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Titles of Works Containing Diacritics
This page lists, in chronological order, the titles of works by Kaikhosru Shapurji Sorabji with diacritics. It consists of two tables and a list:
Contents of the tables: The first table shows the titles of all of Sorabji’s works with diacritics in the left column, with the strings to be pasted into the source code of an HTML page with UTF-8 encoding (as used on the Sorabji Resource Site starting on 2 May 2019) in the right column. Codes are given with their decimal (e.g., Å) rather than their hexadecimal values (e.g., Å). The strings containing codes must be pasted directly into the code window, not the text window, as this would cause the code to be displayed insetad of the accented letter. The semicolon at the end of each entity is essential. An ampersand typed into the text will display the code in the text (as in the examples above), not the desired character (e.g., Å).
The second table gives the decimal (e.g., Å), hexadecimal (e.g., Å), and named entities (e.g., Å) for both uppercase and lowercase versions.
Special cases: The Variazioni e fuga triplice sopra “Dies irae” per pianoforte (1923-26; 201 pp.) and the Sequentia cyclica super “Dies irae” ex Missa pro defunctis (1948-49; 335 pp.) as well as “Quaere reliqua hujus materiei inter secretiora” (1940; 16 pp.) are not listed here because the æ ligature, used in SCC, has been abandoned here to conform to modern Latin usage. However, the codes are given for reference.
In the Schlussszene aus “Salome” von Richard Strauss—Konzertmäßige Übertragung für Klavier zu zwei Händen (1947; 25 pp.), the Eszett is used only in the case of the adjective konzertmäßige, because the double s is preceded by a long vowel. Since the reform of German spelling (1996), the first word is now written “Schlussszene” (i.e., ss followed by sz). The change was made on the Sorabji Resource Site on 28 February 2014. The authoritative dictionary Duden, however, lists “Schluss-Szene” as a possible alternative.
Typing: To use the titles with diacritics in a Microsoft Word document, download the appropriate file and copy and paste as needed. It is also possible to simply copy a title in the first column of the first table and paste it into a text document, provided that the software supports Unicode. Accented characters, when present on the keyboard, can simply be typed and will appear as such in the code window.
Individual characters can be pasted and copied from the appropriate Unicode chart using Jukka Korpela’s Full Unicode Input Utility. For a list of the Latin Extended A set displayed as decimal, hexadecimal, entity, and name, see page UTF-8 Latin Extended A on the w3schools.com website.
Resources: The following websites contain tools that make it easy to search for and copy all Unicode characters, or to obtain their encodings.
For a list of languages in which a letter is used with a particular diacritic, see the section “Letters with diacritics” in the Wikipedia article List of Latin-script letters.
Unicode support varies from font to font and from browser to browser. For example, Verdana displays the character U+01E6 (Latin Capital Letter G with Caron) as two characters, whereas Tahoma and Arial display the diacritic above the letter as expected. Also, this character is displayed correctly in Internet Explorer and Firefox with Verdana, but not in Chrome and Edge.
Click on a column heading to sort, then shift-click on other headings to sort on multiple columns.
Surround strings with quotation marks for specific searches. Refresh the page to revert to the initial order.
Title | Source Code |
---|---|
Title | Source Code |
Hymne à Aphrodite (1916; 5 pp.) | Hymne à Aphrodite (1916; 5 pp.) |
L’étang (1917; 2 pp.) | L’étang (1917; 2 pp.) |
Désir éperdu — Fragment (1917; 1 p.) | Désir éperdu — Fragment (1917; 1 p.) |
Trois fêtes galantes de Verlaine (ca. 1919; 11 pp.) | Trois fêtes galantes de Verlaine (ca. 1919; 11 pp.) |
Trois poèmes pour chant et piano (1918, 1919; 9 pp.) | Trois poèmes pour chant et piano (1918, 1919; 9 pp.) |
Concerto per pianoforte e piccola orchestra, “Simorg-Anka” [no. 7] (1924; 100 pp.) | Concerto per pianoforte e piccola orchestra, “Simorg-Anka”
(1924; 100 pp.) The form that Rapoport suggests as a more appropriate English transliteration (SCC, 127) is Sīmurgh-ʿAnqā would be encoded as [Sīmurgh-ʿAnqā]. |
Trois poèmes du “Gulistān” de Saʿdī (1926, rev. 1930; 16 pp.) | Trois poèmes du “Gulistān” de Saʿdī (1926, rev. 1930; 16 pp.) |
L’irrémédiable (1927; 8 pp.) | L’irrémédiable (1927; 8 pp.) |
Nocturne, “Jāmī” (1928; 28 pp.) | Nocturne, “Jāmī” (1928; 28 pp.) |
Tāntrik Symphony for Piano Alone (1938-39; 284 pp.):
|
Tāntrik Symphony for Piano Alone (1938-39; 284
pp.):
|
“Gulistān”—Nocturne for Piano (1940; 28 pp.) | “Gulistān” — Nocturne for Piano (1940; 28 pp.) |
Trois poèmes (1941; 13 pp.) | Trois poèmes (1941; 13 pp.) |
Études transcendantes (100) (1940-44; 456 pp.) | Études transcendantes (100) (1940-44; 456 pp.) |
Schlussszene aus “Salome” von Richard Strauss—Konzertmäßige Übertragung für Klavier zu zwei Händen (1947; 25 pp.) {see the remark at the top of the page about this title} | Schlussszene aus “Salome” von Richard Strauss — Konzertmäßige Übertragung für Klavier zu zwei Händen (1947; 25 pp.) |
Symphony [no. 2], “Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone Solo (1942-51; 826 pp.) | Symphony [no. 2], “Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone Solo (1942-51; 824 pp.) |
Variazione maliziosa e perversa sopra “La morte d’Åse” da Grieg (1974; 2 pp.) | Variazione maliziosa e perversa sopra “La morte d’Åse” da Grieg (1974; 2 pp.) |
Passeggiata arlecchinesca sopra un frammento di Busoni (“Rondò arlecchinesco”) (1981-82; 16 pp.) | Passeggiata arlecchinesca sopra un frammento di Busoni (“Rondò arlecchinesco”) (1981-82; 16 pp.) |
Click on a column heading to sort, then shift-click on other headings to sort on multiple columns.
Surround strings with quotation marks for specific searches. Refresh the page to revert to the initial order.
Hymne à Aphrodite (1916; 5 pp.)
L’étang (1917; 2 pp.)
Désir éperdu —
Fragment (1917; 1 p.)
Trois fêtes galantes de Verlaine (ca.
1919; 11 pp.)
Trois poèmes pour chant et piano (1918, 1919; 9 pp.)
Le jardin parfumé: Poem for Piano
Solo (1923; 16 pp.)
Concerto per pianoforte e piccola orchestra,
“Simorg-Anka” [no. 7] (1924; 100 pp.)
Trois poèmes du
“Gulistān” de Saʿdī (1926, rev. 1930; 16 pp.)
L’irrémédiable (1927;
8 pp.)
Nocturne,
“Jāmī” (1928; 28 pp.)
Tāntrik Symphony for Piano Alone (1938-39; 284 pp.): Mūlādhāra,
Svādhiṣṭhāna, Maṇipūra, Anāhata
Cakra, Viśuddha, Ājñā, Sahasrā
“Gulistān”—Nocturne
for Piano (1940; 28 pp.)
Trois poèmes (1941; 13 pp.)
Études transcendantes (100) (1940-44;
456 pp.)
Schlussszene aus “Salome” von Richard Strauss—Konzertmäßige Übertragung für Klavier zu
zwei Händen (1947; 25 pp.) {see the remark at the top of the page about this title}
Symphony [no. 2],
“Jāmī”, for Large Orchestra, Wordless Chorus, and Baritone
Solo (1942-51; 826 pp.)
Variazione maliziosa e perversa sopra “La morte
d’Åse” da Grieg (1974; 2 pp.)
Passeggiata arlecchinesca sopra un frammento di Busoni
(“Rondò arlecchinesco”) (1981-82; 16 pp.)
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