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With its truncheonlike guitar riff and haunting aura that called to mind a rock ’n’ roll “Dies Irae,” the song is considered a progenitor of heavy metal and encapsulated Mr. Ingle’s ambition at the time:

Then we get to the third movement, which puts the Dies Irae melody against a nod to the Resurrection in Rachmaninoff’s “All-Night Vigil.”

The Philadelphians were practically feline in the iridescent orchestration of the grim Dies Irae’s appearance in the “Rhapsody.”

And in several places, his “Requiem” emulates the intra-movement structures of Verdi’s: The “Introit,” with its glowing a cappella choral passages, and the shock of the “Dies Irae” each feel familiar in form.

With its ingenious recastings of Russian Orthodox chants and the Catholic “Dies Irae,” this can be a grand, mesmerizingly intense score, a danse macabre written as World War II was underway.