Sorabji Resource Site (SRS)

Web Pages Devoted to Sorabji

This page lists, by alphabetical order of author, web pages (as opposed to entire sites) that deal with Sorabji to some extent. See also the page devoted to websites devoted to Sorabji.

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Author Title Comments
Author Title Comments
Altarus Records Altarus Records News Page Chris Rice, the founder and owner of Altarus Records, documents “forthcoming and recent events featuring music, composers and artists associated with Altarus Records, and sometimes other events that we think are interesting”. His label being the one most closely associated with Sorabji’s music, there is substantial information on Jonathan Powell’s recordings and performances.
Carter, David [David Carter] My Adventure with Kaikhosru Sorabji
The tubist David Carter (Davetubaking), who has been working for several years on an edition of Symphony [no. 2], “Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone Solo (1942-51; 826 pp.), offers comments about his work and sound files of excerpts from the work mentioned as well as of:
  • Opus clavicembalisticum (1929-30; 253 pp.)
  • Toccata seconda per pianoforte (1933-34; 111 pp.)
  • Second Symphony for Organ (1929-32; 350 pp.)
  • Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.)

See also his Virtual Jami Blog: Progress of creating a virtual performance of Sorabji’s Jami Symphony.

Edwards, Michael [Michael Edwards] List of possible errors in Opus Clavicembalisticum by Kaikhosru Shapurji Sorabji Michael Edwards (Victoria, Australia) prepared a list (dated 11 April 2000, modified on 4 October 2002) of possible errors in Sorabji’s score that could be of use in preparing a new edition of the score. The file consists of an introductory text (5 pages) followed by the list of errors (9 pages).
Ezust, Emily [Emily Ezust] The LiederNet Archive This website contains a page devoted to Sorabji providing texts that he set to music along with translations. It is possible to see which composers also set the same texts.
Farnum, Elizabeth [Elizabeth Farnum] The Sorabji Project Home Page [no longer active, at least as of September 2009] The American soprano Elizabeth Farnum, who premiered most of Sorabji’s songs for female voice and recorded them with Margaret Kampmeier for Centaur Records, put up a web page to promote her project (link no longer active).
Gramophone Gramophone Archive The archival website of the well-known record magazine (subscription required) makes it possible to search for all articles and letters by Sorabji as well as for passing mentions of his name throughout the entire collection. Sorabji’s contributions are listed elsewhere.
Habermann, Michael [Michael Habermann] Michael Habermann, pianist Michael Habermann, one of the first pianists to give authorized performances of Sorabji’s works, offers copies of the articles he wrote on Sorabji, reviews of his recordings and live performances, detailed data on his recordings, as well as sound files of two interviews about Sorabji and an excerpt from Rapsodie espagnole de Maurice Ravel—​Transcription de concert pour piano (second version, 1945; 26 pp.).
Irving, James Duncan [James Duncan Irving} Kaikhosru Shapurji Sorabji (website no longer active) This page offerred the reminiscences of Dr. James Duncan Irving (1922-2015), a retired English interventional radiologist in the National Health Service, who met Sorabji while he was a medical student. The composer, on 10 July 1944, gave him a bound copy of the Concerto for Piano and Orchestra [no. 5] (1920; 144 pp.), which he turned to the Royal College of Music in about 1992, and an annotated copy of Opus clavicembalisticum (1929-30; 253 pp.), marked “Working Copy:- / with Corrections: / MCMXXXII”, offered to the Sorabji Archive on 18 April 1997.
Poster, Gary, and Friedman, Karyn [Gary Poster and Karyn Friedman] DaringDiva’s Descriptive Art Song Catalog [link no longer active, at least as of September 2009] This website, which consists of an “indexed repertoire list of over 650 (and growing) lesser-known and contemporary art songs”, houses a page on Sorabji with data on the titles and ranges of his songs.
Nanasakov, Michael [Michael Nanasakov] Virtual Pianist: Michael Nanasakov Pianist Workshop Michael Nanasakov, which is the pseudonym of a Japanese piano technician named Junichi Nanasawa who styles himself “Virtual Pianist” and also identifies his company as “Nanasawa Articulates”, provides data (in Japanese) on sound files (“18/100 Transcendental Piano Studies (Marc-André Hamelin’s Edition”; no. JNCD-1010) he made in 2002 of the first eighteen of the Études transcendantes (100) (1940-44; 456 pp.), using Marc-André Hamelin’s edition, as well as of Two Piano Pieces (1918, 1920; 20 pp.), Prelude, Interlude, and Fugue for Piano (1920, 1922; 17 pp.), and Pasticcio capriccioso sopra l’op. 64, no 1 del Chopin (1933; 8 pp.).

The recording, as of 28 May 2013, is no longer available; the same applies to a letter of 16 February 2005 by Alistair Hinton asking that the recording be withheld from public release, with which request Nanasakov has complied.
Powell, Jonathan [Jonathan Powell] Jonathan Powell — Pianist Jonathan Powell, the English pianist who premiered and recorded several works by Sorabji, provides information on his performances and offers a number of sound files, including the first five sections of Opus clavicembalisticum (1929-30; 253 pp.) from the performance he gave in New York in June 2004.
Roberge, Marc-André [Marc-André Roberge] Marc-André Roberge The musicologist Marc-André Roberge’s personal page provides a full bibliography of his writings, including all his work on Sorabji, with links to samples of his critical editions published by the Sorabji Archive and data on performances and recordings that use his editions.
Thomas, Mark A. [Mark A. Thomas] Kaikhosru Shapurji Sorabji (page no longer available) The author, who runs a website called “”, posted on 20 April 2003 a page about Sorabji, with links to other sites. The rest of the site has nothing to do with the composer. One finds a sound file of the author’s performance of “In the Hothouse” from Two Piano Pieces (1918, 1920; 20 pp.).
Ullén, Fredrik [Fredrik Ullén] 100 Transcendental Etudes (1940-44): Comments by Fredrik Ullén The Swedish pianist Fredrik Ullén, who is currently recording the complete Études transcendantes (100) (1940-44; 456 pp.) for BIS, offers brief comments on selected studies; this list also includes durations and data about first performances. His estimated durations (including cumulative ones) can also be found, along with data on first performances, in a summary table. A previous version of this material used to be hosted on Ullén’s personal website, which is no longer in operation.
Various Piano Street The Piano Street website features a “Piano Board” whose “Repertoire” section very often contains discussion threads dealing with Sorabji. Threads often tend to resort to flame mail.
Vignani, Alberto [Alberto Vignani] [Sound files for sections from Opus clavicembalisticum and Symphonic Variations] Alberto Vignani, a software engineer from Torino, Italy, has made sound files of music by Sorabji:
  • Sections from Opus clavicembalisticum (1929-30; 253 pp.): “Introito”, “Fantasia”, “Toccata”, “Adagio”, “Passacaglia” (vars. 1-13), “Cadenza I”, and “Fuga Tertia” (first part); posted on 19 May 2008
  • Sections from Symphonic Variations for Piano and Orchestra (1935-37, 1953-56; 540 pp.): “Introito”, vars. 1-3, 4-6, 17-19, 25-26; posted on 5 August 2008
These were formerly available from a RapidShare page (posted in 2008; no longer available when checked on 27 May 2013).
Last modified: 2021-05-21
© Marc-André Roberge 2021
Sorabji Resource Site (SRS)
Faculté de musique, Université Laval, Québec

The contents of this website devoted to the English composer Kaikhosru Shapurji Sorabji may be freely used for documentary purposes in a research context provided that due credit is given but may not be mirrored on any other server. Links to external or third-party websites cannot be guaranteed to be, or remain, valid or persistent, and their contents cannot be guaranteed to be, or remain, accurate or appropriate.

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