The following is a list of compositions of Kaikhosru Shapurji Sorabji sorted by instrumentation. Within the individual sections, the pieces are arranged by genre and chronologically.
The list of works found here is based on the information provided by Marc-André Roberge's Sorabji Resource Site. Since Sorabji's piece titles tend to contain various problems, Roberge's site amends them when necessary.
Works for orchestra with voices
Symphonies No. 1 for Piano, Large Orchestra, Chorus, and Organ, KSS30 (1921–22; 300 pp.) The work bearing the name "Symphony II for Piano, Large Orchestra, Organ, Final Chorus, and Six Solo Voices" was intended as an orchestral work. Only the piano part (written 1930–31) was completed, yet it is one of Sorabji's longest piano compositions of all and has been described as self-sufficient.Abrahams, p. 46 Roberge's catalogue renames it to Symphony No. 0 for Piano Solo (see the section on the piano symphonies for the full details of the item). No. 2, Jāmī, for Large Orchestra, Wordless Chorus, and Baritone Solo, KSS72 (1942–51; 826 pp.) I. (with chorus) II. (with chorus) III. (with chorus) IV. Cantico (with chorus and baritone)
Other Messa grande sinfonica, for eight soloists, two choirs, and orchestra, KSS84 (1955–61; 1,001 pp.) I. Kyrie II. Gloria [with 11 settings of the text] [Passacaglia] [Interlude] [Di nuovo la passacaglia] III. Credo—Offertorium [the Credo with 6 settings of the text] IV. Sanctus [with 5 settings of the text] V. Pater noster [with 15 settings of the text] VI. Agnus dei [with 3 settings of the text] VII. Amen
Works for orchestra without voices
Piano concertos Numbered: No. 1, KSS6 (1915–16; 177 pp.) I. Modéré II. Très lent. Toujours enveloppé d'une atmosphère de chaleur tropicale et langoureuse III. Impétueux et impatient No. 2, KSS14 (1916–17; only two-piano version survives; 49 pp.) Modéré Lent Galvanique mais sans trop de hâte d'abord No. 3, KSS16 (1918; 100 pp.) Modérément animé, avec une expression très libre et fantaisiste Assez lent Vif et animé No. 4, KSS18 (1918; 100 pp.) I. Modérément animé II. Très lent III. Galvanique. Animé, mais pas trop vite No. 5, KSS27 (1920; 144 pp.) No. 6, KSS32 (1922; 144 pp.) I. Animé II. Lent III. Vif No. 7, Sīmurgh-‘Anqā, KSS38 (1924; 100 pp.) I. Assez animé, nerveux II. Lent mais pas traîné. Ordinairement très doux et "piano" III. Très animé No. 8, KSS45 (1927–28; 344 pp.) I. Ardito—focosamente II. III. Rude, sauvage et brutal Unnumbered: Symphonic Variations for Piano and Orchestra, KSS78 (1935–37, 1953–56; Sorabji added an "Introitus" for orchestra alone and orchestrated the first volume [27 variations] of the three-book Symphonic Variations for Piano; 540 pp.) Opus clavisymphonicum—Concerto for Piano and Large Orchestra, KSS80 (1957–59; 333 pp.) I. Vivo II. Toccata; Cadenza fugata; Adagio–Epilogo Opusculum clavisymphonicum vel claviorchestrale, KSS94 (1973–75; 334 pp.) I. Moderatamente animato II. Variazioni sopra il Credo in qualsiasi modo del Gretchaninoff
Other Chaleur—Poème, KSS15 (1916–17; 40 pp.) Opusculum for Orchestra, KSS34 (1923; 36 pp.)
Works for voice(s) and chamber ensemble Music to "The Rider by Night" KSS22 (1919; libretto written by Robert Nichols; full score missing) Cinque sonetti di Michelagniolo Buonarroti, for baritone, flute, oboe, clarinet, bassoon, piano, and strings, KSS36 (1923; 40 pp.) "Tu sa' ch'i' so, signor mie, che tu sai" "Non so se s'è la desïata luce" "A che più debb'i' mai l'intensa voglia" "Veggio nel tuo bel viso, signor mio" "Se nel volto per gli occhi il cor si vede"
Works for bells Suggested Bell-Chorale for St. Luke's Carillon, KSS82 (1961; 1 p.)
Works for voice and piano The Poplars, KSS1 (1915; Ducic, translated by Selver; 2 versions; 3 pp.) Chrysilla, KSS2 (1915; de Régnier; 4 pp.) Roses du soir, KSS3 (1915; Louÿs; 4 pp.) L'heure exquise, KSS4 (1916; Verlaine; 2 pp.) Vocalise pour soprano fioriturata, KSS5 (1916; 2 versions; 3 pp.) Apparition, KSS7 (1916; Mallarmé; 5 pp.) Hymne à Aphrodite, KSS8 (1916; Tailhade; 2 versions; 5 pp.) L'étang, KSS10 (1917; Rollinat; 2 pp.) I Was Not Sorrowful—Poem for Voice and Piano [Spleen], KSS11 (between 1917 and 1919; Dowson; 3 pp.) Trois poèmes pour chant et piano, KSS21 (1918, 1919; Baudelaire and Verlaine; 9 pp.) Correspondances (Baudelaire) Crépuscule du soir mystique (Verlaine) Pantomime (Verlaine) Trois fêtes galantes de Verlaine, KSS37 (c. 1924?; 11 pp.) L'allée à la Promenade Dans la Grotte Le mauvais jardinier KSS11a (1919; Gilkin; only the first page is extant) Arabesque, KSS24 (1920; Shamsuʾd-Dīn Ibrāhīm Mīrzā; 2 pp.) Trois Poèmes du "Gulistān" de Saʿdī, KSS42 (1926, rev. 1930; translated by Toussaint; 16 pp.) La lampe La Jalousie La Fidelité L'irrémédiable, KSS44 (1927; Baudelaire; 8 pp.) Movement for Voice and Piano, KSS52 (1927, 1931; 9 pp.) Trois poèmes, KSS65 (1941; Verlaine and Baudelaire; 13 pp.) Le Faune (Verlaine) Les Chats (Baudelaire) La dernière fête galante (Verlaine) Frammento cantato, KSS88 (1967; Harold Morland; 1 p.)
Chamber works
Piano quintets No. 1, KSS26 (1919–20; 72 pp.) No. 2, KSS54 (1932–33; 432 pp.) I. Introito; Fantasia; Coda–Finale II. Preludio; Passacaglia III. Adagio IV. Finale: Introduction; Allegro; Intermezzo; Coda–Epilogo
Other Concertino non grosso for String Sextet with Piano obbligato quasi continuo, for 4 violins, viola, and cello, KSS89 (1968; 48 pp.) I. Vivace assai II. Adagio III. Finale. Vivace, leggiero Il tessuto d'arabeschi, for flute and string quartet, KSS99 (1979; 32 pp.) Fantasiettina atematica, for oboe, flute, and clarinet, KSS103 (1981; 2 pp.)
Works for piano
Symphonies No. 0, KSS51 (1930–31; piano part of the otherwise unfinished Symphony II for Piano, Large Orchestra, Organ, Final Chorus, and Six Solo Voices; 333 pp.) I. Prologo; Introito; Fantasia; Cadenza; Coda–Stretta II. Adagio; Punta d'organo; Notturno–Fantasia; Ritournelle–point d'orgue III. Prelude; Toccata variata; Cadenza–fugata; Coda–Epilogo No. 1, Tāntrik, KSS60 (1938–39; 284 pp.) I. Mūlādhāra II. (Svādhiṣṭhāna) III. (Maṇipūra) IV. (Anāhata Cakra). Mormorando e morbidissimo V. Viśuddha VI. Ājñā VII. Sahasrāra [Padma]. Fuga libera a cinque voci No. 2, KSS75 (1954; 248 pp.) Parte Prima I. Intrecciata politematica Parte Seconda II. Aria fiorita: piuttosto notturno III. Moto perpetuo; Interludio; Coda Parte Terza IV. Fanfare; Introito; Toccata; Punta d'organo constanziata; Fuga V. Adagio–Finale No. 3, KSS81 (1959–60; in one continuous movement consisting of multiple sections; 144 pp.) No. 4, KSS85 (1962–64; 240 pp.) I. Moderatamente allegro II. Preludio corale; Interludio; Ostinato; Variazioni III. Finale No. 5, Symphonia brevis, KSS92 (1973; 120 pp.) I. Preludio; Intreccio; Stretta II. Adagio; Preludio quasi toccata; Aria fiorita; Interludio; Notturno; Nexus; Quasi fuga; Coda–Epilogo
No. 6, Symphonia claviensis, KSS95 (1975–76; 270 pp.) Prima Parte I. Introito; Intrecciata; Interludio fugato; Coda–Epilogo Seconda Parte II. Preludio; Interludio placido; Animato quasi scherzo; Moto perpetuo; Ostinato III. Quasi adagio IV. Quasi Alkan Terza Parte V. Arabesque-Nocturne VI. Quasi fuga VII. Coda–Epilogo
Sonatas No. 0, KSS9 (1917; discovered posthumously and unnumbered; 30 pp.) No. 1, KSS20 (1919; 42 pp.) No. 2, KSS28 (1920; 49 pp.) No. 3, KSS29 (1922; 75 pp.) No. 4, KSS48 (1928–29; 111 pp.) I. Vivo—arditamente II. Count Tasca's Garden III. Preludio; Fantasia; Cadenza; Fuga duplex quatuor vocibus; Coda–Stretta No. 5, Opus archimagicum, KSS58 (1934–35; 336 pp.) Pars prima: Arcana minora I. Fiero, ardito II. Presto, sotto voce inquieto III. Punta d'organo IV. Con fuoco, ardito e fiero Pars altera: Arcana majora V. VI. Adagio Pars tertia et ultima: Archimagus VII. Preludio VIII. Preludio-corale sopra "Dies irae" IX. Cadenza X. Fuga libera a cinque voci e tre soggetti
Multi-movement toccatas No. 1, KSS46 (1928; 66 pp.) I. Preludio–Corale II. Passacaglia III. Cadenza IV. Fuga V. Coda–Stretta No. 2, KSS57 (1933–34; 111 pp.) I. Preludio-Toccata II. Preludio-Corale III. Scherzo IV. Aria V. Ostinato VI. Notturno VII. Interludio–Moto perpetuo. Riflesso del Preludio–Toccata VIII. Cadenza–Punta d'organo IX. Fuga libera a cinque voci No. 3, KSS76 (1955; 91 pp.) I. Movimento vivo II. Adagio III. Passacaglia IV. Cadenza V. Quasi fugato VI. Corranta VII. Fantasia VIII. Interludio IX. Cappriccio X. Epilogo No. 4, Toccata quarta, KSS87 (1964–67; 149 pp.) I. Theme [with 24 variations]; Nexus II. Quasi corale III. Intermezzo primo: Moto perpetuo; Punta d'organo; Aria IV. Passacaglia V. Intermezzo secondo. Of a neophyte and how the Black Art was revealed unto Him by the Fiend Asomuel VI. Cadenza–Toccata VII. Preludio adagio; Fuga quintuplex
Variation sets Variazioni e fuga triplice sopra "Dies irae" per pianoforte, KSS41 (1923–26; 64 variations; the work is in two parts of 32 variations each; 201 pp.) Symphonic Variations for Piano, KSS59 (1935–37; 81 variations; in three books [each consisting of 27 variations], of which the first was later orchestrated; 484 pp.) Sequentia cyclica super "Dies irae" ex Missa pro defunctis, KSS71 (1948–49; 27 variations; 335 pp.) "Il gallo d'oro" da Rimsky-Korsakov: Variazioni frivole con una fuga anarchica, eretica e perversa (1978–79; 53 variations; 93 pp.)
Sets of aphoristic fragments Frammenti aforistici (Sutras) (104), KSS90 (1962–64; 37 pp.) Frammenti aforistici (20), KSS86 (1964; 9 pp.) Frammenti aforistici (4), KSS96 (1977; 1 p.)
Transcriptions Three Pastiches, KSS31 (1922; 17 pp.) Pastiche on the "Minute Waltz" by Chopin (1922) Pastiche on the Habanera from Bizet's "Carmen" (1922) Pastiche on the Hindu Merchant's Song from Rimsky-Korsakov's "Sadko" (1922) Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano, KSS33 (first version; 1923; 16 pp.) Pasticcio capriccioso sopra l'op. 64, no 1 del Chopin, KSS56 (1933; 8 pp.) Transcription in the Light of Harpsichord Technique for the Modern Piano of the Chromatic Fantasia of J. S. Bach, Followed by a Fugue, KSS61 (1940; 15 pp.) Rapsodie espagnole de Maurice Ravel—Transcription de concert pour piano, KSS67 (second version; 1945; 26 pp.) Transcription of the Prelude in E-flat by Bach, KSS68 (1945; based on BWV 815a; 4 pp.) Schlussszene aus "Salome" von Richard Strauss—Konzertmäßige Übertragung für Klavier zu zwei Händen, KSS70 (1947; transcription of the closing scene of Salome by R. Strauss; 25 pp.)
Other Quasi habanera, KSS12 (1917; 6 pp.) Désir éperdu (Fragment), KSS13 (1917; 1 p.) Fantaisie espagnole, KSS19 (1919; 23 pp.) Two Piano Pieces, KSS17 (In the Hothouse and Toccata ; 20 pp.) Prelude, Interlude, and Fugue for Piano, KSS25 (1920, 1922; 17 pp.) Le jardin parfumé—Poem for Piano Solo, KSS35 (1923; 16 pp.) Valse-fantaisie for Piano, KSS40 (1925; 16 pp.) Fragment: Prelude and Fugue on FxAxx DAxEx, KSS41a (1926; 3 pp.) Fragment Written for Harold Rutland, KSS43 (1926, 1928, 1937; 8 pp.) Nocturne, "Djāmī", KSS47 (1928; 28 pp.) Passacaglia, KSS48a (1929; unfinished; 41 pp.) Introduction, Passacaglia, Cadenza, and Fugue (2004; Alexander Abercrombie's completion of the unfinished 1929 Passacaglia; 79 pp.) Toccatinetta sopra C.G.F., KSS49 (1929; 8 pp.) Opus clavicembalisticum, KSS50 (1929–30; 253 pp.) Fantasia ispanica, KSS55 (1933; 54 pp.) Quaere reliqua hujus materiei inter secretiora, KSS62 (1940; based on the story "Count Magnus" by M. R. James; 16 pp.) "Gulistān"—Nocturne for Piano, KSS63 (1940; 28 pp.) St. Bertrand de Comminges: "He was laughing in the tower", KSS64 (1941; based on the story "Canon Alberic's Scrap-Book" by M. R. James; 16 pp.) Études transcendantes (100), KSS66 (1940–44; 456 pp.) Concerto da suonare da me solo e senza orchestra, per divertirmi, KSS69 (1946; 70 pp.)