| Figures | ||
| 2.1 | Spatial disposition of the performers; Bernd Alois Zimmermann, Requiem für einen jungen Dichter, score, IV | 49 |
| 2.2 | Duration of pitches at the beginning of the ‘Dona nobis pacem,’ in quavers (vocal parts) | 60 |
| 2.3 | Text and translation of Konrad Bayer’s ‘Wie jeder weiß’ | 62 |
| 3.1 | Babi Yar by Felix Lembersky, 1944 | 75 |
| 3.2 | The Last Way by Josef Kuzkovski, 1945 | 83 |
| 5.1 | Digital invitation to 807th Ghusal Sharīf celebration of Hazrat Nizamuddin Auliya, created by Syed Murshid Nizami | 136 |
| 7.1 | Monument to Pádraig O Caoimh in Scartaglen Village | 180 |
| 7.2 | Pádraig O’Keeffe Memorial, outside the home of Pádraig O’Keeffe at Glountane | 183 |
| 7.3 | Fiddle tablature on plaque to Pádraig O’Keeffe at Glountane | 185 |
| 7.4 | Accordion tablature on the plaque to Pádraig O’Keeffe at Glounthane Cross | 185 |
| 7.5 | Patrick O’Keeffe Memorial, Castleisland, Co. Kerry | 188 |
| Examples | ||
| 1.1 | ‘Dare to be a Daniel’, words by P. P. Bliss, in P. P. Bliss and music by Ira D. Sankey, Gospel Hymns No. 2, 86 | 31 |
| 2.1 | ‘Requiem I,’ extract; Bernd Alois Zimmermann, Requiem für einen jungen Dichter, score, 101 | 52 |
| 2.2 | Slightly adapted melody of ‘Brüder, zur Sonne, zur Freiheit’ as used by Zimmermann in Requiem für einen jungen Dichter | 59 |
| 2.3 | First two staves of the ‘Dona nobis pacem’; Bernd Alois Zimmermann, Requiem für einen jungen Dichter, 187 | 61 |
| 3.1 | ‘Chaos’ in Dmitri Shostakovich’s Symphony No. 13, ‘Babi Yar,’ bars 293–294 | 76 |
| 3.2 | ‘Tone-painting’ in Dmitri Shostakovich’s Symphony No. 13, first movement, two examples, bars 78–84, and 266–275 | 81 |
| 3.3 | Sara Feigin, Piano Sonata (1972), opening of the third movement | 85 |
| 3.4 | Dmitri Shostakovich, Symphony No. 13, opening of the first movement | 85 |
| 3.5 | Dmitri Klebanov, Symphony No. 1, opening of the third movement | 86 |
| 3.6 | Frédéric Chopin, Piano Sonata No. 2, third movement | 87 |
| ‘Gunfire’ in the third movement of Sara Feigin’s Piano Sonata; and Dmitri Shostakovich’s Symphony No. 13 | 88 | |
| 4.1 | Main theme (Solo viola); Elegy for Viola, String Quartet and String Orchestra op.17 | 106 |
| 4.2 | Phrygian treatment of the main theme (bb. 36–40) | 107 |
| 4.3 | Bimodal practice (bb. 58–61) | 108 |
| 8.1 | Musical topoi of grief in C. A. Gambini’s Un fiore | 208 |
| 8.2 | C. Geissler, Der Heimgang Felix Mendelssohn Bartholdy’s | 222 |
| 8.3 | Quotations of Mendelssohn works in Levy’s Una Lagrima | 224 |
| 8.4 | Song without Words-like Trio in Hamm’s Trauermarsch | 227 |
| 8.5 | Beginning of Bousquets Quatuor in G major | 230 |
| Tables | ||
| 4.1 | Form in Howells’s Elegy for Viola, String Quartet and String Orchestra op.17 | 105 |
| 8.1 | Formal outline of Levy’s Una Lagrima sulla tomba del celebre maestre Felice Mendelssohn-Bartholdy | 223 |
In: Music, Mortality, Memory
Editors:
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Douglas Davies
Douglas Davies
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Matthew McCullough
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