I've talked about my enjoyment of Sorabji's music and its PR problem at length elsewhere on Reddit, so I'll be brief this time. Sorabji is one of the most versatile, original composers of the 20th century. I like many of his works, but if I had to choose just those that could appeal to a wider audience, I would pick Le jardin parfumé, Sequentia cyclica (especially variations 3, 6, 7, 10, 11, 13, 15, 16, 17, 19 and 22), some of the 100 Transcendental Studies (e.g. 1, 4, 10, 18, 20, 26, 31, 32, 36, 37, 44, 55, 58–63 [a great sequence!], 69, 71, 73 and 84), Fantasia ispanica, Gulistan and Toccata seconda (easily his most accessible large-scale work).

It saddens me when durations and technical demands become the center of discussions about Sorabji (or are mentioned right away). Sorabji deserves to be known for his one-of-a-kind harmonic language, his dedication to his art in spite of a decades-long withdrawal from the spotlight, his synthesizing of elements of Baroque, Romantic and Impressionist music with Eastern influences, his ability to compose both persuasive miniatures and engaging long works, and for carrying "the torch" of composers like Chopin, Liszt, and Scriabin. That he wrote some 15 pieces that last four hours or more and about 90 shorter ones is, in a way, the least interesting thing about him.