Reproductions of Manuscripts in Printed Sources and Library Catalogues
This page lists, in chronological order of composition, the excerpts from Sorabji’s manuscripts that have been reproduced, usually for decorative or illustrative purposes, in printed sources (books, exhibition or auction catalogues, concert programmes, periodicals, newspapers) and on-line library catalogues. Information on some of the manuscripts listed below will be found on another page.
|Chaleur — Poème (1916-17; 32 pp.)||Page 7 is reproduced in the catalogue for Sotheby’s sale L07408 of 4 December 2007 (lot 131 of 133).|
|Concerto pour piano et grand orchestre [no. 4] (1918; 100 pp.)||The first page of the solo piano part can be found in the catalogue of the library at Northwestern University, which owns it.|
|Le jardin parfumé: Poem for Piano Solo (1923; 16 pp.)||The first page can be found in the catalogue of the library at Northwestern University, which owns it.|
|Fragment Written for Harold Rutland (1926, 1928, 1937; 2 pp.)||The first page of the 1926 version is reproduced in Clinton Gray-Fisk, “Kaikhosru Shapurji Sorabji”, The Musical Times 101, no. 1406 (April 1960): 230-32; 231.|
|Trois poèmes du “Gulistān” de Saʿdī (1926; 16 pp.)||The first page of the first song (“La lampe”) is reproduced on the cover page of a concert prospectus for March-June 1958 at the Faculty of Music at the University of Cape Town, where Erik Chisholm, the work’s dedicatee, was dean and director.|
|Introduction, Passacaglia, Cadenza, and Fugue (1929; compl. Alexander Abercrombie, 2004; 79 pp.)||The first page of the “Passacaglia” is reproduced in Music, Continental Manuscripts and Printed Books, Science and Medicine,
including the Autograph Manuscript of Turgenev’s “Fathers and Sons”,
London, Thursday 18th and Friday 19th May 1989, 254 (item 507). It is also reproduced in Felix Meyer, “Anmerkungen zu Kaikhosru Shapurji Sorabji”, Mitteilungen der Paul Sacher Stiftung, no. 5 (January 1992): 41-45; 42.
The last page of the “Passacaglia” is reproduced in Felix Meyer, “Kaikhosru Shapurji Sorabji (1892-1988): Passacaglia for Piano (1929). Fair copy in ink, part 2, pp. 36-37, ca. 24.5 x 33 cm each. Paul Sacher Collection”, in Settling New Scores: Music Manuscripts from the Paul Sacher Foundation [catalogue of the exhibition at the Pierpont Morgan Library, New York, 13 May-30 August 1998], ed. Felix Mayer (Basel: Paul Sacher Foundation; Mainz: Schott Musik International, 1998), 188.
|Opus clavicembalisticum (1929-30; 253 pp.)||Page 15 is reproduced in Hartmut Lück, “Abendländische Polyphonie und orientalische Ornamentik: Kaikhosru Shapurji Sorabji, der unbekannteste Komponist des 20. Jahrhunderts”, FonoForum, 1992, no. 9 (September): 34-36; 35.
Pages 22 and 97 (top system and first staff of the second) are reproduced in Alistair Hinton, “Kaikhosru Sorabji and Erik Chisholm”, Jagger Journal (University of Cape Town Libraries), no. 10 (1989–90): 20–35; 25.
Page 99 is reproduced in SCC, 408.
|Second Symphony for Organ (1929-32; 350 pp.)||The first page is reproduced in Alistair Hinton, “Kaikhosru Sorabji and His First Organ Symphony”, International Congress of Organists 1987: Souvenir Booklet (1 p.)
Pages 220 and 260 (second movement, final variation; third movement, toccata) are reproduced with the corresponding pages of the edition by Kevin Bowyer in Alistair Hinton, Sorabji’s Second Organ Symphony Played at Last: Kevin Bowyer’s Nine-Hour Marathon, The Organ 89, no. 353 (Summer 2010): 41-47; 42, 43, 44, 45.
Page 260 is reproduced in the catalogue of Sotheby’s sale of Continental Printed Books, Manuscripts and Music, comprising Printed Books, Autograph Letters and Manuscripts..., 306 (3-4 December 1992, item 624).
|Études transcendantes (100) (1940-44; 456 pp.)||Several examples from etude no. 99 are reproduced in Maria Rosaria Margiotta, “Sorabji: A History of the First Publishers and an Edition (Transcendental Study no. 99)” (thesis, Master of Philosophy, City University [London], 1999), 1. Complete pages (393, 394, 395, 401 [two systems only for this one]) appear on pp. 58, 59, 61, 72.|
|Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.)||The final chord (followed by the composer’s sign-off) is reproduced as part of Alistair Hinton’s obituary of Sorabji published in The Guardian of 19 October 1988 as “Piano Genius Never Lost for a Chord”.|
|Third Symphony for Piano Solo (1959-60; 144 pp.)|| The first page can be found in the catalogue of the library at Northwestern University, which owns it. It is also reproduced in “The Music Manuscript Project”, footnotes (Northwestern University) 29, no. 1 (Winter 2004): 1-2; 1.
The last page is reproduced in the catalogue of Sotheby’s sale of Continental Printed Books, Manuscripts and Music, comprising Printed Books, Autograph Letters and Manuscripts..., 306 (3-4 December 1992, item 623).
|Fourth Symphony for Piano Alone (1962-64; 240 pp.)||Four pages from the manuscript and three small detailed views are reproduced in Reinier van Houdt, (with René van Peer), “A Vast and Elusive Musical Architecture: Performing Sorabji’s Symphony no. 4 for Piano Alone”, Musicworks, no. 87 (Fall 2003): 38-43. They show how Van Houdt, who gave the first performance, redrew all the noteheads and stems to make them more legible.|
|Il tessuto d’arabeschi (1979; 32 pp.)||Page 1 of of the manuscript is reproduced in Brian A. Inglis, “Fruits of Sorabji’s Indian Summer: ‘Il tessuto d’arabeschi’ and ‘Fantasiettina atematica’”, Tempo 64, no. 254 (October 2010): 41–49 44.
Page 17 of the manuscript is reproduced in the catalogue for Sotheby’s sale (1 December 2010) of Music, Continental and Russian Books and Manuscripts (sale L10406, lot 85 of 140).
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