This page, which serves as a complement to similar data provided for the manuscripts (or editions, where no manuscript is known to have survived) in the catalogue of works found in Paul Rapoport’s SCC, 109-74, provides detailed tables of contents for the editions of Kaikhosru Shapurji 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 is given for each section, 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 barlines are added for the sake of convenience (of the editor and/or the performers).

Offsets for PDF editions: The editions that begin with preliminary pages, usually numbered in Roman numerals, cause 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 therefore be added when using the page search box at the top of the screen. In such cases, the column heading adds a note such as (PDF: +10). In the case of the Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.), although the page numbers for the PDF file are given in a separate column.

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

The presentation of the following tables is not systematic. Different solutions have been adopted on the basis of what seems most appropriate for a given work.

• Two Piano Pieces (1918, 1920; 20 pp.)
• Three Pastiches for Piano (1922; 17 pp.)
• Prelude, Interlude, and Fugue for Piano (1920, 1922; 17 pp.)
• Cinque sonetti di Michelagniolo Buonarroti (1923; 40 pp.)
• Concerto per pianoforte e piccola orchestra, “Simorg-Anka” [no. 7] (1924; 100 pp.)
• Symphony [no. 1] for Organ (1924; 81 pp.)
• Trois poèmes du “Gulistān” de Saʿdī (1926, rev. 1930; 16 pp.)
• Toccata [no. 1] for Piano (1928; 66 pp.)
• Sonata IV for Piano (1928-29; 111 pp.)
• Toccatinetta sopra C.G.F. (1929; 8 pp.)
• Introduction, Passacaglia, Cadenza, and Fugue (1929; compl. Alexander Abercrombie, 2004; 79 pp.)
• Opus clavicembalisticum (1929-30; 253 pp.)
• Symphony no. 0 for Piano Solo (1930-31; 333 pp.)
• Second Symphony for Organ (1929-32; 350 pp.)
• Quintet II for Piano and String Quartet (1932-33; 432 pp.)
• Fantasia ispanica (1933; 54 pp.)
• Toccata seconda per pianoforte (1933-34; 111 pp.)
• Sonata V (Opus archimagicum) (1934-35; 336 pp.)
• Symphonic Variations for Piano (1935-37; 484 pp.)
• Tāntrik Symphony for Piano Alone (1938-39; 284 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.)
• Trois poèmes (1941; 13 pp.)
• Études transcendantes (100) (1940-44; 456 pp.)
• Rapsodie espagnole de Maurice Ravel—​Transcription de concert pour piano (first version, 1923; 16 pp.)
• Rapsodie espagnole de Maurice Ravel—​Transcription de concert pour piano (second version, 1945; 26 pp.)
• Concerto da suonare da me solo e senza orchestra, per divertirmi (1946; 70 pp.)
• Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.)
• Third Organ Symphony (1949-53; 305 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.)
• Toccata terza (1955; 91 p.)
• Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.)
• Rosario d’arabeschi (1956; 45 pp.)
• Third Symphony for Piano Solo (1959-60; 144 pp.)
• Messa grande sinfonica (1955-61; 1,001 pp.)
• Fourth Symphony for Piano Alone (1962-64; 240 pp.)
• Frammenti aforistici (20) (1964; 9 pp.)
• Concertino non grosso for String Sextet with Piano obbligato quasi continuo (1968; 48 pp.)
• Frammenti aforistici (Sutras) (104) (1962-64; 37 pp.)
• Symphonia brevis for Piano (1973; 120 pp.)
• Opusculum clavisymphonicum vel claviorchestrale (1973-75; 334 pp.)
• Sixth Symphony for Piano (Symphonia claviensis) (1975-76; 270 pp.)
• Frammenti aforistici (4) (1977; 1 p.)
• “Il gallo d’oro” da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978-79; 93 pp.)
• Due sutras sul nome dell’amico Alexis (1981, 1984; 2 pp.)

Note: This page does not offer individual column searching like the other pages in order not to reduce 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. Also, sorting the first column may give strange results due to the use of abbreviations.

The edition provides a list of contents on p. 3 (PDF), divided into three parts, and a table on p. 739 (PDF) showing the initial and final page number of each section in both the manuscript and the edition, together with the number of noteheads for each, with subtotals for each of the three parts and a grand total.

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.

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

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 list respects Sorabji’s odd pagination, which omits 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 first page of each variation in the original version, Symphonic Variations for Piano (1935-37; 484 pp.), to make it easier to locate the source and compare the variations.

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

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

This work has not yet appeared in a typeset edition and is therefore external to this list, but its second movement is included as an exception because the details of its theme with 39 variations (in which one variation is itself a theme with 27 variations) are not given by Paul Rapoport in SCC, 169.

The 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.