Kapitel in diesem Buch

1. Frontmatter i
2. Contents xi
3. Preface xiii
4. Acknowledgments xvii
5. Note to the Reader xxi
6. 1. Battling Critics, Engaging Composers: Ossian’s Spell 1
7. 2. On Macpherson’s Native Heath: Primary Sources 18
8. 3. A Culture without Writing, Settings without a Score, Haydn without Copyright, and Two Oscars on Stage 32
9. 4. “A Musical Piece”: Harriet Wainewright’s opera Comàla (1792) 45
10. 5. Between Gluck and Berlioz: Méhul’s Uthal (1806) 57
11. 6. Fingallo e Comala (1805) and Ardano e Dartula (1825): The Ossianic Operas of Stefano Pavesi 72
12. 7. From Venice to Lisbon and St. Petersburg: Calto, Clato, Aganadeca, Gaulo ed Oitona, and Two Fingals 87
13. 8. Beethoven’s Ossianic Manner, or Where Scholars Fear to Tread 102
14. Excursus: Mendelssohn Waives the Rules: “Overture to the Isles of Fingal” (1832) and an “Unfinished” Coda 113
15. 9. The Maiden Bereft: “Colma” from Rust (1780) to Schubert (1816) 123
16. 10. Scènes lyriques sans frontières: Louis Théodore Gouvy’s Le dernier Hymne d’Ossian (1858) and Lucien Hillemacher’s Fingal (1880) 146
17. 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) 171
18. 12. The Musical Stages of “Darthula”: From Thomas Linley the Younger (ca. 1776) to Arnold Schoenberg (1903) and Armin Knab (1906) 194
19. 13. The Cantata as Drama: Joseph Jongen’s Comala (1897), Jørgen Malling’s Kyvala (1902), and Liza Lehmann’s Leaves from Ossian (1909) 216
20. 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) 238
21. 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) 257
22. 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) 274
23. Afterword: The “Half-Viewless Harp”—Secondary Resonances of Ossian 293
24. Appendix 1: Title Page and Dedication of Harriet Wainewright’s Comàla 305
25. Appendix 2: French and German Texts of Louis Théodore Gouvy’s Le dernier Hymne d’Ossian 307
26. Appendix 3: Texts of Erik Chisholm’s Night Song of the Bards 310
27. Appendix 4: Provisional List of Musical Compositions Based on the Poems of Ossian 313
28. Notes 323
29. Selected Bibliography 387
30. Index 389