Sorabji Resource Site (SRS)

Tables of Contents of the Published Editions

This page, which serves as a complement to similar data provided for the manuscripts (or editions, when no manuscript is extant) in the catalogue of works found in Paul Rapoport’s SCC, 109-74, offers detailed tables of contents for the editions of Sorabji’s sectional works (published by the Sorabji Archive), which are not always provided.

Bar numbering: Editors of Sorabji’s works have so far not systematically numbered the bars in their scores. Therefore, this important information cannot always be used. In some cases, the number of bars for each section is given, with the column heading reading Bars (N) and the numbers right aligned. For large-scale works with bar numbering, ranges are given. In many of Sorabji’s works, the bars are extremely long, spanning two or three systems, and often have no relationship to the groups of figurations. In other cases, such as many of the editions prepared by Marc-André Roberge, editorial bar-lines are added for the sake of convenience (of the editor and/or the performers).

Offsets for PDF editions: The editions beginning with preliminary pages, usually numbered with Roman numerals, bring about a difference between the physical page number that appears in the PDF file and the Arabic page number that is printed on the page. An offset value must thus be added when using the search box for pages at the top of the screen. In such cases, the column heading adds an indication such as (PDF: +10). In the case of Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.), though, the page numbers for the PDF file are given in a separate column.

Variations and passacaglias: Large variation sets and passacaglias, in some cases, are broken into individual variations or groups of five.

The presentation of the following tables is not systematic. Various solutions have been adopted on the basis of what appears best suited to account for a given work.

Note: This page, exceptionally, does not offer individual column searching like the other pages to avoid reducing efficiency. Given the large number of tables on this page, the instructions for searching are given below and not repeated systematically, as in the other pages. Furthermore, sorting of the first column may give odd results as a result of the use of various abbreviations.

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.

Two Piano Pieces (1918, 1920; 20 pp.)

Movement or Section Title Initial Page
(PDF: +4)
Bars (N)
“In the Hothouse” 1 37
“Toccata” 6 91

Three Pastiches for Piano (1922; 17 pp.)

Movement or Section Title Initial Page
(PDF: +18)
Bars (N)
Pastiche on the “Minute Waltz” by Chopin 1 164
Pastiche on the Habanera from “Carmen” by Bizet 16 119
Pastiche on the Hindu Merchant’s Song from “Sadko” by Rimsky-Korsakov 26 (last page: 32) 72

Prelude, Interlude, and Fugue for Piano (1920, 1922; 17 pp.)

Movement or Section Title Initial Page
“Prelude” 3
“Interlude” 8
“Fugue” 11 (last page: 19)

Cinque sonetti di Michelagniolo Buonarroti (1923; 40 pp.)

Movement or Section Title Pages
(PDF: + 10)
Bars
I 1-13 1-28
II 14-25 29-56
III 25-35 57-85
IV 36-47 86-119
V 48-66 120-61

Concerto per pianoforte e piccola orchestra, “Simorg-Anka” [no. 7] (1924; 100 pp.)

Movement or Section Title Pages
(PDF: + 4)
Bars
I 1-52 1-157
II 53-74 1-103
III 75-118 1-200

Symphony [no. 1] for Organ (1924; 81 pp.)

Movement or Section Title Initial Page
(1925 ed.)
Initial Page
(2013 ed.)
(PDF: + 26)
I[a]. “Prelude” 3 1
I[b]. “Passacaglia” 4 2
II[a]. “Introductio” 40 33
II[b]. “Fuga” 42, 51 (first and second subjects) 34, 42 (first and second subjects)
II[c]. [“Coda”] 59 48
III[a]. “Moderato” 61 51
III[b]. “Cadenza dei pedali” 78 67
[“Moderato” continued] 79 68
III[c]. “Cadenza-Toccata” 96 82
III[d]. “Coda-Stretta” 104 (last page: 105) 89 (last page: 92)

Trois poèmes du “Gulistān” de Saʿdī (1926, rev. 1930; 16 pp.)

Movement or Section Title Initial Page
“La lampe” 1-9
“La jalousie” 1-7 (numbering restarts)
“La fidélité” 1-9 (numbering restarts)

Toccata [no. 1] for Piano (1928; 66 pp.)

Movement or Section Title Initial Page
“Preludio-corale” 1
“Passacaglia” 11
“Cadenza” 46
“Fuga” [A] 51
“Fuga” [B] 63
“Coda-Stretta” 77 (last page: 84, plus ossia on p. 85)

Sonata IV for Piano (1928-29; 111 pp.)

Movement or Section Title Initial Page Bars (N)
I 1 221
II. “Count Tasca’s Garden” 54 94
III[a]. “Preludio” 78 7
III[b]. “Fantasia” 81 55
III[c]. “Cadenza” 92 23
III[d]. “Fuga duplex” (“Coda-Stretta” begins on p. 121, starting at bar 321) 98 (last page: 129) 371

Toccatinetta sopra C.G.F. (1929; 8 pp.)

Movement or Section Title Initial Page
“Preludietto” 1
“Piccola passacaglia maliziosa” 2
“Fughettina” 11 (last page: 15)

Introduction, Passacaglia, Cadenza, and Fugue (1929; compl. Alexander Abercrombie, 2004; 79 pp.)

Movement or Section Title Initial Page
“Introduzione quasi preludio” 1
“Passacaglia” 7 (Sorabji’s manuscript breaks off on p. 45)
“Cadenza fantasiata” 51
“Fuga a 4 voci” 57
—: Dux primus 57
—: Dux alter 62
“Coda-stretta” 77 (last page: 79)

Opus clavicembalisticum (1929-30; 253 pp.)

Movement or Section Title Initial Page
I. “Introito” 5
II. “Preludio-corale” 8
III. “Fuga I” 19 (ends on p. 30)
IV. “Fantasia” 30 (ends on p. 39)
V. “Fuga II” 39, 49
VI. “Interludium primum” 59
VII. “Cadenza I” 99
VIII. “Fuga tertia triplex ” 105 (ends on p. 114), 114 (ends on p. 124), 124 (ends on p. 137)
IX. “Interludium B” [(Toccata, Adagio, Passacaglia) 137 (ends on p. 147), 147 (ends on p. 153), 153
X. “Cadenza II” 194
XI. “Fuga IV” 198 (ends on p. 207), 207, 219 (ends on p. 229), 229 (ends on p. 240)
XII. “Coda. Stretta” 240 (last page: 252)

Symphony no. 0 for Piano Solo (1930-31; 333 pp.)

Movement or Section Title Initial Page
(PDF: + 4)
Bars
I. Prologo 1  
—: Introito 1 1-55
—: Fantasia 13 56-417
—: Cadenza 108 418-90
—: Coda-Stretta 127 491-553
II. Adagio 141  
—: Punta d’organo 141 1-45
—: Notturno-Fantasia 153 46-206
—: Ritournelle-point d’orgue 205 207-30
III. Prelude 210 1-78
—: Toccata variata 229 79-96
—: var. 1 229 79-96
—: var. 5 234 97-122
—: var. 10 242 123-53
—: var. 15 251 154-98
—: var. 20 264 199-24
—: var. 25 276 225-41
—: var. 30 285 242-77
—: var. 35 302 278-320
—: var. 40 319 321-68
—: var. 45 332 369-413
—: var. 50 348 414-61
—: var. 55 366 462-530
—: var. 60 388 531-622
—: Cadenza fugata 424 623-782
—: Coda-Epilogo 441 783-813

Second Symphony for Organ (1929-32; 350 pp.)

Movement or Section Title Initial Page
(1991 ed.)
Initial Page
(2014 ed.)
(PDF: + 26)
I. “Introduction” 1 1
II. “Thema cum [49] variationibus” 63 49
—: var. 1 63 49
—: var. 2 65 50
—: var. 3 68 52
—: var. 4 70 54
—: var. 5 73 56
—: var. 6 76 59
—: var. 7 78 61
—: var. 8 80 62
—: var. 9 83 65
—: var. 10 87 68
—: var. 11 88 69
—: var. 12 90 71
—: var. 13 92 72
—: var. 14 95 74
—: var. 15 98 77
—: var. 16 100 80
—: var. 17 105 84
—: var. 18 107 86
—: var. 19 109 88
—: var. 20 113 91
—: var. 21 114 92
—: var. 22 117 95
—: var. 23 119 97
—: var. 24 122 100
—: var. 25 126 102
—: var. 26 130 105
—: var. 27 133 108
—: var. 28 137 111
—: var. 29 142 115
—: var. 30 145 118
—: var. 31 149 121
—: var. 32 152 125
—: var. 33 155 128
—: var. 34 159 130
—: var. 35 161 133
—: var. 36 165 136
—: var. 37 167 139
—: var. 38 171 142
—: var. 39 175 145
—: var. 40 177 147
—: var. 41 181 150
—: var. 42 184 153
—: var. 43 185 154 (labelled “XLIII(a)”)
—: var. 44 192 156 (labelled “XLIII(b)”)
—: var. 45 196 163
—: var. 46 202 167
—: var. 47 208 172
—: var. 48 216 179
—: var. 49 226 187
III[a]. “Finale: Preludio” 240 (ends on p. 258) 198
III[b]. —: “Adagio” 259 (ends on p. 274) 211
III[c]. —: “Toccata” 274 (ends on p. 293) 220
III[d]. —: “Fuga triplex” 294 (ends on p. 315), 315 (Dux alter), 354 [Dux tertius] (last page: 396) 234, 249 (Dux alter), 272 (Dux tertius) (last page: 297)
Appendix A: Variation XXII for instruments without sustaining devices 300
Appendix B: Variation XXIX arranged for a single keyboard and pedals 302
Appendix C: Variation XLI edited for performance on three keyboards and pedal 306

Quintet II for Piano and String Quartet (1932-33; 432 pp.)

Movement or Section Title Initial Page Bars
I. “Introito” 1 1-123
“Fantasia” 27 124-716
“Coda-finale” 134 717-913
II. “Preludio” 161 1-121
“Passacaglia” 170 122-858
III. “Adagio” 254 1-392 (numbering starts at bar 260 on p. 296)
IV. “Finale” — “Introduction” 327 1-93
— “Allegro ” 342 94-436
— “Intermezzo” 393 437-603
— “Coda-epilogo” 439 (last page: 459) 604-745

Fantasia ispanica (1933; 54 pp.)

Movement or Section Title Initial Page
I. “Preludio-introduzione” 1
II 5
III 18
IV. “Quasi habanera” 33
V. “Coda-finale” 55 (last page: 64)

Toccata seconda per pianoforte (1933-34; 111 pp.)

Movement or Section Title Initial Page
“Preludio-toccata” 1
“Preludio-corale” 27
“Scherzo” 42
“Aria” 56
“Ostinato” 66
“Notturno” 88
“Interludio — Moto perpetuo” 106
“Cadenza — Punta d’organo” 119
“Fuga libera a cinque voci” 126 (last page: 164)

Sonata V (Opus archimagicum) (1934-35; 336 pp.)

Movement or Section Title Initial Page
(PDF: + 2)
I 1
II 63
III. “Punta d’organo” 75
IV 96
V 161
VI. “Adagio” 237
VII. “Preludio” 302
VIII. “Preludio-corale sopra ‘Dies irae’” 323
IX. “Cadenza” 366
X. “Fuga libera a cinque voci e tre soggetti” 373
—: Coda 416 (last page: 432)

Tāntrik Symphony for Piano Alone (1938-39; 284 pp.)

Movement or Section Title Initial Page
(PDF: + 4)
I 1 (Coda-Epilogo on p. 70)
II 97
III 172
IV 233
V 280
VI 308
VII: Fuga I 324
—: Fuga II 348
—: Fuga III 358
—: Fuga IV 379
—: Fuga V 396
—: Coda-Stretta 428 (last page: 447)

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.)

Movement or Section Title Initial Page Bars (N)
“Fantasia” 1 29
“Fugue” 20 (last page: 29) 84

Trois poèmes (1941; 13 pp.), ed. Marc-André Roberge

Movement or Section Title Initial Page Bars (N)
I. “Le faune” 1 24
II. “Les chats” 5 42
III. “La dernière fête galante” 15 (last page: 22) 41

Études transcendantes (100) (1940-44; 456 pp.)

The edition by Alexander Abercrombie et al. contains a table of contents for each volume. See also another view of the page numbers of this work.

Movement or Section Title Initial Page
(PDF: + 10)
1 1
2 6
3 10
4 20
5 25
6 30
7 37
8 42
9 48
10 53
11 63
12 68
13 73
14 83
15 92
16 98
17 107
18 110
19 122
20 125
21 134
22 139
23 144
24 152
25 161
26 166
27 179
28 185
29 190
30 195
31 203
32 211
33 214
34 222
35 227
36 231
37 241
38 247
39 255
40 264
41 269
42 275
43 281
44 289
45 319
46 323
47 329
48 335
49 342
50 347
51 356
52 363
53 367
54 373
55 379
56 385
57 390
58 394
59 400
60 417
61 425
62 432
63 438
64 468
65 474
66 479
67 484
68 490
69 495
70 528
71 536
72 555
73 558
74 574
75 582
76 624
77 626
78 630
79 633
80 636
81 645
82 648
83 653
84 660
85 675
86 680
87 682
88 692
89 695
90 699
91 705
92 711
93 713
94 717
95 724
96 726
97 732
98 740
99 746
100: Fuga a cinque soggetti (Coda-finale) 783 (Soggetto primo), 789 (Secondo soggetto), 795 [Terzo soggetto], 803 [Quarto soggetto], 817 [Quinto soggetto], 834 (Stretto maestrale) (last page: 864)

Rapsodie espagnole de Maurice Ravel—​Transcription de concert pour piano (first version, 1923; 16 pp.)

Movement or Section Title Initial Page
I. “Prélude à la nuit” 1
II. “Malagueña” 6
III. “Habanera ” 11
IV. “Feria” 14 (last page: 30)

Rapsodie espagnole de Maurice Ravel—​Transcription de concert pour piano (second version, 1945; 26 pp.)

Movement or Section Title Initial Page
I. “Prélude à la nuit” 1
II. “Malagueña” 7
III. “Habanera ” 13
IV. “Feria” 17 (last page: 33)

Concerto da suonare da me solo e senza orchestra, per divertirmi (1946; 70 pp.)

Bar numbering in the edition prepared under Jonathan Powell’s general editorship is off by one starting on p. 6.

Movement or Section Title Initial Page Bars (N)
I 1 106
II 28 52
III. “Scherzo diabolico” 48 (last page: 72) 128

Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.)

Movement or Section Title Initial Page
Theme 1
Var. 1 2
2 13
3 17
4 24
5 66
6 74
7 78
8 81
9 101
10 113
11 142
12 144
13 151
14 164
15 181
16 193
17 196
18 198
19 209
20 214
21 218
22: var. 1 223
—: var. 5 224
—: var. 10 227
—: var. 15 230
—: var. 20 232
—: var. 25 235
—: var. 30 238
—: var. 35 241
—: var. 40 243
—: var. 45 245
—: var. 50 250
—: var. 55 251
—: var. 60 254
—: var. 65 257
—: var. 70 262
—: var. 75 265
—: var. 80 269
—: var. 85 276
—: var. 90 281
—: var. 95 285
23 289
24 302
25 307
26 310
27: Fuga I 324
—: Fuga II 326
—: Fuga III 334
—: Fuga IV 340
—: Fuga V 348
Stretto maestrale 361
Coda 373 (last page: 377)

Third Organ Symphony (1949-53; 305 pp.)

Movement or Section Title Initial Page
(PDF: + 28)
I. “Introito” 1
—: “Fantasia” 7
—: “Coda-Ripieno” 53
II. “Grave” 68
—: “Cadenza” 81
—: “Corale-Fantasia” 83
—: “Ripieno (come al principio)” 115
III. “Toccata” 120
—: “Punta d’organo” 137
—: “Passacaglia” 148
—: var. 5 150
—: var. 10 159
—: var. 15 167
—: var. 20 175
—: var. 25 186
—: var. 30 193
—: var. 35 200
—: var. 40 208
—: var. 45 216
—: “Cadenza fantasiata” 220
—: “Fuga sextuplex” 231 (Cadenzetta, 234; fuga seconda, 234; [fuga tertia], 244; fuga quarta, 250; fuga quinta, 257; fuga sesta, 260) (last page: 309)

Un nido di scatole sopra il nome del grande e buon amico Harold Rutland (1954; 26 pp.)

Movement or Section Title Initial Page
1
“La prima scatola” 1
“La seconda scatola” 2
“La terza scatola” 3
“La quarta” 5
“La quinta” 8
“La sesta” 9
“La settima” 11
“L’ottava” 12
“La nona” 13
“La decima” 17
“L’undecima” [recte undicesima] 20
“La duodecima” [recte dodicesima] 21
“La tredecima” [recte tredicesima] 22
“La quartadecima” [recte quattordicesima] 23
“La quidecima” [recte quindicesima] 24
“La sedicesima” 25 (last page: 26)

Toccata terza (1955; 91 pp.)

Movement or Section Title Pages (ED)
I. “Movimento vivo” 1-17
II. “Adagio” 18-21
III. “Passacaglia” 22-69
IV. “Cadenza fiorita” 70-74
V. “Quasi fugato” 75-82
VI. “Corrente” 83-89
VII. “Fantasia” 90-107
VIII. “Interludio” 108-15
IX. “Capriccio” 116-23
X. “Epilogo – Coda Stretta” 124-27

Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.)

The table of contents of the manuscript, as found in SCC, 159, differs greatly from the reproduction of the original score distributed by the Sorabji Archive. Rapoport’s listing respects Sorabji’s odd pagination, which has no pages 162, 163, 318, 319, 348, 349, and 439, and includes pp. 431a-439a between pp. 438 and 440; the last numbered page is 538. The Sorabji Archive’s copy is numbered from 1 to 540 (538 - 7 + 9 = 540).

The second column gives the initial page of each variation in the original version, Symphonic Variations for Piano (1935-37; 484 pp.), to make it easy to locate the source and compare the variations.

Movement or Section Title Initial Page
(Piano Solo Version)
Initial Page (Score) Initial Page (PDF)
(PDF: + 26)
Cover [reproduction of the original binding] 1 (followed by a blank page)
Title 3 (followed by a blank page)
Introduction by the Editor 5
The Variations [table of contents] 7
The Orchestra 8
Theme [added by editor from the version for piano solo] 9 (followed by a blank page)
Introitus 1 11 (add 10 to the printed page number from this point)
Var. 1 1 73 83
Var. 2 4 82 92
Var. 3 6 87 97
Var. 4 9 97 107
Var. 5 12 105 115
Var. 6 13 111 121
Var. 7 17 122 132
Var. 8 20 138 148
Var. 9 23 146 156
Var. 10 27 161 171
Var. 11 31 176 186
Var. 12 35 190 200
Var. 13 39 206 216
Var. 14 43 218 228
Var. 15 49 234 244
Var. 16 52 244 254 (272 is blank)
Var. 17 62 273 283
Var. 18 67 289 299
Var. 19 70 298 308
Var. 20 73 310 320
Var. 21 82 338 348
Var. 22 85 350 360
Var. 23 97 380 390
Var. 24 100 392 402
Var. 25 111 428 438
Var. 26 114 436 (music ends on p. 444) 446 (music ends on p. 454)
Quotation of one stanza from the “Rubaiyat” by Khayym in Edward FitzGerald’s translation, followed by a blank page 455-56
Var. 27 117 445 (last page: 519) 457 (last page: 531)
[Dating] 532
Technical Notes to the Score 533
Notes to the Introitus 540
Notes to Book A (vars. 1-3) 544
Notes to Book B (vars. 4-7) 546
Notes to Book C (vars. 8-10) 550
Notes to Book D (vars. 11-13) 556
Notes to Book E (vars. 14-16) 561
Notes to Book F (vars. 17-19) 566
Notes to Book G (vars. 20-21) 571
Notes to Book H (vars. 22-23) 576
Ending of var. 22 from the version for piano solo (pp. 95-97 of the manuscript) 580
Notes to Book I (var. 24) 581
Notes to Book J (vars. 25-26) 588
Notes to Book K (var. 27) 590
Further References 602

Passeggiata veneziana sopra la Barcarola di Offenbach (1955-56; 24 pp.)

Movement or Section Title Initial Page
[“Barcarola”] 1
“Tarantella” 10
“Notturnino” 16
“Cadenzetta” 22
[“Ripresa”] 23 (last page: 24)

Rosario d’arabeschi (1956; 45 pp.)

Movement or Section Title Initial Page
I. “Introito” 1
II. “Ostinato doppio” 11
III. “Punta d’organo — Cadenza” 27, 33
IV. “Tarentella” 36
V. “Coda-ripresa” 41 (last page: 44)

Third Symphony for Piano (1959-60; 144 pp.)

Movement or Section Title Initial Page
(PDF: + 2)
Bars (N)
[Opening section] 1 47
[Development] 12 275
[Fuga I] 94 147
[Interlude] 108 95
[Fugue II] 133 102
Passacaglia finale 144 (last page: 197) 171

Messa grande sinfonica (1955-61; 1,001 pp.)

For a full breakdown into subsections of each movement, see the page offering a detailed structural outline.

Movement or Section Title Initial Page
(PDF: +0)
Bars (N)
Kyrie 1 645
Gloria 141 876
Credo 352 709
Offertorium 550 229
Sanctus 601 493
Pater noster 721 410
Agnus dei 831 440
Amen 937 (last page: 1001) 222

Fourth Symphony for Piano Alone (1962-64; 240 pp.)

Movement or Section Title Initial Page
(PDF: +0)
I. “Moderatamente allegro” 1
II. “Preludio corale” 74
—: “Interludio. Perpetuum mobile” 96
—: “Ostinato” 105
—: “Variazioni” 119
—: Var. 1 119
—: Var. 2 120
—: Var. 3 122
—: Var. 4 124
—: Var. 5 124
—: Var. 6 125
—: Var. 7 126
—: Var. 8 128
—: Var. 9 144
—: Var. 10 145
—: Var. 11 146
—: Var. 12 147
—: Var. 13 148
—: Var. 14 149
—: Var. 15 150
—: Var. 16 151
—: Var. 17 152
—: Var. 18 153
—: Var. 19 157
—: Var. 20 157
—: Var. 21 158
—: Var. 22 159
—: Var. 23 161
—: Var. 24 162
—: Var. 25 162
—: Var. 26 163
—: Var. 27 164
—: Var. 28 165
—: Var. 29 166
—: Var. 30 167
—: Var. 31 168
—: Var. 32 169
—: Var. 33 170
—: Var. 34 171
—: Var. 35 172
—: Var. 36 173
—: Var. 37 174
—: Var. 38 175
—: Var. 39 176
—: Var. 40 177
—: Var. 41 178
—: Var. 42 179
—: Var. 43 180
—: Var. [44] 181
—: Var. 45 182
—: Var. 46 183
—: Var. 47 184
—: Var. 48 185
—: Var. 49 (“Quasi cadenza – Toccata”) 190
—: “Fuga” 193
—: “Tema seconda” 197
—: “Tema terza” 201
III. “Finale” 207 (last page: 232)

Frammenti aforistici (20) (1964; 9 pp.)

Movement or Section Title Initial Page
(PDF: + 2)
a-c 1
d-f 2
g-h, k 3
l 4
m-o 5
p-q 6
r 7
s-t 8
u 9 (last page: 9)

Frammenti aforistici (Sutras) (104) (1962-64; 37 pp.)

Fragment numbering in the edition by Thomas Smetryns and Lukas Huisman is done using Roman numerals, but fragments 90-99 are numbered LXL-LXIX [sic] instead of XC-XCIX.

Movement or Section Title Initial Page
1-3 1
4-6 2
7-8 3
9-10 4
11-13 5
14 6
15 7
16-17 8
19 9
20-22 10
23-24 11
25-27 12
28-30 13
31-32 14
33-35 15
36-38 16
39 17
40 17
41-43 18
44-45 19
46-47 20
48-50 (no. 50 continues on p. 22) 21
51 22
52-54 (no. 54 continues on p. 24) 23
55 24
56-57 25
58-59 26
60 27
61-63 28
64-66 (no. 66 continues on p. 30) 29
67 30
68-69 31
70-71 32
72, 72a, 73 (no. 73 continues on p. 34) 33
74-75 34
76-77 35
78-79 36
80-81 37
82 (continues on p. 38) 37
83-85 39
86-88 40
89-90 41
91-92 42
93-95 43
96-98 44
99-101 45
102-3 46 (last page: 46)

Concertino non grosso for String Sextet with Piano obbligato quasi continuo (1968; 48 pp.)

Movement or Section Title Initial Page
(PDF: + 6)
Bars (N)
I 1 82
II 46 33
III 58 (last page: 108) 130

Symphonia brevis for Piano (1973; 120 pp.)

Movement or Section Title Initial Page Bars (N)
I. “Intreccia politematica” 1 180
II[a]. Adagio 39 59
II[b]. “Preludio quasi toccata” 47 49
II[c]. “Aria fiorita” 55 45
II[d]. “Interludio” 63 29
II[e]. “Notturno” 69 82
II[f]. “Nexus — Quasi fuga” 92 137
II[g]. Coda epilogo — Punta d’organo 103 (last page: 113) 47

Opusculum clavisymphonicum vel claviorchestrale (1973-75; 334 pp.)

This work has not yet been published in a typeset edition and is thus external to this list, but its second movement is included exceptionally because the details of its theme with 39 variations (in which one variation is itself a theme with 27 variations) are not given in Sorabji: A Critical Celebration, 169.

Movement or Section Title Initial Page
Theme 97
1 97
2 97
3 101
4 104
5 105
6 108
7 110
8 114
9 117
10 123
11 132; marked “Orchestra tacet”
12 136
13 141
14 149
15 155
16 159
17 169
18 178
19 182
20 189
21: ostinato theme 204
—: var. 1 205
—: var. 2 205
—: var. 3 206
—: var. 4 206
—: var. 5 206
—: var. 6 207
—: var. 7 208
—: var. 8 209
—: var. 9 210
—: var. 10 211
—: var. 11 211
—: var. 12 212
—: var. 13 213
—: var. 14 214
—: var. [15] (missing)
—: var. 16 215
—: var. 17 216
—: var. 18 217
—: var. 19 218
—: var. 20 219
—: var. 21 221
—: var. 22 222
—: var. 22 (another variation so numbered) 223
—: var. 23 224
—: var. 24 225
—: var. 25 227
—: var. 26 228
—: var. 27 229; marked “Orchestra tacet” (for the first half only)
22 230
23 234
24 241
25 249
26 250
27 260
28 265
29 268
30 271
31 278
32 282
33 287
34 292
35 296
36 300; marked “In luogo della cadenza (in uguale modo)” and “Orchestra tacet” (for all but the last two bars)
37 305
38 310
39 313 (last page: 334)

Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.)

Movement or Section Title Initial Page
(PDF: + 2)
I. “Introito” 1
—: “Intreccia” [recte Intrecciatura or Intreccio] 4
—: “Interludio fugato” 12
—: [“Intreccia” continued] [14]
II. “Preludio” 97
—: “Interludio placido” 100
—: “Animato quasi scherzoso” 103
—: “Moto perpetuo” 113
—: “Ostinato” 116
III. “Quasi adagio” 167
—: “Toccata: quasi cadenza ovvero moto perpetuo” 188
IV. “Quasi Alkan” 193
V. “Arabesque-Nocturne” 209
VI. “Quasi fuga A” 228
—: “Interludio A” 230
—: “Quasi fuga B” 232
—: “Interludio B” 234
—: “Quasi fuga C” 236
—: “Interludio C” 240
—: “Quasi fuga D” 243
—: “Interludio D” 248
—: “Quasi fuga E” 250
—: “Quasi stretto” 256
VII. “Coda epilogo” 258 (last page: 270)

Frammenti aforistici (4) (1977; 1 p.)

Movement or Section Title Initial Page
(PDF: +4)
1-4 All fragments on one page

“Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.)

Bar numbering in Alexander Abercrombie’s edition becomes off by one in bar 40. Furthermore, the numbers of bars of some variations, as indicated by the numbers reproduced here and taken from the score (marked with a bullet), are incorrect.

Movement or Section Title Initial Page Bars
[Theme] 1 1-4
Var. 1 2 5-11
Var. 2 3 12
Var. 3 3 12
Var. 4 4 13-16
Var. 5 5 17-25
Var. 6a 5 26-31
Var. 6b 7 32-33
Var. 6c 7 34-38
Var. 7 8 39-41
Var. 8a 9 40-52•
Var. 8 [sic] 14 53-60
Var. 9a 15 60-69•
Var. 9b 18 70-100
Var. 10 20 101-7
Var. 11a 21 108-12
Var. 11b 23 113-15
Var. 12 24 116-19
Var. 13 25 120-23
Var. 14 26 124-26
Var. 15 26 127-32
Var. 16 27 133-38
Var. 17 28 139-42
Var. 18 29 143-82
Var. 19 35 183-87
Var. 20 36 188
Var. 21 37 189-94
Var. 22 38 195-218
Var. 23 39 219-22
Var. 24 39 223-30
Var. 25 41 231-33
Var. 26 41 234-37
Var. 27 42 238-42
Var. 28 42 243-50
Var. 29 43 251-54
Var. 30 44 255-58
Var. 31 45 259-66
Var. 32 46 267-97
Var. 33 49 298-302
Var. 34 49 303-11
Var. 35 50 312-17
Var. 36 51 318-22
Var. 37 52 323-30
Var. 38 53 331-35
Var. 39 54 336-39
Var. 40 56 340-44
Var. 41 56 345-47
Var. 42 57 348-54
Var. 43 58 355-59
Var. 44 59 360-89
Var. 45 66 390-98
Var. 46 67 399-406
Var. 47 69 407-23
Var. 48 72 424-27•
Var. 49 73 428-72•
“Fuga” 84 473-503
“Interludio” 87 504-12
[“Continuazione della fuga”] 90 (last page: 95) 513-81

Due sutras sul nome dell’amico Alexis (1981, 1984; 2 pp.), ed. Frazer Jarvis

Movement or Section Title Initial Page
1 1
2 2 (last page: 2)
Last modified: 2021-06-10
© Marc-André Roberge 2021
Sorabji Resource Site (SRS)
Faculté de musique, Université Laval, Québec

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