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.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
JAMES PORTER is Professor Emeritus of Music at UCLA and an Honorary Professor of the University of Aberdeen.
Inhaltsangabe
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
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
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