ABSTRACT
This chapter provides an overview of Kaikhosru Shapurji Sorabji's piano music and explains how inner logic and unity are achieved in it by way of the example of his composition titled Le jardin parfume. Although Sorabji's piano music is completely idiomatic, there are some chords, in the chains of tremolos, which perhaps only pianists with the longest fingers could truly negotiate. Sorabji's conception of the use of the piano as a singing instrument was in agreement with that of the romantics and impressionists. The works of many composers have frequently been divided into stylistic periods, often early, middle, and late. Although in principle this categorization may be applicable to Sorabji's music, it is far more helpful to organize his piano works in a different way: strict contrapuntal sections; sections in variation form; sections in the motoric genre; free fantasies, paraphrases, and shorter works; and nocturnes.
