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.
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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