or that sets up strong patterns of expectation and resolution" makes them hard to approach. Roberge says that Sorabji "failed to realize ... that negative criticism is part of the game, and that people who can be sympathetic to one's music do exist, though they may sometimes be hard to find", and Sorabji's lack of interaction with the music world has been criticised even by his admirers. In September 1988, following lengthy conversations with the composer, Hinton founded The Sorabji Archive to disseminate knowledge of Sorabji's legacy. His musical autographs are located in various places across the world, with the largest collection of them residing in the (Basel, Switzerland). While much of his music remained in manuscript form until the early 2000s, interest in it has grown since then, with his piano works being the best represented by recordings and modern editions. Landmark events in the discovery of Sorabji's music include performances of Opus clavicembalisticum by Madge and John Ogdon, and Powell's recording of Sequentia cyclica. First editions of many of Sorabji's piano works have been made by Powell and the pianist Alexander Abercrombie, among others, and the three organ symphonies have been edited by Bowyer. Innovation Sorabji has been described as a conservative composer who developed an idiosyncratic style fusing diverse influences. However, the perception of and responses to his music have evolved over the years. His early, often modernist works were greeted largely with incomprehension: a 1922 review stated, "compared to Mr. Sorabji, Arnold Schönberg must be a tame reactionary", and the composer Louis Saguer, speaking at Darmstadt in 1949, mentioned Sorabji as a member of the musical avant-garde that few will have the means to understand. Abrahams writes that Sorabji "had begun his compositional career at the forefront of compositional thought and ended it seeming decidedly old-fashioned", yet adds that "even now Sorabji's 'old-fashioned' outlook sometimes remains somewhat cryptic". Various parallels have been identified between Sorabji and later composers. Ullén suggests that Sorabji's 100 Transcendental Studies (1940–44) can be seen as presaging the piano music of Ligeti, Michael Finnissy and Brian Ferneyhough, although he cautions against overstating this. Roberge compares the opening of Sorabji's orchestral piece Chaleur—Poème (1916–17) to the micropolyphonic texture of Ligeti's Atmosphères (1961) and Powell has noted the use of metric modulation in Sequentia cyclica (1948–49), which was composed around the same time as (and independently from) Elliott Carter's 1948 Cello Sonata, the first