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Demonstrates the profound impact of The Poems of Ossian on composers of the Romantic Era and later: Beethoven, Schubert, Mendelssohn, Brahms, Massenet, and many others.
Demonstrates the profound impact of The Poems of Ossian on composers of the Romantic Era and later: Beethoven, Schubert, Mendelssohn, Brahms, Massenet, and many others.
Produktdetails
- Produktdetails
- Verlag: Boydell & Brewer
- Seitenzahl: 424
- Erscheinungstermin: 15. Juni 2019
- Englisch
- Abmessung: 237mm x 162mm x 30mm
- Gewicht: 701g
- ISBN-13: 9781580469456
- ISBN-10: 1580469450
- Artikelnr.: 54811847
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: Boydell & Brewer
- Seitenzahl: 424
- Erscheinungstermin: 15. Juni 2019
- Englisch
- Abmessung: 237mm x 162mm x 30mm
- Gewicht: 701g
- ISBN-13: 9781580469456
- ISBN-10: 1580469450
- Artikelnr.: 54811847
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
James Porter
Note to the Reader Battling Critics, Engaging Composers: Ossian's Spell On
Macpherson's Native Heath: Primary Sources A Culture without Writing,
Settings without A Score, Haydn without Copyright, and Two Oscars on Stage
"A Musical Piece": Harriet Wainewright's Opera, Comàla (1792) Between Gluck
and Berlioz: Méhul's Uthal (1806) Fingallo e Comala (1805) and Ardano e
Dartula (1825): The Ossianic Operas of Stefano Pavesi From Venice to Lisbon
and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona and Two
Fingals Beethoven's Ossianic Manner, or, Where Scholars Fear to Tread
Excursus: Mendelssohn Waives the Rules: "Overture to the Isles of Fingal"
and an "Unfinished" Coda The Maiden Bereft: "Colma" from Rust (1780) to
Schubert (1816) Scènes lyriques sans frontières: Louis Théodore Gouvy's Le
dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880) Ossian
in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878),
Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca
(1890) The Musical Stages of "Darthula": From Thomas Linley Jr (ca.1775) to
Arnold Schoenberg (1903) and Armin Knab (1906) Cantatas as Drama: Joseph
Jongen's Comala (1897), Jørgen Malling's Kyvala (1902) and Liza Lehmann's
Leaves from Ossian (1909) Symphonic Poem and Orchestral Fantasy: Alexandre
Levy's Comala (1890), and Charles Villiers Stanford's Lament for the Son of
Ossian (1903) Neo-Romanticism in Britain and America: John Laurence
Seymour's "Shilric's Song" (from Six Ossianic Odes), and Cedric Thorpe
Davie's cantata, Dirge for Cuchullin (both 1936) Modernity, Modernism and
Ossian: Erik Chisholm's Night Song of the Bards (1944-51), James
MacMillan's The Death of Oscar (2013), and Jean Guillou's Ballade
Ossianique No. 2: Les Chants de Selma (1971, rev. 2005) Afterword: The
"Half-Viewless Harp" - Secondary Resonances of Ossian Appendix 1:Title Page
and Dedication of Harriet Wainewright's Comàla Appendix 2: French and
German Texts of Gouvy's Le dernier Hymne d'Ossian Appendix 3: Texts for
Erik Chisholm's Night Song of the Bards Appendix 4: Provisional List of
Musical Compositions Based on the Poems of Ossian Notes Selected
Bibliography
Macpherson's Native Heath: Primary Sources A Culture without Writing,
Settings without A Score, Haydn without Copyright, and Two Oscars on Stage
"A Musical Piece": Harriet Wainewright's Opera, Comàla (1792) Between Gluck
and Berlioz: Méhul's Uthal (1806) Fingallo e Comala (1805) and Ardano e
Dartula (1825): The Ossianic Operas of Stefano Pavesi From Venice to Lisbon
and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona and Two
Fingals Beethoven's Ossianic Manner, or, Where Scholars Fear to Tread
Excursus: Mendelssohn Waives the Rules: "Overture to the Isles of Fingal"
and an "Unfinished" Coda The Maiden Bereft: "Colma" from Rust (1780) to
Schubert (1816) Scènes lyriques sans frontières: Louis Théodore Gouvy's Le
dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880) Ossian
in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878),
Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca
(1890) The Musical Stages of "Darthula": From Thomas Linley Jr (ca.1775) to
Arnold Schoenberg (1903) and Armin Knab (1906) Cantatas as Drama: Joseph
Jongen's Comala (1897), Jørgen Malling's Kyvala (1902) and Liza Lehmann's
Leaves from Ossian (1909) Symphonic Poem and Orchestral Fantasy: Alexandre
Levy's Comala (1890), and Charles Villiers Stanford's Lament for the Son of
Ossian (1903) Neo-Romanticism in Britain and America: John Laurence
Seymour's "Shilric's Song" (from Six Ossianic Odes), and Cedric Thorpe
Davie's cantata, Dirge for Cuchullin (both 1936) Modernity, Modernism and
Ossian: Erik Chisholm's Night Song of the Bards (1944-51), James
MacMillan's The Death of Oscar (2013), and Jean Guillou's Ballade
Ossianique No. 2: Les Chants de Selma (1971, rev. 2005) Afterword: The
"Half-Viewless Harp" - Secondary Resonances of Ossian Appendix 1:Title Page
and Dedication of Harriet Wainewright's Comàla Appendix 2: French and
German Texts of Gouvy's Le dernier Hymne d'Ossian Appendix 3: Texts for
Erik Chisholm's Night Song of the Bards Appendix 4: Provisional List of
Musical Compositions Based on the Poems of Ossian Notes Selected
Bibliography
Note to the Reader Battling Critics, Engaging Composers: Ossian's Spell On
Macpherson's Native Heath: Primary Sources A Culture without Writing,
Settings without A Score, Haydn without Copyright, and Two Oscars on Stage
"A Musical Piece": Harriet Wainewright's Opera, Comàla (1792) Between Gluck
and Berlioz: Méhul's Uthal (1806) Fingallo e Comala (1805) and Ardano e
Dartula (1825): The Ossianic Operas of Stefano Pavesi From Venice to Lisbon
and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona and Two
Fingals Beethoven's Ossianic Manner, or, Where Scholars Fear to Tread
Excursus: Mendelssohn Waives the Rules: "Overture to the Isles of Fingal"
and an "Unfinished" Coda The Maiden Bereft: "Colma" from Rust (1780) to
Schubert (1816) Scènes lyriques sans frontières: Louis Théodore Gouvy's Le
dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880) Ossian
in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878),
Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca
(1890) The Musical Stages of "Darthula": From Thomas Linley Jr (ca.1775) to
Arnold Schoenberg (1903) and Armin Knab (1906) Cantatas as Drama: Joseph
Jongen's Comala (1897), Jørgen Malling's Kyvala (1902) and Liza Lehmann's
Leaves from Ossian (1909) Symphonic Poem and Orchestral Fantasy: Alexandre
Levy's Comala (1890), and Charles Villiers Stanford's Lament for the Son of
Ossian (1903) Neo-Romanticism in Britain and America: John Laurence
Seymour's "Shilric's Song" (from Six Ossianic Odes), and Cedric Thorpe
Davie's cantata, Dirge for Cuchullin (both 1936) Modernity, Modernism and
Ossian: Erik Chisholm's Night Song of the Bards (1944-51), James
MacMillan's The Death of Oscar (2013), and Jean Guillou's Ballade
Ossianique No. 2: Les Chants de Selma (1971, rev. 2005) Afterword: The
"Half-Viewless Harp" - Secondary Resonances of Ossian Appendix 1:Title Page
and Dedication of Harriet Wainewright's Comàla Appendix 2: French and
German Texts of Gouvy's Le dernier Hymne d'Ossian Appendix 3: Texts for
Erik Chisholm's Night Song of the Bards Appendix 4: Provisional List of
Musical Compositions Based on the Poems of Ossian Notes Selected
Bibliography
Macpherson's Native Heath: Primary Sources A Culture without Writing,
Settings without A Score, Haydn without Copyright, and Two Oscars on Stage
"A Musical Piece": Harriet Wainewright's Opera, Comàla (1792) Between Gluck
and Berlioz: Méhul's Uthal (1806) Fingallo e Comala (1805) and Ardano e
Dartula (1825): The Ossianic Operas of Stefano Pavesi From Venice to Lisbon
and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona and Two
Fingals Beethoven's Ossianic Manner, or, Where Scholars Fear to Tread
Excursus: Mendelssohn Waives the Rules: "Overture to the Isles of Fingal"
and an "Unfinished" Coda The Maiden Bereft: "Colma" from Rust (1780) to
Schubert (1816) Scènes lyriques sans frontières: Louis Théodore Gouvy's Le
dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880) Ossian
in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878),
Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca
(1890) The Musical Stages of "Darthula": From Thomas Linley Jr (ca.1775) to
Arnold Schoenberg (1903) and Armin Knab (1906) Cantatas as Drama: Joseph
Jongen's Comala (1897), Jørgen Malling's Kyvala (1902) and Liza Lehmann's
Leaves from Ossian (1909) Symphonic Poem and Orchestral Fantasy: Alexandre
Levy's Comala (1890), and Charles Villiers Stanford's Lament for the Son of
Ossian (1903) Neo-Romanticism in Britain and America: John Laurence
Seymour's "Shilric's Song" (from Six Ossianic Odes), and Cedric Thorpe
Davie's cantata, Dirge for Cuchullin (both 1936) Modernity, Modernism and
Ossian: Erik Chisholm's Night Song of the Bards (1944-51), James
MacMillan's The Death of Oscar (2013), and Jean Guillou's Ballade
Ossianique No. 2: Les Chants de Selma (1971, rev. 2005) Afterword: The
"Half-Viewless Harp" - Secondary Resonances of Ossian Appendix 1:Title Page
and Dedication of Harriet Wainewright's Comàla Appendix 2: French and
German Texts of Gouvy's Le dernier Hymne d'Ossian Appendix 3: Texts for
Erik Chisholm's Night Song of the Bards Appendix 4: Provisional List of
Musical Compositions Based on the Poems of Ossian Notes Selected
Bibliography