Titles of Works Grouped by Categories

This page groups those works by Kaikhosru Shapurji Sorabji that fall into various formal or logical categories or that bear a title describing their style or compositional technique or in which sections belong to a particular stylistic category. Such titles are usually found in his multi-movement, large-scale, works. References to section and/or movement or to variation or etude number are given where appropriate.

See also a classification of titles by language (English, French, Italian, Latin, German).

The reader may also wish to consult various lists limited to the piano music in Michael Habermann, “A Style Analysis of the Nocturnes for Solo Piano by Kaikhosru Shapurji Sorabji with Special Emphasis on Le jardin parfumé” (DMA diss., Peabody Conservatory of Music, Peabody Institute of the Johns Hopkins University, 1984); see the “List of Tables” on p. [xix].

Aphoristic Works (or with Titles Implying Brevity)
Concertos
Fantasias
Nocturnes
Promenades
Quintets
Sonatas
Toccatas
Symphonies (Piano, Organ, Orchestra)
Variations
Programmatic Works

Works Inspired by Literature
Works Based on Themes by Other Composers (Excluding the Transcriptions)
Works Using Themes Based on Musical Letters (soggetti cavati)
Works Using the Dies irae
Works with Titles Containing a Person’s Name
Works Containing Sections in Imitation of a Composer’s Style
Works Containing the Word (or Root) “Opus”
Works Featuring Spanish “couleur locale”
Works Containing References to or Inspired by India or Persia
Works Having a Link with the Occult, Religion, Etc.
Works Containing Dance Rhythms
Works Containing Arias
Works Containing Interludes
Works Containing Section Entitled “Nexus”
Works Containing Cadenzas
Works Containing Perpetual Motions
Works Containing Introductions, Preludes, or Chorale Preludes
Works Containing Pedal Points
Works Containing Ostinatos
Works Containing Variations, Passacaglias, and Fugues
Works Containing Codas or Epilogues
Miscellaneous Categories

Aphoristic Works (or with Titles Implying Brevity)

Works whose titles are followed by a bullet (•) are not “brief” despite their titles.

Désir éperdu (Fragment) (1917; 1 p.)
Opusculum for Orchestra (1923; 36 pp.)•
Fragment: Prelude and Fugue on FxAxx DAxEx (1926; 3 pp.)
Toccatinetta sopra C.G.F. (1929; 8 pp.)
Fragment Written for Harold Rutland (1926, 1928, 1937; 2 pp.)
Frammenti aforistici (20) (1964; 9 pp.)
Fantasiettina sul nome illustre dell’egregio poeta Christopher Grieve ossia Hugh M’Diarmid (1961; 10 pp.)
Frammento cantato (1967; 1 p.)
Frammenti aforistici (Sutras) (104) (1962-64; 37 pp.)
Concertino non grosso for String Sextet with Piano obbligato quasi continuo (1968; 48 pp.)•
Symphonia brevis for Piano (1973; 120 pp.)•
Variazione maliziosa e perversa sopra “La morte d’Åse” da Grieg (1974; 2 pp.)
Opusculum clavisymphonicum vel claviorchestrale (1973-75; 334 pp.)•
Frammenti aforistici (4) (1977; 1 p.)
Fantasiettina atematica (1981; 2 pp.)
Due sutras sul nome dell’amico Alexis (1981, 1984; 2 pp.)

Concertos

Concerto [no. 1] pour piano et grand orchestre (1915-16; 177 pp.)
Concerto II pour piano et grand orchestre (1916-17; 49 pp.)
Concerto pour piano et orchestra da camera [no. 3] (1918; 100 pp.)
Concerto pour piano et grand orchestre [no. 4] (1918; 100 pp.)
Concerto for Piano and Orchestra [no. 5] (1920; 144 pp.)
Concerto for Piano and Orchestra [no.] III [no. 6] (1922; 144 pp.)
Concerto per pianoforte e piccola orchestra, “Simorg-Anka” [no. 7] (1924; 100 pp.)
Concerto V for Piano and Large Orchestra [no. 8] (1927-28; 344 pp.)
Concerto da suonare da me solo e senza orchestra, per divertirmi (1946; 70 pp.) {This work, unlike the other titles in this list, is for piano solo.}
Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.)
Opus clavisymphonicum—Concerto for Piano and Large Orchestra for Piano and Large Orchestra (1957-59; 333 pp.)
Opusculum clavisymphonicum vel claviorchestrale (1973-75; 334 pp.)

Fantasias

Fantaisie espagnole (1919; 23 pp.)
Sonata IV for Piano (1928-29; 111 pp.): “Fantasia” (second section of third movement).
Opus clavicembalisticum (1929-30; 253 pp.): “Fantasia” (fourth movement).
Quintet II for Piano and String Quartet (1932-33; 432 pp.): “Fantasia” (second section of second movement).
Fantasia ispanica (1933; 54 pp.)
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.)
Études transcendantes (100) (1940-44; 456 pp.): nos. 59 (“Quasi fantasia”), 99 (“Quasi fantasia (nello stile della Fantasia cromatica di Giovanni Sebastiano))”.
Third Organ Symphony (1949-53; 305 pp.): “Fantasia” (second section of first movement), “Corale-Fantasia” (second section of second movement).
Fantasiettina sul nome illustre dell’egregio poeta Christopher Grieve ossia Hugh M’Diarmid (1961; 10 pp.)
Fantasiettina atematica (1981; 2 pp.) {This work, unlike the others in this list, is not for piano but for chamber ensemble.}

Nocturnes

Two Piano Pieces (1918, 1920; 20 pp.): “In the Hothouse”.
Prelude, Interlude, and Fugue for Piano (1920, 1922; 17 pp.): “Interlude”.
Le jardin parfumé: Poem for Piano Solo (1923; 16 pp.)
Nocturne, “Jāmī” (1928; 28 pp.)
Sonata IV for Piano (1928-29; 111 pp.): “Lento, languido e sonnolento” (second movement).
Opus clavicembalisticum (1929-30; 253 pp.): var. 49 of “Interludium primum” (sixth movement); vars. 53 and 54 of “Interludium alterum” (ninth movement).
Symphony no. 0 for Piano Solo (1930-31; 333 pp.): “Notturno-Fantasia” (third section of second movement).
Toccata seconda per pianoforte (1933-34; 111 pp.): “Notturno” (sixth movement).
Sonata V (Opus archimagicum) (1934-35; 336 pp.): “Adagio. Il tutto sempre con dolcezza velenosa” (sixth movement).
Symphonic Variations for Piano (1935-37; 484 pp.): vars. 27 (“The Garden of Iram”), 34 (“Quasi rāg indiana”), 74 (“Notturno”), 81 (“Epilogue. Dolcissimo e soave”).
Tāntrik Symphony for Piano Alone (1938-39; 284 pp.): “Anāhata Cakra” (fourth movement).
“Gulistān”—Nocturne for Piano (1940; 28 pp.)
Études transcendantes (100) (1940-44; 456 pp.): nos. 26 (“Dolcissimo”), 44, 59 (“Quasi fantasia”), 66, 69 (“La punta d’organo”), 71 (“Aria”), 94 (“Ornaments”).
Concerto da suonare da me solo e senza orchestra, per divertirmi (1946; 70 pp.): second movement.
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.): var. 10 (“Il tutto in una sonorità piena, morbida, calda e voluttuosa”), var. 22/80.
Second Symphony for Piano (1954; 248 pp.): “Aria fiorita: piuttosto notturno” (second movement).
Passeggiata veneziana sopra la Barcarola di Offenbach (1955-56; 24 pp.): “Notturnino” (third section).
Fantasiettina sul nome illustre dell’egregio poeta Christopher Grieve ossia Hugh M’Diarmid (1961; 10 pp.): second section.
Fourth Symphony for Piano Alone (1962-64; 240 pp.): “Variazioni” (fourth section of second movement; no. 8, “Quasi notturno”).
Symphonia brevis for Piano (1973; 120 pp.): “Notturno” (fifth section of second movement).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Arabesque-Nocturne” (fifth movement).
“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.): vars. 8 (“Quasi notturno”), 11, 44 (“Quasi notturno”).
Symphonic Nocturne for Piano Alone (1977-78; 113 pp.)
Villa Tasca: Mezzogiorno siciliano—Evocazione nostalgica e memoria tanta cara e preziosa del giardino meraviglioso, splendido, tropicale (1979-80; 47 pp.)

Promenades

Passeggiata veneziana sopra la Barcarola di Offenbach (1955-56; 24 pp.)
Passeggiata variata sul nome del caro e gentile giovane amico Clive Spencer-Bentley (1981; 3 pp.)
Passeggiata arlecchinesca sopra un frammento di Busoni (“Rondò arlecchinesco”) (1981-82; 16 pp.)

Quintets

Quintet no. 1 for Piano and Quartet of Stringed Instruments (1919-20; 72 pp.)
Quintet II for Piano and String Quartet (1932-33; 432 pp.)
Il tessuto d’arabeschi (1979; 32 pp.)

Sonatas

Sonata no. 0 for Piano (1917; 30 pp.)
Sonata no. 1 for Piano (1919; 42 pp.)
Sonata seconda for Piano (1920; 49 pp.)
Sonata III for Piano (1922; 75 pp.)
Sonata IV for Piano (1928-29; 111 pp.)
Sonata V (Opus archimagicum) (1934-35; 336 pp.)

Toccatas

Two Piano Pieces (1918, 1920; 20 pp.): “Toccata”.
Symphony [no. 1] for Organ (1924; 81 pp.): “Cadenza-Toccata” (fourth section of third movement).
Toccata [no. 1] for Piano (1928; 66 pp.)
Toccatinetta sopra C.G.F. (1929; 8 pp.)
Opus clavicembalisticum (1929-30; 253 pp.): “Interludium alterum — Toccata” (ninth movement).
Toccata seconda per pianoforte (1933-34; 111 pp.)
Toccata terza (1955; 91 pp.)
Un nido di scatole sopra il nome del grande e buon amico Harold Rutland (1954; 26 pp.): “La quindicesima. Toccatissima”.
Fourth Symphony for Piano Alone (1962-64; 240 pp.): var. 49 of the “Variazioni” (fourth section of the second movement), which contains a “Quasi cadenza—Toccata and Fuga”.
Toccata quarta (1964-67; 149 pp.)
Symphonia brevis for Piano (1973; 120 pp.): “Preludio quasi toccata” (second section of second movement).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Toccata—Quasi cadenza — ovvero moto perpetuo” (second section of third movement).

Symphonies (Piano, Organ, Orchestra)

Piano

The Symphony no. 0 for Piano Solo (1930-31; 333 pp.), which is Sorabji’s first symphony for piano, was originally entitled Symphony II for Piano, Large Orchestra, Organ, Final Chorus, and Six Solo Voices (1930-31; 333 pp.). The Tāntrik Symphony for Piano Alone (1938-39; 284 pp.) is what Sorabji considered to be his first symphony for piano.

Symphony no. 0 for Piano Solo (1930-31; 333 pp.)
Tāntrik Symphony for Piano Alone (1938-39; 284 pp.)
Second Symphony for Piano (1954; 248 pp.)
Third Symphony for Piano Solo (1959-60; 144 pp.)
Fourth Symphony for Piano Alone (1962-64; 240 pp.)
Symphonia brevis for Piano (1973; 120 pp.)
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.)

Organ

Symphony [no. 1] for Organ (1924; 81 pp.)
Second Symphony for Organ (1929-32; 350 pp.)
Third Organ Symphony (1949-53; 305 pp.)

Orchestra

Symphony [no. 1] for Piano, Large Orchestra, Chorus, and Organ (1921-22; 300 pp.)
Symphony [no. 2], “Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone Solo (1942-51; 826 pp.)

Variations

Variazioni e fuga triplice sopra “Dies irae” per pianoforte (1923-26; 201 pp.)
Symphonic Variations for Piano (1935-37; 484 pp.)
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.)
Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.)
Variazione maliziosa e perversa sopra “La morte d’Åse” da Grieg (1974; 2 pp.) {This work is, technically speaking, not a theme and variations, but a single piece based on Grieg’s theme.}
“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.)

Programmatic works

“Quaere reliqua hujus materiei inter secretiora” (1940; 16 pp.)
St. Bertrand de Comminges: “He was laughing in the tower” (1941; 16 pp.)
Un nido di scatole sopra il nome del grande e buon amico Harold Rutland (1954; 26 pp.)
Villa Tasca: Mezzogiorno siciliano—Evocazione nostalgica e memoria tanta cara e preziosa del giardino meraviglioso, splendido, tropicale (1979-80; 47 pp.)
Opus secretum atque necromanticum (1980-81; 48 pp.)

Works Inspired by Literature

Le jardin parfumé: Poem for Piano Solo (1923; 16 pp.)
“Quaere reliqua hujus materiei inter secretiora” (1940; 16 pp.)
“Gulistān”—Nocturne for Piano (1940; 28 pp.)
St. Bertrand de Comminges: “He was laughing in the tower” (1941; 16 pp.) St. Bertrand de Comminges: “He was laughing in the tower” (1941; 16 pp.)
Symphony [no. 2], “Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone Solo (1942-51; 826 pp.)

Works Based on Themes by Other Composers (Excluding the Transcriptions)

Variazione maliziosa e perversa sopra “La morte d’Åse” da Grieg (1974; 2 pp.)
“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.)
Passeggiata arlecchinesca sopra un frammento di Busoni (“Rondò arlecchinesco”) (1981-82; 16 pp.)

Works Using Themes Based on Musical Letters (soggetti cavati)

See the list of works using themes based on the musical letters contained in a person’s name..

Works Using the Dies irae

See the list of works using the Gregorian chant Dies irae.

Works with Titles Containing a Person’s Name

The titles of transcriptions are followed by a bullet (•).

Chrysilla (1915; 4 pp.)
Medea (1916; 0 p.)
Hymne à Aphrodite (1916; 5 pp.)
Trois fêtes galantes de Verlaine (ca. 1919; 11 pp.)
Pastiche on the “Minute Waltz” by Chopin (1922; 7 pp.)•
Pastiche on the Habanera from “Carmen” by Bizet (1922; 6 pp.)•
Pastiche on the Hindu Merchant’s Song from “Sadko” by Rimsky-Korsakov (1922; 4 pp.)•
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano (first version, 1923; 16 pp.)•
Cinque sonetti di Michelagniolo Buonarroti (1923; 40 pp.)
Fragment: Prelude and Fugue on FxAxx DAxEx (1926; 3 pp.)
Trois poèmes du “Gulistān” de Saʿdī (1926, rev. 1930; 16 pp.)
Nocturne, “Jāmī” (1928; 28 pp.)
Toccatinetta sopra C.G.F. (1929; 8 pp.)
Music for “Faust” (ca. 1930; 0 p.)
Pasticcio capriccioso sopra l’op. 64, no 1 del Chopin (1933; 8 pp.)•
Fragment Written for Harold Rutland (1926, 1928, 1937; 2 pp.)
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.)•
St. Bertrand de Comminges: “He was laughing in the tower” (1941; 16 pp.)
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano (second version, 1945; 26 pp.)•
Transcription of the Prelude in E-flat by Bach (1945; 4 pp.)•
Schlussszene aus “Salome” von Richard Strauss—Konzertmäßige Übertragung für Klavier zu zwei Händen (1947; 25 pp.)•
Symphony [no. 2], “Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone Solo (1942-51; 826 pp.)
Un nido di scatole sopra il nome del grande e buon amico Harold Rutland (1954; 26 pp.)
Passeggiata veneziana sopra la Barcarola di Offenbach (1955-56; 24 pp.)
Suggested Bell-Chorale for St. Luke’s Carillon (1961; 1 p.)
Fantasiettina sul nome illustre dell’egregio poeta Christopher Grieve ossia Hugh M’Diarmid (1961; 10 pp.)
Benedizione di San Francesco d’Assisi (1973; 2 pp.)
Passeggiata variata sul nome del caro e gentile giovane amico Clive Spencer-Bentley (1981; 3 pp.)
Due sutras sul nome dell’amico Alexis (1981, 1984; 2 pp.)
Variazione maliziosa e perversa sopra “La morte d’Åse” da Grieg (1974; 2 pp.)
“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.)
Passeggiata arlecchinesca sopra un frammento di Busoni (“Rondò arlecchinesco”) (1981-82; 16 pp.)

Works Containing Sections in Imitation of a Composer’s Style

Symphonic Variations for Piano (1935-37; 484 pp.): var. 56 (“Allusion to finale of B♭ minor Sonata of Chopin, a favourite work of the dedicatees”).
Études transcendantes (100) (1940-44; 456 pp.): no. 4 (“Scriabinesco”), no. 89 (“Chopsticks”), no. 99 (“Quasi fantasia (nello stile della Fantasia cromatica di Giovanni Sebastiano”)).
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.): var. 19 (“Quasi Debussy”).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Quasi Alkan” (fourth movement).
“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.): var. 9 (“[Un] pochino Chopinesco”).

Works Containing the Word (or Root) “Opus”

Opusculum for Orchestra (1923; 36 pp.)
Opus clavicembalisticum (1929-30; 253 pp.)
Sonata V (Opus archimagicum) (1934-35; 336 pp.)
Opus clavisymphonicum—Concerto for Piano and Large Orchestra for Piano and Large Orchestra (1957-59; 333 pp.)
Opus secretum atque necromanticum (1980-81; 48 pp.)

Works Featuring Spanish “couleur locale”

Quasi habanera (1917; 6 pp.)
Fantaisie espagnole (1919; 23 pp.)
Pastiche on the Habanera from “Carmen” by Bizet (1922; 6 pp.)
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano (first version, 1923; 16 pp.)
Fantasia ispanica (1933; 54 pp.)
Études transcendantes (100) (1940-44; 456 pp.): no. 84 (“Tango habanera”).
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano (second version, 1945; 26 pp.)
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.): var. 15 (“Ispanica”).

Works Containing Dance Rhythms

Habanera

Quasi habanera (1917; 6 pp.)
Fantaisie espagnole (1919; 23 pp.)
Pastiche on the Habanera from “Carmen” by Bizet (1922; 6 pp.)
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano (first version, 1923; 16 pp.)
Fantasia ispanica (1933; 54 pp.): “Quasi habanera” (fourth movement).
Études transcendantes (100) (1940-44; 456 pp.): no. 84 (“Tango habanera”).
Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano (second version, 1945; 26 pp.)

Waltz

Pastiche on the “Minute Waltz” by Chopin (1922; 7 pp.)
Valse-fantaisie for Piano (1925; 16 pp.)
Pasticcio capriccioso sopra l’op. 64, no 1 del Chopin (1933; 8 pp.)
Symphonic Variations for Piano (1935-37; 484 pp.): var. 24 (“Quasi valse”).
Études transcendantes (100) (1940-44; 456 pp.): no. 63 (“En forme de valse”).
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.): var. 8 (“Tempo di valzer con molta fantasia, disinvoltura e eleganza”).
Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.): var. 24 (“Quasi valse”).
“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.): var. 10 (“Valse impertinente”).

Tarantella

Passeggiata veneziana sopra la Barcarola di Offenbach (1955-56; 24 pp.): “Tarantella” (second section).
Rosario d’arabeschi (1956; 45 pp.): “Tarantella” (fourth movement).

Works Containing References to or Inspired by India or Persia

Chaleur—Poème (1916-17; 32 pp.)
Pastiche on the Hindu Merchant’s Song from “Sadko” by Rimsky-Korsakov (1922; 4 pp.)
Concerto per pianoforte e piccola orchestra, “Simorg-Anka” [no. 7] (1924; 100 pp.)
Nocturne, “Jāmī” (1928; 28 pp.)
Symphonic Variations for Piano (1935-37; 484 pp.): var. 27 (“The Garden of Iram”), var. 34 (“Quasi rāg indiana”).
Tāntrik Symphony for Piano Alone (1938-39; 284 pp.)
“Gulistān”—Nocturne for Piano (1940; 28 pp.)
Symphony [no. 2], “Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone Solo (1942-51; 826 pp.)

Works Having a Link with the Occult, Religion, Etc.

See also the pages devoted to works having a link with the occult, religion, etc.

Medea (1916; 0 p.)
Music to “The Rider by Night” (1919; 54 pp.)
Black Mass (1922; 0 p.)
Variazioni e fuga triplice sopra “Dies irae” per pianoforte (1923-26; 201 pp.): var. 58-64 (“VII Peccata Mortalia”).
Sonata V (Opus archimagicum) (1934-35; 336 pp.)
“Quaere reliqua hujus materiei inter secretiora” (1940; 16 pp.)
St. Bertrand de Comminges: “He was laughing in the tower” (1941; 16 pp.)
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.)
Messa grande sinfonica (1955-61; 1,001 pp.)
Suggested Bell-Chorale for St. Luke’s Carillon (1961; 1 p.)
Benedizione di San Francesco d’Assisi (1973; 2 pp.)
Variazione maliziosa e perversa sopra “La morte d’Åse” da Grieg (1974; 2 pp.)
“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.)
Opus secretum atque necromanticum (1980-81; 48 pp.)

Works Containing Arias

Toccata seconda per pianoforte (1933-34; 111 pp.): “Aria” (fourth movement).
Symphonic Variations for Piano (1935-37; 484 pp.): var. 66 (“Aria”).
Études transcendantes (100) (1940-44; 456 pp.): no. 71 (“Aria”).
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.): var. 13 (“Aria”).
Second Symphony for Piano (1954; 248 pp.): “Aria fiorita” (second movement).
Toccata quarta (1964-67; 149 pp.): “Aria” (third section of third movement).
Symphonia brevis for Piano (1973; 120 pp.): “Aria fiorita” (third section of second movement).

Works Containing Interludes and Postludes

Prelude, Interlude, and Fugue for Piano (1920, 1922; 17 pp.)
Symphony [no. 1] for Organ (1924; 81 pp.): “Postlude” (third section of first movement).
Opus clavicembalisticum (1929-30; 253 pp.): “Interludium primum” (sixth movement), “Interludium alterum” (ninth movement).
Toccata seconda per pianoforte (1933-34; 111 pp.): “Interludio” (seventh movement).
Toccata quarta (1964-67; 149 pp.): “Intermezzo primo” (third movement), “Intermezzo secondo” (fifth movement).
Symphonia brevis for Piano (1973; 120 pp.): “Interludio” (fourth section of second movement).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Interludio fugato” (third section of first movement), “Interludio placido” (second section of second movement).

Works Containing Sections Entitled “Nexus”

Variazioni e fuga triplice sopra “Dies irae” per pianoforte (1923-26; 201 pp.): var. 53 (“Nexus”).
Opus clavicembalisticum (1929-30; 253 pp.); “Nexus” (“Preludio-corale)”.
Toccata quarta (1964-67; 149 pp.): “Nexus” (second section of first movement).
Symphonia brevis for Piano (1973; 120 pp.): “Nexus” (sixth section of second movement).

Works Containing Cadenzas

Concerto II pour piano et grand orchestre (1916-17; 49 pp.)
Symphony [no. 1] for Organ (1924; 81 pp.): “Cadenza de’ pedali” (second section of third movement), “Cadenza-Toccata” (fourth section of the third movement).
Toccata [no. 1] for Piano (1928; 66 pp.): “Cadenza” (third movement).
Sonata IV for Piano (1928-29; 111 pp.): “Cadenza” (third section of third movement).
Opus clavicembalisticum (1929-30; 253 pp.): “Cadenza” (seventh movement), “Cadenza II” (tenth movement).
Symphony no. 0 for Piano Solo (1930-31; 333 pp.): “Cadenza” (fourth section of first movement), “Cadenza-fugata” (third section of third movement).
Toccata seconda per pianoforte (1933-34; 111 pp.): “Cadenza—Punta d’organo” (eighth movement).
Sonata V (Opus archimagicum) (1934-35; 336 pp.): “Cadenza” (ninth movement).
Symphonic Variations for Piano (1935-37; 484 pp.): var. 79 (“Cadenza”).
Third Organ Symphony (1949-53; 305 pp.): “Cadenza fantasiata” (third section of third movement).
Passeggiata veneziana sopra la Barcarola di Offenbach (1955-56; 24 pp.): “Cadenzetta” (fourth section).
Rosario d’arabeschi (1956; 45 pp.): “Cadenza” (second section of third movement).
Opus clavisymphonicum—Concerto for Piano and Large Orchestra for Piano and Large Orchestra (1957-59; 333 pp.): “Cadenza fugata” (second section of second movement).
Fourth Symphony for Piano Alone (1962-64; 240 pp.): var. 49 (comprises a “Quasi cadenza — Toccata and Fuga”).
Toccata quarta (1964-67; 149 pp.): “Cadenza-Toccata” (sixth movement).

Works Containing Perpetual Motions

Prelude, Interlude, and Fugue for Piano (1920, 1922; 17 pp.): “Prelude”.
Études transcendantes (100) (1940-44; 456 pp.): no. 77 (“Mouvement semblable et perpétuel”).
Second Symphony for Piano (1954; 248 pp.): “Moto perpetuo” (first section of third movement).

Works Containing Introductions, Preludes, or Chorale Preludes

Symphony [no. 1] for Organ (1924; 81 pp.): “Prelude” (first section of the first movement).
Toccata [no. 1] for Piano (1928; 66 pp.): “Preludio-Corale” (first movement).
Sonata IV for Piano (1928-29; 111 pp.): “Preludio” (first section of the third movement).
Toccatinetta sopra C.G.F. (1929; 8 pp.): “Preludietto”.
Introduction, Passacaglia, Cadenza, and Fugue (1929; compl. Alexander Abercrombie, 2004; 79 pp.): “Introduzione quasi preludio”.
Opus clavicembalisticum (1929-30; 253 pp.): “Preludio-Corale” (second movement).
Symphony no. 0 for Piano Solo (1930-31; 333 pp.): “Prologo, Introito”.
Second Symphony for Organ (1929-32; 350 pp.): “Introduction” (first movement), “Preludio” (first section of fourth movement).
Quintet II for Piano and String Quartet (1932-33; 432 pp.): “Introito” (first section of first movement), “Preludio” (first section of second movement).
Fantasia ispanica (1933; 54 pp.): “Preludio-Introduzione” (first movement).
Toccata seconda per pianoforte (1933-34; 111 pp.): “Preludio-Toccata” (first movement), “Preludio-Corale” (second movement).
Sonata V (Opus archimagicum) (1934-35; 336 pp.): “Preludio” (seventh movement), “Preludio-corale sopra ‘Dies irae’” (eighth movement).
Symphonic Variations for Piano (1935-37; 484 pp.): var. 22 (“Preludio-corale”).
Études transcendantes (100) (1940-44; 456 pp.): no. 73 (“Quasi Preludio-corale”).
Third Organ Symphony (1949-53; 305 pp.): “Corale-Fantasia” (second section of second movement).
Un nido di scatole sopra il nome del grande e buon amico Harold Rutland (1954; 26 pp.): no. 4 (“Piccolo preludio corale tascabile”).
Rosario d’arabeschi (1956; 45 pp.): “Introito” (first movement).
Fourth Symphony for Piano Alone (1962-64; 240 pp.): “Preludio corale” (second movement).
Toccata quarta (1964-67; 149 pp.): “Quasi corale” (second movement), “Preludio adagio” (first section of seventh movement).
Symphonia brevis for Piano (1973; 120 pp.): “Preludio quasi toccata” (second section of second movement).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Introito” (first section of first movement), “Preludio” (first section of second movement).

Works Containing Pedal Points

Opus clavicembalisticum (1929-30; 253 pp.): “Cadenza I” (seventh movement), “Cadenza II” (tenth movement).
Symphony no. 0 for Piano Solo (1930-31; 333 pp.): “Punta d’organo on 16” (on pp. 43-44 of the “Fantasia”, second section of first movement), “Punta d’organo” (first section of second movement), “Ritournelle—point d’orgue” (fourth section of second movement).
Toccata seconda per pianoforte (1933-34; 111 pp.): “Cadenza—Punta d’organo” (eighth movement).
Sonata V (Opus archimagicum) (1934-35; 336 pp.): “Punta d’organo” (third movement).
Études transcendantes (100) (1940-44; 456 pp.): no. 69 (“La punta d’organo”).
Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.): var. 14 (“Punta d’organo”).
Second Symphony for Piano (1954; 248 pp.): “Punta d’organo costanziata” (fourth section of fourth movement).
Rosario d’arabeschi (1956; 45 pp.): “Punta d’organo” (first section of third movement).
Toccata quarta (1964-67; 149 pp.): “Punta d’organo” (second section of third movement).

Works Containing Ostinatos

Toccata seconda per pianoforte (1933-34; 111 pp.): “Ostinato” (fifth movement).
Études transcendantes (100) (1940-44; 456 pp.): no. 74 (“Ostinato”).
[Un nido di scatole sopra il nome del grande e buon amico Harold Rutland (1954; 26 pp.): no. 9 (“Ostinatissima come mai”)]. {This section is in fact a passacaglia (although not so described by Sorabji) and is listed on the page referred to as such in the next section. It is mentioned here simply because a word derived from “ostinato” is used in the section title.}
Rosario d’arabeschi (1956; 45 pp.): “Ostinato doppio” (second movement).
Fourth Symphony for Piano Alone (1962-64; 240 pp.): “Ostinato” (third section of second movement).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Ostinato” (third movement).

Works Containing Variations, Passacaglias, and Fugues

See the list of works containing any combination of variations, passacaglias, and fugues, together with the number of fugue subjects.

Works Containing Codas or Epilogues

Symphony [no. 1] for Organ (1924; 81 pp.): “Coda-Stretto” (fifth section of third movement).
Toccata [no. 1] for Piano (1928; 66 pp.): “Coda-Stretta” (fifth movement).
Sonata IV for Piano (1928-29; 111 pp.): “Coda-Stretta” (fifth section of third movement).
Opus clavicembalisticum (1929-30; 253 pp.): “Coda-Stretta” (twelfth movement).
Symphony no. 0 for Piano Solo (1930-31; 333 pp.): “Coda-Epilogo” (fourth section of third movement).
Quintet II for Piano and String Quartet (1932-33; 432 pp.): “Coda-Epilogo” (fourth section of fourth movement).
Fantasia ispanica (1933; 54 pp.): “Coda-Finale (fifth movement).
Symphonic Variations for Piano (1935-37; 484 pp.): var. 81 (“Epilogue”).
Études transcendantes (100) (1940-44; 456 pp.): no. 100 (“Coda-Finale”).
Third Organ Symphony (1949-53; 305 pp.): “Coda-Ripieno” (third section of first movement).
Second Symphony for Piano (1954; 248 pp.): “Coda” (third section of third movement).
Rosario d’arabeschi (1956; 45 pp.): “Coda-Ripresa” (fifth movement).
Opus clavisymphonicum—Concerto for Piano and Large Orchestra for Piano and Large Orchestra (1957-59; 333 pp.): “Adagio-Epilogo” (third section of second movement).
Symphonia brevis for Piano (1973; 120 pp.): “Coda-Epilogo” (eighth section of second movement).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Coda-Epilogo” (seventh movement).

Miscellaneous Categories

Variazioni e fuga triplice sopra “Dies irae” per pianoforte (1923-26; 201 pp.): var. 53 (“Rota”).
Second Symphony for Piano (1954; 248 pp.): “Intrecciata politematica” (first movement), “Fanfare” (first section of fourth movement).
Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.): “Intrecciata” (second and fourth sections of first movement).