Kaikhosru Shapurji Sorabji (born Leon Dudley Sorabji; 14 August 1892 – 15 October 1988) was an English composer, pianist, music critic, and writer. One of the most prolific composers of the 20th century, he wrote over 80 hours of music in his career. He is best known for his piano music, most notably his Opus Clavicembalisticum, Sequentia cyclica super Dies iræ ex Missa pro defunctis, 100 Transcendental Studies, piano symphonies and sonatas, nocturnes, and toccatas.
Sorabji's music is characterized by complex rhythms, interplay of tonal and atonal elements, and rich ornamentation. His influences include Ferruccio Busoni, Claude Debussy, and Karol Szymanowski, and he has been likened to Franz Liszt and Charles-Valentin Alkan. Although his music was deep in obscurity for many years, it has become steadily more famous since the early 2000s, largely thanks to Alistair Hinton's "Sorabji Archive" and pianists such as Yonty Solomon, Jonathan Powell, John Ogdon, Geoffrey Douglas Madge, Michael Habermann, Fredrik Ullén, Marc-André Hamelin, Donna Amato, Lukas Huisman, Ronald Stevenson, and Carlo Grante; organist Kevin Bowyer; and sopranos Jane Manning, Jo Ann Pickens, and Sarah Leonard.
Biography[]
Kaikhosru Shapurji Sorabji was apparently born in Chingford, Essex, England (though he once hinted that he was actually born in Bombay) on 14 August 1892. His father, Shapurji Sorabji, was a Zoroastrian Parsi civil engineer and his mother, Madeline Matilda Worthy, was an English singer, pianist, and organist allegedly of Sicilian descent. From his early teens, Sorabji had a great interest in contemporary European and Russian music and went to great lengths to obtain the latest scores of composers such as Gustav Mahler, Claude Debussy, Arnold Schoenberg, Alexander Scriabin, Sergei Rachmaninoff, Maurice Ravel, Nikolai Medtner, Richard Strauss, and others.
A late developer in music, Sorabji did not begin to actively compose until his twenties. Although he initially pursued a career as a music critic (working for The New English Weekly until his retirement in 1945), he became increasingly prolific in the craft of composition. A reluctant performer, he rarely played his own works in public, his final concert taking place in 1936. This coincided with his decision to virtually ban public performances of his compositions without his express consent after a highly inaccurate performance of Opus Clavicembalisticum's Pars Prima by John Tobin, declaring that "no performance at all is vastly perferable to an obscene travesty". This lead to his music slipping into obscurity for almost 40 years, until various supporters of his music convinced him to lift this veto.
From 1976, the South African pianist Yonty Solomon began to pioneer Sorabji's music, sparking the slow but sure rise of international interest thereof. Other performers joined Solomon in championing Sorabji, premiering works such as the first organ symphony and Opus Clavicembalisticum in the 1980s.
Sorabji died of heart failure caused by arteriosclerotic heart disease on 15 October 1988 at the age of 96. He was cremated in Bornemouth Crematorium on 24 October, and a funeral service was held on the same day in Corfe Castle in the Church of St. Edward, King and Martyr, where his remains are buried.
List of compositions[]
KSS | Title | Instrumentation | Year | Recordings |
1 | The Poplars | Voice and piano | 1915 | Elizabeth Farnum and Margaret Kampmeier |
2 | Chrysilla | Voice and piano | 1915 | Elizabeth Farnum and Margaret Kampmeier |
3 | Roses du soir | Voice and piano | 1915 | Elizabeth Farnum and Margaret Kampmeier |
4 | L'heure exquise | Voice and piano | 1916 | Elizabeth Farnum and Margaret Kampmeier |
5 | Vocalise pour soprano fioriturata | Voice and piano | 1916 | Elizabeth Farnum and Margaret Kampmeier |
6 | Piano Concerto No. 1 | Piano and orchestra | 1915–16 | |
7 | Apparition | Voice and piano | 1916 | Elizabeth Farnum and Margaret Kampmeier |
8 | Hymne à Aphrodite | Voice and piano | 1916 | Elizabeth Farnum and Margaret Kampmeier |
9 | Piano Sonata No. 0 | Piano | 1917 | Soheil Nasseri |
10 | L'étang | Voice and piano | 1917 | Elizabeth Farnum and Margaret Kampmeier |
11 | I was not sorrowful | Voice and piano | 1917 | Elizabeth Farnum and Margaret Kampmeier |
11a | Le mauvais jardinier | Voice and piano | 1917 | |
12 | Quasi Habanera | Piano | 1917 | Michael Habermann |
13 | Désir Eperdu | Piano | 1917 | Ivo Delaere |
14 | Piano Concerto No. 2 | Piano and orchestra | 1917 | |
15 | Chaleur — Poème | Orchestra | 1917 | |
16 | Piano Concerto No. 3 | Piano and orchestra | 1918 | |
17 | In the Hothouse | Piano | 1918 | Michael Habermann Steven Max Eric Xi Xin Liang Kyle Hannenberg |
18 | Piano Concerto No. 4 | Piano and orchestra | 1918 | |
19 | Fantaisie Espagnole | Piano | 1919 | Michael Habermann John Carey Donna Amato |
20 | Piano Sonata No. 1 | Piano | 1919 | Marc-André Hamelin Kyle Hannenberg |
21 | Trois poèmes pour chant et piano | Voice and piano | 1918–19 | Elizabeth Farnum and Margaret Kampmeier: Correspondances, Crépuscule du soir mystique, Pantomime |
22 | Music to The Rider by Night | Voice(s) and orchestra | 1919 | |
23 | Toccata | Piano | 1920 | John Carey Michael Habermann |
24 | Arabesque | Voice and piano | 1920 | Elizabeth Farnum and Margaret Kampmeier |
25 | Prélude, Interlude, and Fugue | Piano | 1920, 1922 | Michael Habermann: Prélude, Interlude, Fugue |
26 | Piano Quintet No. 1 | Piano, 2 violins, viola, and cello | 1919–20 | |
27 | Piano Concerto No. 5 | Piano and orchestra | 1920 | Donna Amato and Ed Spanjaard with the Radio Filharmonisch Orkest |
28 | Piano Sonata No. 2 | Piano | 1920 | |
29 | Piano Sonata No. 3 | Piano | 1922 | |
30 | Symphony No. 1 | Piano, large orchestra, chorus, and organ | 1921–22 | |
31 | Three Pastiches for piano | Piano | 1922 | Michael Habermann: Minute Waltz by Chopin, Habanera from Carmen by Bizet, Song of the Hindu Merchant from Sadko by Rimsky-Korsakov |
32 | Piano Concerto No. 6 | Piano and orchestra | 1922 | |
33 | Rapsodie Espagnole | Piano | 1923 | Michael Habermann: Prélude à la nuit, Malagueña, Habanera, Feria |
34 | Opusculum | Orchestra | 1923 | |
35 | Le Jardin Parfumé | Piano | 1923 | Michael Habermann Eric Xi Xin Liang Yonty Solomon Simon Callaghan |
36 | Cinque Sonetti di Michelagniolo Buonarroti | Baritone voice and orchestra | 1923 | |
37 | Trois fêtes galantes de Verlaine | Voice and piano | 1924? | Elizabeth Farnum and Margaret Kampmeier: L'allée, à la Promenade, Dans la Grotte |
38 | Piano Concerto No. 7: Sīmurgh-‘Anqā | Piano and orchestra | 1924 | |
39 | Organ Symphony No. 1 | Organ | 1924 | Kevin Bowyer |
40 | Valse-Fantaisie (Hommage à Johann Strauss) | Piano | 1925 | Michael Habermann |
41 | Variazioni e fuga triplice sopra Dies iræ per pianoforte | Piano | 1923–26 | |
41a | Fragment (Prélude and Fugue) | Piano | 1926 | |
42 | Trois Poèmes du Gulistān de Sa‘dī: La lampe, La Jalousie, and La Fidelité | Voice and piano | 1926 (rev. 1930) | |
43 | Fragment for Harold Rutland | Piano | 1926, 1928, 1937 | Michael Habermann |
44 | L'irrémédiable | Voice and piano | 1927 | |
45 | Piano Concerto No. 8 | Piano and orchestra | 1927–28 | |
46 | Toccata No. 1 | Piano | 1928 | Jonathan Powell |
47 | Nocturne: Djâmi | Piano | 1928 | Jonathan Powell Michael Habermann |
48 | Piano Sonata No. 4 | Piano | 1928–29 | Jonathan Powell |
48a | Introduction, Passacaglia, Cadenza, and Fugue | Piano | 1929 | |
49 | Toccatinetta sopra C.G.F. | Piano | 1929 | Donna Amato |
50 | Opus Clavicembalisticum | Piano | 1929–30 | Geoffrey Douglas Madge John Ogdon |
51 | Piano Symphony No. 0 | Piano | 1930–31 | |
52 | Vocalise Movement | Voice and piano | 1927, 1931 | |
53 | Organ Symphony No. 2 | Organ | 1929–32 | |
54 | Piano Quintet No. 2 | Piano, 2 violins, viola, and cello | 1932–33 | |
55 | Fantasia Ispanica | Piano | 1933 | Jonathan Powell |
56 | Pasticcio Capriccioso on the Minute Waltz by Chopin | Piano | 1933 | Michael Habermann Fredrik Ullén |
57 | Toccata Seconda | Piano | 1933–34 | Abel Sánchez-Aguilera |
58 | Piano Sonata No. 5: Opus Archimagicum | Piano | 1934–35 | Cadenza: Kyle Hannenberg |
59 | Symphonic Variations for piano | Piano | 1935–37 | |
60 | Piano Symphony No. 1: Tāntrik | Piano | 1938–39 | |
61 | Transcription in the Light of Harpsichord Technique for the Modern Piano of the Chromatic Fantasia of J.S. Bach, Followed by a Fugue | Piano | 1940 | Michael Habermann: Chromatic Fantasia, Fugue |
62 | Quære Reliqua Hujus Materiei Inter Secretiora | Piano | 1940 | Michael Habermann Donna Amato |
63 | Gulistān (The Rose Garden) | Piano | 1940 | Jonathan Powell Kaikhosru Shapurji Sorabji Charles Hopkins Michael Habermann "klangfarbe" |
64 | St Bertrand de Comminges: He was laughing in the Tower | Piano | 1941 | Jonathan Powell Michael Habermann Donna Amato |
65 | Trois Poèmes | Voice and piano | 1941 | Elizabeth Farnum and Margaret Kampmeier: Le Faune, Les Chats, La derniêre fête galante |
66 | 100 Transcendental Studies | Piano | 1940–44 | Fredrik Ullén |
67 | Rapsodie Espagnole | Piano | 1945 | |
68 | Prélude from the French Suite in E-flat major, BWV 815a | Piano | 1945 | |
69 | Concerto per suonare da me solo | Piano | 1946 | Jonathan Powell |
70 | Schlußszene aus Salome von Richard Strauss | Piano | 1947 | |
71 | Sequentia cyclica super Dies iræ ex Missa pro defunctis | Piano | 1948–49 | Jonathan Powell |
72 | Symphony No. 2: Jāmī | Orchestra | 1942–51 | |
73 | Organ Symphony No. 3 | Organ | 1949–53 | |
74 | Un nido di scatole | Piano | 1954 | Jonathan Powell |
75 | Piano Symphony No. 2 | Piano | 1952–54 | |
76 | Toccata Terza | Piano | 1955 | |
77 | Passeggiata Veneziana | Piano | 1955–56 | Jonathan Powell |
78 | Symphonic variations for piano and orchestra | Piano and orchestra | 1938–56 | |
79 | Rosario d'Arabeschi | Piano | 1956 | Jonathan Powell |
80 | Opus Clavisymphonicum | Piano and orchestra | 1957–59 | |
81 | Piano Symphony No. 3 | Piano | 1959–60 | |
82 | Suggested Bell-Chorale for St Luke's Carillon | Bells | 1961 | |
83 | Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid | Piano | 1961 | Michael Habermann Ronald Stevenson |
84 | Messa Alta Sinfonica | Orchestra, organ, 8 soloists, and chorus | 1955–61 | |
85 | Piano Symphony No. 4 | Piano | 1962–64 | |
86 | 20 Frammenti Aforistici | Piano | 1962–63 | |
87 | Toccata Quarta | Piano | 1964–67 | |
88 | Frammento cantato | Voice and piano | 1967 | |
89 | Concertino non grosso | 4 violins, viola, cello, and piano | 1968 | |
90 | 104 Frammenti Aforistici (Sutras) | Piano | 1962–72? | |
91 | Benedizione di San Francesco d'Assisi | Voice and organ | 1973 | |
92 | Piano Symphony No. 5: Symphonia Brevis | Piano | 1973 | John Ogdon |
93 | Variazione Maliziosa e Perversa sopra La Morte d'Åse da Grieg | Piano | 1974 | |
94 | Opusculum Clavisymphonicum | Piano and orchestra | 1973–75 | |
95 | Piano Symphony No. 6: Symphonia Claviensis | Piano | 1975–76 | |
96 | 4 Frammenti Aforistici | Piano | 1977 | |
97 | Symphonic Nocturne | Piano | 1977–78 | Lukas Huisman |
98 | Il grido del gallino d'oro | Piano | 1978–79 | |
99 | Il tessuto d'arabeschi | Flute, 2 violins, viola, and cello | 1979 | Deborah Carter, Jonathan Beiler, Davyd Booth, Sidney Curtiss, Gloria Johns, and William Smith |
100 | Villa Tasca | Piano | 1979–80 | Jonathan Powell |
101 | Opus Secretum | Piano | 1980–81 | Carlo Grante |
102 | Passeggiata variata | Piano | 1981 | |
103 | Fantasiettina atematica | Oboe, flute, and clarinet | 1981 | Dimitri Ashkenazy, Monica McCarron, David Theodore |
104 | 2 Sutras sul nome dell'amico Alexis | Piano | 1981? | |
105 | Passeggiata arlecchinesca | Piano | 1981–82 | Donna Amato |