continuo (1968; 48 pp.) | Uses musical examples to associate motives with the names of the dedicatees (members of the Vicars family) and to show “Mervyn’s contrapuntal answer”. | |
| Benedizione di San Francesco d’Assisi (1973; 2 pp.) | Short note asking that the piece be conceived of as one paragraph, with no breaks between phrase marks. | |
| Symphonia brevis for Piano (1973; 120 pp.) | List of sections | |
| Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.) | Some analytical markings in the fugue |
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© Marc-André Roberge 2024
Faculté de musique, Université Laval, Québec
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