Abridged Version of the Table of Contents of Opus sorabjianum

The following is an abridged version of the table of contents of Opus sorabjianum: The Life and Works of Kaikhosru Shapurji Sorabji. The full table of contents fills seven pages because it consists of each bookmarked section title, which is necessary to create a complete list of bookmarks in the PDF file. The present list omits the titles of all of Sorabji’s works (and, sometimes, the names of the dedicatees whose relationships with the composer are described) that have an entry pointing to a section where their genesis and compositional features are discussed.

Preliminaries and Introduction

Preface

Discovering Sorabji
State of Research
Sorabji’s Life in One Paragraph
Format of the Book
Sorabji Resource Site
Internet Edition and Printing Instructions

Acknowledgements

Sources and Abbreviations

Archival Sources
Frequently Mentioned Correspondents
Frequently Cited Sources
Iconography
Editorial Conventions and Abbreviations
Current Value of Money

Chronology

Introduction / A Primer to Sorabji’s Music

Stylistic Periods
The Manuscripts and Their Editions
Incomplete and Lost Works
Titles and (Extra-)Musical References
Dedications and Notes Written in the Manuscripts
Length and Virtuosity
Notational Techniques
Formal Categories
Stylistic Categories
Works Other than for the Piano
Compositional Language

Part 1 / Family Background and Early Years

1 / Before 1892 ■ Family Origins in India and England

Shapurji Sorabji, the Absentee Parsi Father
Madeline Matilda Worthy, the English (and not “Spanish-Sicilian”) Mother
Alleged Relatives in the Church Hierarchy
Gianandrea, Stephen, and the “cugino inglese”

2 / 1892-1914 ■ Childhood and Youth

First Contacts with Music
Private Education by Tutors
Musical Studies with Charles A. Trew
England at War, Sorabji at Home

3 / 1914 ■ Making Friends in the Heseltine Circle

Discussing Modern Music with Philip Heseltine, the First Correspondent
Two Friends from the Heseltine Circle: Bernard van Dieren and Cecil Gray

4 / 1914-20 ■ A Zoroastrian’s First Steps as a Composer

Name and Nicknames
Joining (and Breaking from) the Parsi Community
Quarrels with Lexicographers
Love of Singing and Singers
French Influences and Early Songs

5 / 1915-18 ■ Putting a Sharp Pen to Work

Taking Up Residence at Clarence Gate Gardens
Waging Wars with Open Letters
Controversy with Ernest Newman

Part 2 / A Composer-Pianist at Work

6 / 1919 ■ Encounter with an “Artistic and Intellectual Titan”

Playing for Busoni, the Revered Master

7 / 1920-22 ■ Discovering Other Worlds

Contacts with Music Publishers
Occultism, Extrasensory Perception, Yoga, and Number Symbolism

8 / 1922-25 ■ “Sinjon Wood”

Christopher à Becket Williams, the Early Admirer

9 / 1926-29 ■ Emotional Life

Women, Children, and “Sexual Inversion”

10 / 1929-30 ■ Erik Chisholm and Opus clavicembalisticum

Erik Chisholm, the Realistic Glaswegian Friend
The Composition and First Performance of Opus clavicembalisticum
The Music of Opus clavicembalisticum
The Published Edition of Opus clavicembalisticum and Its Reception

11 / 1931-32 ■ Professional Life and Finances

Reviewing Music for the “No Wage”
The Publication of Around Music
Settling Family Matters in the “Accursed, Poisonous, and Pestilent City” of Bombay
The Shapurji Sorabji Trust and Sorabji’s Finances

12 / 1932-36 ■ A Composer “Who Incidentally, Merely, Plays the Piano”

Pianistic Abilities, Instruments, and Pianists
Admiration for Organists

13 / 1936 ■ An Unfortunate Recital and the “Ban”

John Tobin’s Cowdray Hall Recital
Public Performances, Copyright, and the “Ban”

Part 3 / The Recluse Composer-Critic

14 / 1937-39 ■ Writing on Non-Musical Matters

Association with Oxford University Press
The Well-Read Composer on Social Issues

15 / 1940-41 ■ Friendships, Broken and Unbroken

Frank Holliday, the Devoted Champion
Harold Morland, the Inspired Poet

16 / 1941-50 ■ Casting a Defiant Look at the World

The Eternal Misanthrope: The Fruits of Misanthropy and Mi contra fa
Foreign Countries and Languages
Vituperating against England and Its Institutions

17 / 1951-53 ■ Finding Refuge in Dorset

Escape from London and Life at The Eye
Norman Gentieu, the Munificent American Friend

18 / 1954-59 ■ Feelings, Positive and Negative

Caring for “Mumsie” during Her Final Years
Intensity of Friendship in a Tower of Granite

19 / 1960-61 ■ Completing the magnum opus

Christopher Murray Grieve (Hugh MacDiarmid) and the “Sorabji Symposium”
Fascination with the Catholic Ritual

20 / 1962-72 ■ The World-Weary Composer

Obsession with Food and Health Matters
Turning Away from Composition
Likes and Dislikes in Music

Part 4 / Towards Rediscovery

21 / 1973-75 ■ The Flame Rekindled

Alistair Hinton, the Trusted Friend
Epistolary Activities, Handwriting, and Typewriting

22 / 1976-79 ■ Lifting the “Ban”

Unofficial and Official Performances

23 / 1980-88 ■ The Final Years

Dedications, Tributes, and Other Homages
Death and Funeral

Appendices, Bibliography, and Index

Appendix 1 / List of Works

Appendix 2 / Catalogue of Works

Appendix 3 / Discography

Appendix 4 / Musical Examples

Bibliography

Dictionary Articles
Monographs and Excerpts from Monographs
Theses and Dissertations
Obituaries
Reminiscences by Contemporaries and Friends
Periodical Articles
Public Lectures and Broadcasts
Reviews of Sorabji’s Books of Essays
Reviews of Published Scores and Early Performances
Other Publications Cited in the Notes
Sorabji’s Parents and Parsi Origins
Published Sources Relevant to Sorabji’s Life
Unpublished Sources Relevant to Sorabji’s Life
Open Letters about Sorabji
Sorabji’s Friends, Dedicatees, and Acquaintances
Alfred Richard Orage and the New Age Circle
Musical and Extramusical Aspects of Sorabji’s Works
Miscellaneous