Background: Kaikhosru Shapurji Sorabji (born Leon Dudley Sorabji; 14 August 1892 - 15 October 1988) was an English composer, music critic, pianist and writer. He was one of the 20th century's most prolific piano composers. As a composer and pianist, Sorabji was largely self-taught, and he distanced himself from the main currents of contemporary musical life early in his career. He developed a highly idiosyncratic musical language, with roots in composers as diverse as Busoni, Debussy and Szymanowski, and he dismissed large portions of the established and contemporary repertoire.
Context: From 1936 on, several admirers tried unsuccessfully to persuade Sorabji to record Opus clavicembalisticum. Given that Sorabji had not recorded any of his works, and that none of them had been published since 1931, his friends and admirers began to be concerned about the fate of his output. The most ambitious attempt to ensure the preservation of his music and writings was initiated by Frank Holliday (1912-1997), who met Sorabji in 1937 and was his closest friend for about four decades. In the early 1950s Holliday organised the presentation of a letter inviting Sorabji to make recordings of his own music. Sorabji received the letter in 1953, but made no recordings then, in spite of the enclosed cheque for 121 guineas (just over PS127). Holliday's perseverance and closeness to Sorabji did, however, eventually change Sorabji's attitude, and several recordings were made in Sorabji's house between 1962 and 1968. Holliday also helped with the WNCN broadcast of Sorabji's music in 1970 (which took place without Sorabji's consent). Their friendship ended in 1979 as a result of disagreements about some of Sorabji's decisions.  A similar initiative came from Norman Pierre Gentieu (1914-2009), an American writer who discovered Sorabji by reading his book Around Music just after the Second World War. Because of the post-war shortages in England, Gentieu sent Sorabji some provisions, and the depth of their friendship appears to have been such that he continued to do so for the next four decades. In the early 1950s Gentieu made an offer to Sorabji to pay for the microfilming of his major piano works and to give some copies to selected libraries. All of his unpublished musical manuscripts were eventually microfilmed. Gentieu also sent Sorabji a tape recorder to record some of his music, but Sorabji did not do so.  Rapoport has argued that Sorabji's reluctance to make commercial recordings of his music stemmed from a fear of losing control over the making of future recordings of it, because of UK copyright laws of the time.
Question: Were the works lost?

Answer: