Book contents
- Frontmatter
- Dedication
- Epigraph
- Contents
- Preface
- Acknowledgments
- Note to the Reader
- 1 Battling Critics, Engaging Composers: Ossian's Spell
- 2 On Macpherson's Native Heath: Primary Sources
- 3 A Culture without Writing, Settings without a Score, Haydn without Copyright, and Two Oscars on Stage
- 4 “A Musical Piece”: Harriet Wainewright's opera Comàla (1792)
- 5 Between Gluck and Berlioz: Méhul's Uthal (1806)
- 6 Fingallo e Comala (1805) and Ardano e Dartula (1825): The Ossianic Operas of Stefano Pavesi
- 7 From Venice to Lisbon and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona, and Two Fingals
- 8 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
- 9 The Maiden Bereft: “Colma” from Rust (1780) to Schubert (1816)
- 10 Scènes lyriques sans frontières: Louis Théodore Gouvy's Le dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880)
- 11 Ossian in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878), Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca (1884)
- 12 The Musical Stages of “Darthula”: From Thomas Linley the Younger (ca. 1776) to Arnold Schoenberg (1903) and Armin Knab (1906)
- 13 The Cantata as Drama: Joseph Jongen's Comala (1897), Jørgen Malling's Kyvala (1902), and Liza Lehmann's Leaves from Ossian (1909)
- 14 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)
- 15 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)
- 16 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 Louis Théodore 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
- Notes
- Selected Bibliography
- Index
Selected Bibliography
Published online by Cambridge University Press: 06 September 2019
Book contents
- Frontmatter
- Dedication
- Epigraph
- Contents
- Preface
- Acknowledgments
- Note to the Reader
- 1 Battling Critics, Engaging Composers: Ossian's Spell
- 2 On Macpherson's Native Heath: Primary Sources
- 3 A Culture without Writing, Settings without a Score, Haydn without Copyright, and Two Oscars on Stage
- 4 “A Musical Piece”: Harriet Wainewright's opera Comàla (1792)
- 5 Between Gluck and Berlioz: Méhul's Uthal (1806)
- 6 Fingallo e Comala (1805) and Ardano e Dartula (1825): The Ossianic Operas of Stefano Pavesi
- 7 From Venice to Lisbon and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona, and Two Fingals
- 8 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
- 9 The Maiden Bereft: “Colma” from Rust (1780) to Schubert (1816)
- 10 Scènes lyriques sans frontières: Louis Théodore Gouvy's Le dernier Hymne d'Ossian (1858) and Lucien Hillemacher's Fingal (1880)
- 11 Ossian in Symbolic Conflict: Bernhard Hopffer's Darthula's Grabesgesang (1878), Jules Bordier's Un rêve d'Ossian (1885), and Paul Umlauft's Agandecca (1884)
- 12 The Musical Stages of “Darthula”: From Thomas Linley the Younger (ca. 1776) to Arnold Schoenberg (1903) and Armin Knab (1906)
- 13 The Cantata as Drama: Joseph Jongen's Comala (1897), Jørgen Malling's Kyvala (1902), and Liza Lehmann's Leaves from Ossian (1909)
- 14 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)
- 15 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)
- 16 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 Louis Théodore 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
- Notes
- Selected Bibliography
- Index
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- Beyond Fingal's CaveOssian in the Musical Imagination, pp. 387 - 388Publisher: Boydell & BrewerPrint publication year: 2019