Metaphors of depth in German musical thought : from E.T.A. Hoffmann to Arnold Schoenberg / by Watkins, Holly, 1972-

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Metaphors of depth in German musical thought : from E.T.A. Hoffmann to Arnold Schoenberg / by Watkins, Holly, 1972-

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Makers of Jewish modernity : thinkers, artists, leaders, and the world they made /

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A kingdom not of this world : Wagner, the arts, and utopian visions in fin-de-siècle Vienna / by Karnes, Kevin, 1972-

Table of Contents: “…Fin-de-siècle Vienna and the utopian imagination -- Max Klinger, the Gesamtkunstwerk, and the dream of a third kingdom -- "All of Vienna has become secessionistic" : longings of an organization -- Dreams of transcendence, fantasies of control : Gustav Klimt -- The sacred spring of Arnold Schoenberg and Alexander Zemlinsky -- Gustav Mahler and the promise of return.…”
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After Wagner : histories of modernist music drama from Parsifal to Nono / by Berry, Mark, 1974-

Table of Contents: “…Wagner "after Wagner" : Parsifal ; Arnold Schoenberg's "Biblical way" : towards Moses und Aron ; Richard Strauss : Paths to (and from) Capriccio -- Composition after the Second World War : from Germany to Italy, and back again? …”
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German modernism : music and the arts / by Frisch, Walter, 1951-

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Beyond Fingal's cave : Ossian in the musical imagination / by Porter, James, 1937-

Table of Contents: “…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" (1832) and an "unfinished" coda -- The maiden bereft : "Colma" from Rust (1780) to Schubert (1816) -- Scáenes lyriques sans frontiáeres : Louis Thâeodore Gouvy's Le dernier hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880) -- Ossian in symbolic conflict : Bernhard Hopffer's Darthula's Grabgesang (1878), Jules Bordier's Un rãeve d'Ossian (1885), and Paul Umlauft's Agandecca (1884) -- The musical stages of "Darthula" : from Thomas Linley the Younger (ca. 1776) to Arnold Schoenberg (1903) and Armin Knab (1906) -- The cantata as drama : Joseph Jongen's Comala (1897), J²rgen 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 Irish rhapsody no. 2: 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 Dirge for Cuthullin (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 I: Title page and dedication of Harriet Wainewright's Comáala -- Appendix 2: French and German texts of Louis Thâeodore Gouvy's Le dernier hymne d'Ossian -- Appendix 3: Texts of Erik Chisholm's Night song of the bards -- Appendix 4: Provisional list of musical compositions based on the poems of Ossian.…”
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Beyond Fingal's cave : Ossian in the musical imagination / by Porter, James, 1937-

Table of Contents: “…eve d'Ossian (1885), and Paul Umlauft's Agandecca (1884) -- The musical stages of "Darthula" : from Thomas Linley the Younger (ca. 1776) to Arnold Schoenberg (1903) and Armin Knab (1906) -- The cantata 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 Irish rhapsody no. 2: 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 Dirge for Cuthullin (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 I: Title page and dedication of Harriet Wainewright's Coma?…”
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