Skip to main content Accessibility help
×
Hostname: page-component-7c8c6479df-r7xzm Total loading time: 0 Render date: 2024-03-29T01:38:56.122Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  19 October 2017

Joanne Cormac
Affiliation:
University of Nottingham
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2017

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Secondary Sources

Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton, NJ: Princeton University Press, 1991).Google Scholar
Abraham, Gerald, 100 Years of Music, 4th edn (Worcester: Duckworth, 1974).Google Scholar
Altenburg, Detlef, ‘Franz Liszt and the Legacy of the Classical Era’, 19th-Century Music, 8, 1 (1994), 4663.Google Scholar
Altenburg, Detlef (ed.), Liszt und die Weimarer Klassik (Regenburg: Laaber, 1997).Google Scholar
Altenburg, Detlef (ed.), Sämtliche Schriften, Vol. 5: Dramaturgische Blätter (Wiesbaden: Breitkopf & Härtel, 1989).Google Scholar
Altmann, Wilhelm (ed.), Letters of Richard Wagner (London: Dent, 1927).Google Scholar
Anger, Violaine, ‘Berlioz’s “Roméo au tombeau”: Melodrama of the Mind’ in Melodramatic Voices: Understanding Music Drama, ed. Hibberd, Sarah (Aldershot: Ashgate, 2011), 185–96.Google Scholar
Aristotle, , Poetics, trans. Heath, Malcolm (London and New York: Penguin Books, 1996).Google Scholar
Arnold, Ben (ed.), The Liszt Companion (Westport, CT, and London: Greenwood, 2002).Google Scholar
Ashbrook, William, Donizetti and his Operas (Cambridge: Cambridge University Press, 1982).Google Scholar
Aurnhammer, Achim (ed.), Torquato Tasso in Deutschland: Seine Wirkung in Literatur, Kunst und Musik seit der Mitte des 18. Jahrhunderts (Berlin and New York: Walter de Gruyter, 1995).Google Scholar
Bailey, Helen Phelps, Hamlet in France: From Voltaire to Laforgue (Switzerland: Librairie Droz, 1964).Google Scholar
Bartels, Adolf, Chronik des Weimarischen Hoftheaters 1817–1907 (Weimar: pub. unknown, 1908).Google Scholar
Barzun, Jacques Martin, Berlioz and the Romantic Century, Vol. 1, 3rd edn (New York and London: Columbia University Press, 1969).Google Scholar
Bauer, Marion, ‘The Literary Liszt’, The Musical Quarterly, 22 (1936), 295313.CrossRefGoogle Scholar
Beer, Axel, Pfarr, Kristina, and Ruf, Wolfgang (eds), Festschrift Christoph-Hellmut Mahling zum 65. Geburstag, 2 vols (Tutzing: Hans Schneider, 1997).Google Scholar
Bellas, Jacqueline and Gut, Serge (eds), Correspondance Franz Liszt Marie d’Agoult (Paris: Fayard, 2001).Google Scholar
Berger, Christian, ‘Die Musik der Zukunft: Franz Liszts Symphonische Dichtung Die Ideale’, Liszt-Jahrbuch, 1 (1994), 101–14.Google Scholar
Berger, Karol, ‘Diegesis and Mimesis: The Poetic Modes and the Matter of Artistic Presentation’, The Journal of Musicology, 12, 4 (1994), 407–33.CrossRefGoogle Scholar
Berlioz, Hector, The Memoirs of Hector Berlioz, trans. Cairns, David (London: Gollancz, 1969).Google Scholar
Berlioz, Hector, Traité d’instrumentation et d’orchestration (Paris: Henry Lemoine, 1844).Google Scholar
Bernhardi, Theodor, Aus dem Leben Theodor von Bernhardis, Vol. 2: Briefe und Tagebuchblätter aus den Jahren 1834–1857 (Leipzig: Verlag von S. Hirzel, 1899).Google Scholar
Bertagnolli, Paul, Prometheus in Music: Representations of the Myth in the Romantic Era (Aldershot: Ashgate, 2007).Google Scholar
Bertagnolli, Paul A., ‘Amanuensis or Author? The Liszt–Raff Collaboration Revisited’, 19th-Century Music, 26 (2002), 2351.Google Scholar
Bertagnolli, Paul A., ‘From Overture to Symphonic Poem, from Melodrama to Choral Cantata: Studies of the Sources for Franz Liszt’s “Prometheus” and his “Chöre zu Herder’s ‘Entfesseltem Prometheus’”’, Ph.D. diss. (University of Washington, 1998).Google Scholar
Bertagnolli, Paul A., ‘A Newly Discovered Source for Franz Liszts “Chöre zu Herder’s ‘Entfesseltem Prometheus’”’, The Journal of Musicology, 19, 1 ( 2002), 125–70.Google Scholar
Blackbourn, David, History of Germany 1780–1918: The Long Nineteenth Century, 2nd edn (Oxford: Blackwell Publishing, 2003).Google Scholar
Blackman, Robert D. (ed.), Voice, Speech and Gesture: A Practical Handbook to the Elocutionary Art (Edinburgh: John Grant, 1908).Google Scholar
Bloom, Peter (ed.), The Cambridge Companion to Berlioz (Cambridge: Cambridge University Press, 2000).Google Scholar
Bloom, Peter (ed.), Music in Paris in the 1830s (New York: Stuyvesant, 1987).Google Scholar
Bohlman, Philip V., Music, Nationalism, and the Making of the New Europe, 2nd edn (New York and London: Routledge, 2011).Google Scholar
Bonds, Mark Evan, Absolute Music: The History of an Idea (New York and Oxford: Oxford University Press, 2014).CrossRefGoogle Scholar
Bonds, Mark Evan, ‘Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century’, Journal of the American Musicological Society, 50, 2/3 (1997), 387420.CrossRefGoogle Scholar
Bonner, Andrew, ‘Liszt’s Les Préludes and Les Quatre Élémens: A Reinvestigation’, 19th-Century Music, 10, 2 (1986), 95107.Google Scholar
Bowen, José Antonio, ‘The Rise of Conducting’ in The Cambridge Companion to Conducting, ed. Bowen, José Antonio (Cambridge: Cambridge University Press, 2003), 93113.Google Scholar
Bowen, José Antonio (ed.), The Cambridge Companion to Conducting (Cambridge: Cambridge University Press, 2003).CrossRefGoogle Scholar
Breuilly, John (ed.), 19th-Century Germany: Politics, Culture and Society 1780–1918 (London and New York: Edward Arnold Publishers, 2001).Google Scholar
Brooke, Iris, Costume in Greek Classic Drama (Westport, CT: Greenwood Press, 1962).Google Scholar
Brooks, Charles T. (ed.), Schiller’s Homage of the Arts with Miscellaneous Pieces from Rückert, Freiligrath, and other German Poets (New York: James Miller Publisher, 1846).Google Scholar
Brooks, Peter, The Melodramatic Imagination (New Haven, CT, and London: Yale University Press, 1995).Google Scholar
Bülow, Hans, The Early Correspondence, ed. his widow, trans. Bache, Constance (London: T. Fisher Unwin, 1896).Google Scholar
Bülow, Marie (ed.), Hans von Bülow: Briefe und Schriften, 6 vols (Leipzig: Breitkopf & Härtel, 1895–1907).Google Scholar
Byron, George Gordon, The Lament of Tasso, 2nd edn (London: John Murray, 1817).Google Scholar
Byron, George Gordon, Lord Byron: Everyman’s Poetry Series, ed. Stabler, Jane (London: J. M. Dent, 1997).Google Scholar
Cairns, David, Berlioz: 1803–1832: The Making of an Artist (London: Andre Deutsch, 1989).Google Scholar
Cairns, David, ‘The French Tradition’ in The Cambridge Companion to Conducting, ed. Bowen, José Antonio (Cambridge: Cambridge University Press, 2003), 134–45.Google Scholar
Calhoun, Martha, ‘Music as Subversive Text: Beethoven, Goethe and the Overture to Egmont’, Mosaic, 20, 1 (1987), 4354.Google Scholar
Caplin, William, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York and Oxford: Oxford University Press, 1998).Google Scholar
Carlson, Marvin, ‘The Realistic Theatre and Bourgeois Values, 1750–1900’ in A History of German Theatre, eds Williams, Simon and Hamburger, Maik (Cambridge: Cambridge University Press, 2008), 92119.Google Scholar
Carnegy, Partick, Wagner and the Art of the Theatre (New Haven, CT, and London: Yale University Press, 2006).Google Scholar
Celenza, Anna Harwell, ‘The Poet, the Pianist, and the Patron: Hans Christian Andersen and Franz Liszt in Carl Alexander’s Weimar’, 19th-Century Music, 26, 2 (2002), 130–54.Google Scholar
Cha, Jee-weon, ‘Ton versus Dichtung: Two Aesthetic Theories of the Symphonic Poem and Their Sources’, Journal of Musicological Research, 26, 4 (2007), 377403.CrossRefGoogle Scholar
Clark, Kenneth, The Romantic Rebellion: Romantic Versus Classic Art (London: John Murray Ltd, 1973).Google Scholar
Cone, Edward T., The Composer’s Voice (Berkeley, CA: University of California Press, 1974).Google Scholar
Cooper, Barry, Beethoven and the Creative Process (Oxford: Clarendon, 1990).CrossRefGoogle Scholar
Cormac, Joanne, ‘Liszt, Language and Identity: A Multi-National Chameleon’, 19th-Century Music, 36, 3 (2013), 231–47.Google Scholar
Cormac, Joanne, ‘Revising Hamlet: The Symphonic Poem in the Theatre’, Studia Musicologica, 54, 1 (2013), 3548.CrossRefGoogle Scholar
Cornelius, Peter, Ausgewählte Schriften und Briefe (Berlin: Bernhard Hahnefeld Verlag, 1938).Google Scholar
Curtis, Benjamin, Music Makes the Nation: Nationalist Composers and Nation Building in Nineteenth-Century Europe (Amherst, MA, and New York: Cambria Press, 2008).Google Scholar
Dahlhaus, Carl, Nineteenth-Century Music, trans. Robinson, Bradford (Berkeley, CA, and London: University of California Press, 1989).Google Scholar
Deane, Basil, ‘The French Operatic Overture from Gréty to Berlioz, Proceedings of the Royal Musicological Association, 99 (1972–3), 6780.Google Scholar
Deaville, James, ‘Writing Liszt: Lina Ramann, Marie Lipsius, and Early Musicology’, Journal of Musicological Research, 21, 1 (2002), 7397.CrossRefGoogle Scholar
Deaville, James, Saffle, Michael, and Walker, Alan, New Light on Liszt and His Music (New York: Pendragon Press, 1997).Google Scholar
Delabastita, Dirk, There’s a Double Tongue: An Investigation into the Translation of Shakespeare’s Wordplay with Special Reference to Hamlet (Amsterdam and Atlanta, GA: Rodopi, 1993).Google Scholar
Delabastita, Dirk and D’Hulst, Lieven (eds), European Shakespeares: Translating Shakespeare in the Romantic Age (Amsterdam: John Benjamins, 1993).Google Scholar
Devrient, Eduard, Aus seinen Tagebüchern, ed. Kabel, Rolf (Weimar, 1964).Google Scholar
Devrient, Eduard, ‘Tagebuchaufzeichnungen Eduard Devrients über Darstellungen Shakespearescher Rollen: Karl Seydelmann als Shylock; Bogumil Dawison als Hamlet’, Shakespeare-Jahrbuch, 68 (1932), 140–6.Google Scholar
Di Grazia, Donna M., ‘Liszt and Carolyne Sayn-Wittgenstein: New Documents on the Wedding that Wasn’t’, 19th-Century Music, 12, 2 (1988), 148–62.Google Scholar
Donovan, Siobhán and Elliott, Robin, Music and Literature in German Romanticism (New York and Suffolk: Boydell & Brewer, 2004).Google Scholar
Dowd, Garin, Strong, Jeremy, and Stevenson, Lesley, Genre Matters: Essays in Theory and Criticism (Bristol and Portland, OR: Intellect, 2006).Google Scholar
Downes, Stephen (ed.), Aesthetics of Music: Musicological Perspectives (New York and London: Routledge, 2014).Google Scholar
Draeseke, Felix, ‘Franz Liszt’s Nine Symphonic Poems’, introduced and edited by Deaville, James, trans. Hohl, Susan in Franz Liszt and His World, ed. Gibbs, Christopher and Gooley, Dana (Princeton, NJ, and Oxford: Princeton University Press, 2006), 485516.Google Scholar
Draeseke, Felix, ‘Liszts Dante-Symphonie’, Neue Zeitschrift für Musik, 53 (1860), 193–6, 201–4, 213–15, and 221–3.Google Scholar
Draeseke, Felix, Schriften 1855–1861, eds Gutiérrez-Denhoff, Martella and Loos, Helmut (Bad Honnef: Gudrun Schröder Verlag, 1987).Google Scholar
Dubrow, Heather, Genre (London: Methuen, 1982).Google Scholar
Dufetel, Nicolas, ‘La Musique religieuse de Liszt à l’épreuve de la palingénésie de Ballanche: Réforme ou régénération?Revue de Musicologie, 95, 2 (2009), 359–98.Google Scholar
Eckhardt, Mária, Franz Liszt’s Music Manuscripts in the National Széchényi Library, Budapest, trans. Mészáros, Erzsébet (Budapest: Akadémiai Kiadó, 1986).Google Scholar
Eckhardt, Mária, ‘Vor hundert Jahren: Liszt und Halms Huldigung zur Schillerfeier 1859’ in Liszt und die Weimarer Klassik, ed. Altenburg, Detlef (Regenburg: Laaber, 1997), 133–53.Google Scholar
Eckhardt, Mária and Liepsch, Evelyn, Franz Liszts Weimarer Bibliothek (Laaber: Laaber-Verlag, 1999).Google Scholar
Eigeldinger, Jean-Jacques, Chopin: Pianist and Teacher (Cambridge: Cambridge University Press, 1986).Google Scholar
Elliott, John R. Jr, ‘The Shakespeare Berlioz Saw’, Music and Letters, 57, 3 (1976), 292308.Google Scholar
Engel, Johann Jacob, Practical Illustrations of Rhetorical Gesture and Action Adapted to The English Drama, trans. Siddons, Henry, 2nd edn (London: Sherwood, Neely, and Jones, 1822).Google Scholar
Everist, Mark, ‘Gluck, Berlioz, and Castil-Blaze: The Poetics and Reception of French Opera’ in Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848, eds Parker, Roger and Smart, Mary Ann (Oxford and New York: Oxford University Press, 2001), 86108.CrossRefGoogle Scholar
Joël-Marie, Fauquet, ‘Berlioz and Gluck’ in The Cambridge Companion to Berlioz, ed. Bloom, Peter (Cambridge: Cambridge University Press, 2000), 199210.Google Scholar
Fiske, Roger, Beethoven Concertos and Overtures: BBC Music Guides (London: BBC, 1970).Google Scholar
Freedman, Aviva and Medway, Peter (eds), Genre and the New Rhetoric (London: Taylor & Francis, 1994).Google Scholar
Freytag, Gustav, Essay on Dawison’ in Aufsätze zur Geshichte, Literatur, und Kunst, Vol. 8 of first series of Gesammelte Werke (Leipzig: Hirzel, 1920).Google Scholar
Frow, John, Genre (London and New York: Routledge, 2006).Google Scholar
Frye, Northrop, Anatomy of Criticism (Princeton, NJ: Princeton University Press, 1971).Google Scholar
Garlington, Aubrey, ‘Le Merveilleux and the Operatic Reform in Eighteenth-century French Opera’, The Musical Quarterly, 49, 4 (1963), 484–97.Google Scholar
Genast, Eduard, Aus Weimars klassischer und nachklassischer Zeit (Stuttgart: Robert Lutz, 1904).Google Scholar
Gerhard, Anselm, The Urbanization of Opera: Music Theatre in Paris in the Nineteenth Century (Chicago, IL: University of Chicago Press, 1998).Google Scholar
Gervinus, G. G., Shakespeare Commentaries, trans. Bunnett, F. E., 2 vols (London: Smith, Elder and Co., 1863).Google Scholar
Gibbons, William, ‘Music of the Future, Music of the Past: Tannhäuser and Alceste at the Paris Opéra’, 19th-Century Music, 33, 3 (2010), 232–46.Google Scholar
Gibbs, Christopher H. and Gooley, Dana (eds), Franz Liszt and His World (Princeton, NJ, and Oxford: Princeton University Press, 2006).Google Scholar
Gilliam, Bryan (ed.), Richard Strauss: New Perspectives on the Composer and His Work (Durham, NC: Durham University Press).Google Scholar
Goehr, Lydia, The Imaginary Museum of Musical Works, rev. edn (Oxford and New York: Oxford University Press, 2007).Google Scholar
Goethe, J. W., Elective Affinities, trans. Hollingdale, R. J. (Harmondsworth: Penguin, 1971).Google Scholar
Goethe, J. W., Wilhelm Meister’s Apprenticeship, Book V, The Harvard Classics Shelf of Fiction (New York: Collier & Son, 1917).Google Scholar
Goldhill, Simon, Victorian Culture and Classical Antiquity (Princeton, NJ, and Oxford: Princeton University Press, 2011).Google Scholar
Göllerich, August, Franz Liszt (Berlin: Marquardt & Co., 1908).Google Scholar
Göllerich, August, The Piano Master Classes of Franz Liszt 1884–1886, ed. Jerger, Wilhelm, trans. Zimdars, Richard Louis (Bloomington, IN: Indiana University Press, 1996).Google Scholar
Gooley, Dana, The Virtuoso Liszt (Cambridge: Cambridge University Press, 2004).Google Scholar
Gooley, Dana, ‘Warhorses: Liszt, Weber’s Konzertstück, and the Cult of Napoléon’, 19th-Century Music, 24 (2000), 6288.Google Scholar
Gossett, Philip, ‘The Overtures of Rossini, 19th-Century Music, 3, 1 (1979), 331.Google Scholar
Gottschalg, A. W., Franz Liszt in Weimar und seine letzten Lebensjahre (Berlin: pub. unknown, 1910).Google Scholar
Gottwald, Clytus, ‘Die Liszt-Autographe des Germanisches Nationalmuseums in Nürnberg’, Die Musikforschung, 35 (1982), 166–72.Google Scholar
Grey, Thomas S., ‘Tableaux Vivants: Landscape, History Painting and the Visual Imagination in Mendelssohn’s Orchestral Music’, 19th-Century Music, 21, 1 (1997), 3876.Google Scholar
Grey, Thomas S., ‘Wagner, the Overture and the Aesthetics of Musical Form’, 19th-Century Music, 12, 1 (1988), 322.Google Scholar
Grey, Thomas S. (ed.), Richard Wagner and His World (Princeton, NJ, and Oxford: Princeton University Press, 2009).Google Scholar
Grimes, Nicole, Donovan, Siobhán, and Marx, Wolfgang, Rethinking Hanslick: Music, Formalism and Expression (Rochester, NY: University of Rochester Press, 2013).Google Scholar
Grout, Donald, A Short History of Opera, 3rd edn (New York: Columbia University Press, 1988).Google Scholar
Grimley, Daniel (ed.), The Cambridge Companion to Sibelius (Cambridge: Cambridge University Press, 2004).Google Scholar
Grove, George, ‘Mendelssohn’s Overture to A Midsummer Night’s Dream, The Musical Times, 44, 729 (1903), 728–38.Google Scholar
Habicht, Werner, ‘The Romanticism of the Shlegel–Tieck Shakespeare and the History of Nineteenth-Century Shakespeare Translation’ in European Shakespeares: Translating Shakespeare in the Romantic Age, eds Delabastita, Dirk and D’Hulst, Lieven (Amsterdam: John Benjamins, 1993), 2645.Google Scholar
Hamburger, Klára, Liszt (Gondolat, Budapest, 1980).Google Scholar
Hamburger, Klára (ed.), Franz Liszt Briefwechsel mit seiner Mutter (Eisenstadt, 2000).Google Scholar
Hamburger, Maik and Williams, Simon (eds), A History of German Theatre (Cambridge: Cambridge University Press, 2008).Google Scholar
Hamilton, Kenneth, After the Golden Age: Romantic Pianism and Modern Performance (Oxford and New York: Oxford University Press, 2007).Google Scholar
Hamilton, Kenneth, ‘Liszt’ in The Nineteenth-Century Symphony, ed. Holoman, D. Kern (New York: Schirmer Books, 1997), 142–62.Google Scholar
Hamilton, Kenneth, Liszt: Sonata in B Minor (Cambridge: Cambridge University Press, 1996).Google Scholar
Hamilton, Kenneth, ‘Not with a Bang, but a Whimper: The Death of Liszt’s Sardanapale, Cambridge Opera Journal, 8, 1 (1996), 4558.Google Scholar
Hamilton, Kenneth (ed.), The Cambridge Companion to Liszt (New York: Cambridge University Press, 2005).Google Scholar
Hanslick, Eduard, On the Musically Beautiful, trans. Payzant, Geoffrey (Indianapolis, IN: Hackett, 1986).Google Scholar
Hanslick, Eduard, Hanslick’s Music Criticisms, trans. Pleasants, Henry (New York: Dover Publications, 1988).Google Scholar
Haraszti, Émile, ‘Franz Liszt – Author Despite Himself. The History of a Mystification’, The Musical Quarterly, 3, 4 (1947), 490516.Google Scholar
Haraszti, Émile, ‘Genèse des préludes de Liszt qui n’ont aucun rapport avec Lamartine, Revue de Musicologie, 35, 107e/108e (1953), 111–40.Google Scholar
Harwood, Gregory, ‘Verdi’s Reform of the Italian Opera Orchestra’, 19th-Century Music, 10, 2 (1986), 108–34.Google Scholar
Hase, Oskar, Breitkopf & Härtel Gedenkschrift und Arbeitsbericht, Vol. 2: 1828 bis 1918 (Leipzig: Breitkopf & Härtel, 1919).Google Scholar
Hayman, Ronald (ed.), The German Theatre: A Symposium (London: Wolff; New York: Barnes & Noble, 1975).Google Scholar
Hays, Michael and Nikolopoulou, Anastasia (eds), Melodrama: The Cultural Emergence of a Literary Genre (Basingstoke: Macmillan, 1996).Google Scholar
Head, Matthew, Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont, 19th-Century Music, 30 (2006), 97132.Google Scholar
Hegel, G. W. F., Hegel’s Aesthetics: Lectures on Fine Art, trans. Knox, T. M. (Oxford: Oxford University Press, 1975).Google Scholar
Hegel, G. W. F., The Philosophy of Fine Art, Vol. 4, trans. Osmaton, F. P. B. (London: Bell and Sons Ltd, 1920).Google Scholar
Heilman, Robert Bechtold, Tragedy and Melodrama (Seattle, WA, and London: University of Washington Press, 1968).Google Scholar
Heine, Heinrich, Sämtliche Werke, Vol. 8, ed. Strich, Fritz (Munich, 1925).Google Scholar
Hennemann, Monika, ‘From Drawing Room to Theater: Performance Traditions of Mendelssohn’s Stage Works’ in Mendelssohn in Performance, ed. Reichwald, Siegwart (Bloomington and Indianapolis, IN: Indiana University Press, 2008), 115–46.Google Scholar
Hennemann, Monika, ‘Operatorio?’ in The Oxford Handbook of Opera, ed. Greenwald, Helen M. (Oxford and New York: Oxford University Press, 2014).Google Scholar
Hepokoski, James, ‘Beethoven Reception: The Symphonic Tradition’, Cambridge History of Nineteenth-Century Music, ed. Samson, Jim (Cambridge: Cambridge University Press, 2002), 424–59.Google Scholar
Hepokoski, James, ‘Fiery-Pulsed Libertine or Domestic Hero? Strauss’s Don Juan Reinvestigated’ in Richard Strauss: New Perspectives on the Composer and His Work, ed. Gilliam, Bryan (Durham, NC: Durham University Press), 135–76.Google Scholar
Hepokoski, James, ‘Program Music’ in Aesthetics of Music: Musicological Perspectives, ed. Downes, Stephen (New York and London: Routledge, 2014), 6283.Google Scholar
Hepokoski, James, Sibelius Symphony No. 5 (Cambridge: Cambridge University Press, 1993).CrossRefGoogle Scholar
Hepokoski, James and Darcy, Warren, Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford and New York: Oxford University Press, 2006).Google Scholar
Herder, Johann Gottfried, Philosophical Writings, trans. and ed. Forster, Michael (Cambridge: Cambridge University Press, 2002).Google Scholar
Hibberd, Sarah and Primmer, Brian, ‘Chelard, Hippolyte-André (-Jean)-Baptiste’ in The New Grove Dictionary of Music and Musicians, Vol. 5, ed. Sadie, Stanley, 2nd edn (London: Macmillan Publishers Limited, 2001), 559–60.Google Scholar
Hibberd, Sarah (ed.), Melodramatic Voices: Understanding Music Drama (Aldershot: Ashgate, 2011).Google Scholar
Hibberd, Sarah (ed.), ‘Si l’orchestre seul chantait’: Melodramatic Voices in Chelard’s Macbeth (1827)’ in Melodramatic Voices: Understanding Music Drama (Aldershot: Ashgrave, 2011), 85102.Google Scholar
Hicks, Jonathan and Hambridge, Katherine (eds), The Melodramatic Moment (Chicago, IL: University of Chicago Press, in press).Google Scholar
Hiller, Ferdinand, Aus dem Tonleben unserer Zeit: Gelegentliches von Ferdinand Hiller, Vol. 1 (Leipzig: Hermann Mendelssohn, 1868).Google Scholar
Hoenselaars, A. J and Pujante, Angel-Luis (eds), Four Hundred Years of Shakespeare in Europe (Newark, NJ: University of Delaware Press, 2003).Google Scholar
Holmström, Kirsten Gram, Monodrama, Attitudes, Tableaux Vivants: Studies on Some Trends of Theatrical Fashion 1770–1815 (Stockholm: Almqvist & Wiksell, 1967).Google Scholar
Holoman, D. Kern (ed.), The Nineteenth-Century Symphony (New York: Schirmer Books, 1997).Google Scholar
Hopkins Porter, Cecelia, The Rhine as Musical Metaphor: Cultural Identity in German Romantic Music (Lebanon, NH: Northeastern University Press, 1996).Google Scholar
Hoskins, Geoffrey and Schöpfen, George (eds), Myths and Nationhood (New York: Routledge, 1997).Google Scholar
Howard, Patricia, C. W. Von Gluck: Orfeo (Cambridge: Cambridge University Press, 1981).Google Scholar
Howard, Patricia, Gluck and the Birth of Modern Opera (London: Barrie and Rockliff, 1963).Google Scholar
Howard, Patricia, ‘Orfeo and Orphée, The Musical Times, 108, 1496 (1967), 892–5.Google Scholar
Hueffer, Francis, Correspondence of Wagner and Liszt (Cirencester: The Echo Library, 2005).Google Scholar
Hugo, Howard E. (ed.), The Letters of Franz Liszt to Marie zu Sayn-Wittgenstein (Cambridge: Harvard University Press, 1953).Google Scholar
Hugo, Victor, Cromwell (Paris: Ambroise Dupont et Cie, 1828).Google Scholar
Huneker, James, Franz Liszt (London: Chapman & Hall, 1911).Google Scholar
Huré, Pierre-Antoine and Knepper, Claude (eds), Correspondance, Lettres choisies, presentées et annotées (Paris: J. C. Lattès, 1987).Google Scholar
Huschke, Wolfram, Franz Liszt: Wirken und Wirkungen in Weimar (Weimar: Weimarer Verlagsgesellschaft, 2010).Google Scholar
Huschke, Wolfram, Musik im klassischen und nachklassischen Weimar, 1756–1861 (Weimar: Böhlau, 1982).Google Scholar
Hyland, Anne M., ‘Rhetorical Closure in the First Movement of Schubert’s Quartet in C Major, D. 46: A Dialogue with Deformation’, Music Analysis, 28, 1 (2009), 111–42.Google Scholar
Innes, Christopher, ‘The Rise of the Director, 1850–1939’ in A History of German Theatre, eds Williams, Simon and Hamburger, Maik (Cambridge: Cambridge University Press, 2008), 171–97.Google Scholar
Jackson, Russell and Bate, Jonathan (eds), Shakespeare: An Illustrated Stage History (Oxford: Oxford University Press, 1996).Google Scholar
Jena, Detlef, Maria Pawlowna: Groβherzogin an Weimars Musenhof (Graz, Vienna and Cologne: Verlag Styria, 1999).Google Scholar
Jensen, Erik, Schumann, 2nd edn (Oxford and New York: Oxford University Press, 2012).Google Scholar
Johns, Keith T., The Symphonic Poems of Franz Liszt (New York: Pendragon Press, 1997).Google Scholar
Kaplan, Richard, ‘Sonata Form in the Orchestral Works of Liszt: The Revolutionary Reconsidered’, 19th-Century Music, 8 (1984), 142–52.Google Scholar
Kapp, Julius, Franz Liszt, 3rd edn (Berlin and Leipzig: Schuster and Loeffler, 1911).Google Scholar
Keiler, Allan, ‘Liszt and the Weimar Hoftheater’, Studia Musicologica Academiae Scientiarum Hungaricae, 28 (1986), 431–50.Google Scholar
Kennedy, Dennis (ed.), The Oxford Encyclopaedia of Theatre and Performance, Vol. 2 (Oxford: Oxford University Press, 2003).Google Scholar
Kesting, Hanjo (ed.), Franz Liszt – Richard Wagner Briefwechsel (Frankfurt am Main: Insel Verlag, 1988).Google Scholar
Kivy, Peter, Sound and Semblance: Reflections on Musical Representation (Princeton, NJ: Princeton University Press, 1984).Google Scholar
Kleinertz, Rainer, ‘Liszt, Wagner, and Unfolding Form: Orpheus and the Genesis of Tristan und Isolde’ in Franz Liszt and His World, eds Gibbs, Christopher H. and Gooley, Dana (Princeton, NJ, and Oxford: Princeton University Press, 2006), 231–54.Google Scholar
Knetschke, Emil, ‘Bogumil Dawison, Deutsche Schaubühne, 6 (1861), 58.Google Scholar
Kollek, Peter, Bogumil Dawison: Porträt und Deutung eines genialen Schauspielers (Kastellaun, Henn, 1978).Google Scholar
Kregor, Jonathan, Liszt as Transcriber (Cambridge: Cambridge University Press, 2010).Google Scholar
Kregor, Jonathan, Program Music (Cambridge: Cambridge University Press, 2015).Google Scholar
Kroll, Mark, Johann Nepomuk Hummel: A Musician’s Life and World (Lanham, MD, and Plymouth: Scarecrow Press, 2007).Google Scholar
Kruse, G. R., ‘August Conradi. Ein Gedenkbl, Die Musik, 12 (1912/13), 313.Google Scholar
Kujawińska-courtney, Krystyna and Mercer, John Moore, The Globalization of Shakespeare in the Nineteenth Century (Lewiston, NY: Edwin Mellen Press, 2003).Google Scholar
Kürschner, Joseph, ‘Bogumil Dawison’, Allgemeine deutsche Biographie, www.deutsche-biographie.de/sfz9407.html#adbcontent (accessed 26 April 2017).Google Scholar
Mara, La, Briefe hervorragender Zeitgenossen an Franz Liszt, 3 vols (Leipzig: pub. unknown, 1895, 1904).Google Scholar
Mara, La, Briefwechsel zwischen Franz Liszt und Carl Alexander, Grossherzog von Sachsen (Leipzig: pub. unknown, 1909).Google Scholar
Mara, La, Briefwechsel zwischen Franz Liszt und Hans von Bülow (Leipzig: Breitkopf & Härtel, 1898).Google Scholar
Mara, La, Franz Liszts Briefe, 8 vols (Leipzig: pub. unknown, 1893–1905).Google Scholar
Mara, La, Letters of Liszt, trans. Bache, Constance, 2 vols (London: pub. unknown, 1894).Google Scholar
Langford, Jeffrey A., ‘The “Dramatic Symphonies” of Berlioz as an Outgrowth of the French Operatic Tradition’, The Musical Quarterly, 69 (1983), 85103.Google Scholar
Larkin, David, ‘Dancing to the Devil’s Tune: Liszt’s Mephisto Waltz and the Encounter with Virtuosity’, 19th-Century Music, 39, 3 (2015), 193218.Google Scholar
Laver, James, Costume in the Theatre (London: George G. Harrap and Co., 1964).Google Scholar
Leoussi, Athena S., Nationalism and Classicism: The Classical Body as National Symbol in Nineteenth-Century France and England (Hampshire and London: MacMillan Press, 1998).Google Scholar
Liszt, Franz, ‘Berlioz and his “Harold” Symphony’, in Source Readings in Music History: From Classical Antiquity to the Romantic Era, ed. Strunk, Oliver (London: Faber and Faber, 1952).Google Scholar
Liszt, Franz, ‘Foreword’, Album d’un Voyageur (Vienna: Tobias Haslinger, 1842).Google Scholar
Liszt, Franz, Franz Liszts Musikalische Werke: Band 7 Eine Symphonie zu Dantes Divina Commedia, ed. Liszt-Stiftung, Franz (Leipzig: Breitkopf & Härtel, 1966).Google Scholar
Liszt, Franz, Gesammelte Schriften, 6 vols, ed. Ramann, Lina (Vol. 1, ed. Mara, La) (Leipzig: pub. unknown, 1880–3).Google Scholar
Liszt, Franz, ‘Hektor Berlioz und seine Harold-Symphonie’, ed. Ramann, Lina in Sammlung Musikalischer Vorträge, Vol. 3, ed. Waldersee, Paul Graf (Leipzig: Breitkopf & Härtel, 1881), 319405.Google Scholar
Liszt, Franz, Hunnenschlacht (London: Ernst Eulenburg Ltd, 1976).Google Scholar
Liszt, Franz, ‘Keine Zwischenakts-Musik!’ in Gesammelte Schriften, Vol. 3, ed. and trans. Ramann, Lina (Leipzig: Breitkopf & Härtel, 1881), 136–50.Google Scholar
Liszt, Franz, Lohengrin et Tannhäuser de Richard Wagner (Memphis, TN: General Books LLC, 2012).Google Scholar
Liszt, FranzPreface’ in Ce qu’on entend sur la montagne, trans. Searle, Humphrey (London: Ernst Eulenberg, 1976).Google Scholar
Liszt, Franz, ‘Preface’ to Orpheus, trans. Searle, Humphrey London: (Ernst Eulenberg Ltd, 1975).Google Scholar
Liszt, Franz, ‘Preface’ in Prometheus, trans. Searle, Humphrey (London: Ernst Eulenberg Ltd, 1975).Google Scholar
Liszt, Franz, ‘Preface’ to Tasso Lamento e Trionfo (London: Ernst Eulenberg, 1976).Google Scholar
Liszt, Franz, Sämtliche Schriften, 9 vols, ed. Altenberg, Detlef (Wiesbaden: Breitkopf & Härtel, 1989–present).Google Scholar
Liszt, Franz, The Collected Writings of Franz Liszt, 3 vols, ed. Hall-Swadley, Janita (Lanham, MD: Rowman & Littlefield, 2011–present).Google Scholar
Liszt, Franz, ‘Zwischenaktsmusik’, Berliner Musikzeitung Echo, 9 December 1855.Google Scholar
Longyear, Rey, ‘Clarinet Sonorities in Early Romantic Music’, The Musical Times, 124, 1682 (1983).Google Scholar
Macdonald, Hugh, Beethoven’s Century (Rochester, NY: University of Rochester Press, 2008).Google Scholar
Macy, Laura and Sadie, Stanley (eds), The Grove Book of Operas, rev. edn (Oxford and New York: Oxford University Press, 2006).Google Scholar
Magee, Bryan, ‘The Secret of Tristan and Isolde’, Philosophy, 82, 320 (2007), 339–46.Google Scholar
Main, Alexander, ‘Liszt’s “Lyon”: Music and the Social Conscience’, 19th-Century Music, 4, 3 (1981), 228–43.Google Scholar
Main, Alexander, ‘Liszt after Lamartine: Les Préludes, Music and Letters, 60 (1979), 133148.Google Scholar
Mak, Su Yin, Schubert’s Sonata Forms and the Poetics of the Lyric’, The Journal of Musicology, 23, 2 (2006), 263306.Google Scholar
Marcoux, J. Paul, Guilbert de Pixerécourt: French Melodrama in the Early Nineteenth Century (New York: P. Lang, 1992).Google Scholar
Marvin, William, ‘Mahler’s Third Symphony and the Dismantling of Sonata Form’ in Keys to the Drama: Nine Perspectives on Sonata Forms, ed. Sly, Gordon (Aldershot: Ashgate, 2009), 5371.Google Scholar
Mason, William, Memories of a Musical Life (New York: Da Capo Press, 1970).Google Scholar
Matthews, Denis, Beethoven Master Musicians (Oxford: Oxford University Press, 1997).Google Scholar
Mayer, David, ‘Parlour and Platform Melodrama’ in Melodrama: The Cultural Emergence of a Genre, eds Hays, Michael and Nikolopoulou, Anastasia (New York: St. Martin’s Press, 1996), 211–34.Google Scholar
Merbach, Paul Alfred, Heinrich Marr 1797–1871: Ein Beitrag zur Geschichte des deutschen Theaters im 19. Jahrhundert (Leipzig: Verlag von Leopold Voss, 1926).Google Scholar
Mercer-Taylor, Peter, The Cambridge Companion to Mendelssohn (Cambridge: Cambridge University Press, 2004).Google Scholar
Mercer-Taylor, Peter (ed.), ‘Mendelssohn and the Institutions of German Art Music’ in The Cambridge Companion to Mendelssohn (Cambridge: Cambridge University Press, 2004), 1125.Google Scholar
Merrick, Paul, ‘Le chausseur maudit. Key and Content in Liszt’s Music in C minor’, Studia Musicologica Academiae Scientiarum Hungaricae, 44, 3/4 (2003), 321–36.Google Scholar
Merrick, Paul, Revolution and Religion in the Music of Liszt (Cambridge: Cambridge University Press, 1987).Google Scholar
Micznik, Vera, ‘The Absolute Limitations of Programme Music: The Case of Liszt’s “Die Ideale”, Music and Letters, 80 (1999), 207–40.Google Scholar
Millington, Barry, The New Grove Wagner (London: Macmillan Reference, 2002).Google Scholar
Minor, Ryan, Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany (Cambridge: Cambridge University Press, 2012).Google Scholar
Mitchell, W. J. T., ‘There are No Visual Media’, Journal of Visual Culture, 4, 2 (2005), 257–66.Google Scholar
Möller-Christensen, Ernst and Möller-Christensen, Ivy York, Mein edler, theurer Großherzog! Briefwechsel zwischen Hans Christian Andersen und Großherzog Carl Alexander von Sachsen-Weimar-Eisenach (Göttingen: Wallstein, 1998).Google Scholar
Mueller, Rena, ‘Liszt’s Tasso Sketchbook: Studies in Sources and Chronology’, Studia Musicologica Academiae Scientiarum Hungaricae, 28, 1, 4 (1986), 273–93.Google Scholar
Mueller, Rena, ‘Reevaluating the Liszt Chronology: The Case of “Anfangs wollt ich fast verzagen”’, 19th-Century Music, 12, 2 (1988), 132–47.Google Scholar
Mueller, Rena Charnin, ‘Liszt’s Tasso Sketchbook: Studies in Sources and Revisions’, Ph.D. diss. (New York University, 1986).Google Scholar
Mungen, Anno, “BilderMusik” Panoramen, Tableaux vivants und Lichtbilder als multimediale Darstellungsformen in Theater- und Musikaufführungen vom 19. Bis zum frühen 20. Jahrhundert (Remscheid: Gardez!, 2006).Google Scholar
Murphy, Edward W., ‘A Detailed Program for Liszt’s Hamlet’, Journal of the American Liszt Society, 29 (1991), 4260.Google Scholar
Nattiez, J-J., ‘Can One Speak of Narrativity in Music?’, Journal of the Royal Musical Association, 115 (1990), 240–57.Google Scholar
Nerval, Gérard, Lettres à Franz Liszt: Textes inédits présentés et publiés par Jean Guillaume S. J. et Claude Pichois (Brussels: Presses Universitaires de Namur, 1972).Google Scholar
Nerval, Gérard, Souvenirs d’Allemagne (Paris: Michel Lévy Frères, Libraires-Éditeurs, 1860).Google Scholar
Newman, Ernest, The Man Liszt: A Study of the Tragi-comedy of a Soul Divided against Itself (London: Victor Gollancz, 1969).Google Scholar
Newman, William, The Sonata since Beethoven (Chapel Hill, NC: University of North Carolina Press, 1969).Google Scholar
Norman, Geraldine, Nineteenth-Century Painters and Painting: A Dictionary (Berkeley and Los Angeles, CA: University of California Press, 1977).Google Scholar
Ollivier, Daniel (ed.), Correspondance de Liszt et de la Comtesse d’Agoult (Paris, 1933–4).Google Scholar
Osnes, Beth, Acting: An Encyclopaedia of Traditional Culture (Santa Barbara, CA: ABC-CLIO, 2001).Google Scholar
Ostwald, Peter F., Schumann: The Inner Voices of a Musical Genius (Lebanon, NH: Northeastern University Press, 1985).Google Scholar
Parker, Roger and Smart, Mary Ann (eds), Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford and New York: Oxford University Press, 2001).Google Scholar
Pasler, Jann, Writing Through Music: Essays on Music, Culture, and Politics (Oxford and New York: Oxford University Press, 2008).Google Scholar
Paulin, Roger, The Critical Reception of Shakespeare in Germany 1682–1914 (Hildesheim: Olms, 2003).Google Scholar
Pekacz, Jolanta T. (ed.), Musical Biography: Towards New Paradigms (Aldershot and Burlington: Ashgate, 2006).Google Scholar
Pemble, John, Shakespeare Goes to Paris: How the Bard Conquered France (London: Hambledon and London, 2005).Google Scholar
Perényi, Eleanor, Liszt: The Artist as Romantic Hero (New York.: Little Brown and Company, 1974).Google Scholar
Pesce, Dolores, Liszt’s Final Decade (Rochester, NY, and Woodbridge: University of Rochester Press, 2014).Google Scholar
Phelan, James and Rabinowitz, Peter J., A Companion to Narrative Theory (Malden, MA, and Oxford: Blackwell Publishing Ltd, 2005).Google Scholar
Plantinga, Leon, Romantic Music: A History of Musical Style in Nineteenth-Century Europe (New York: W. W. Norton, 1984).Google Scholar
Plato, , Republic, Book 3, ed. Butler-Bowden, Tom (Chichester: Capstone Publishing, 2012).Google Scholar
Pocknell, Pauline, Haine, Malou, and Dufetel, Nicolas (eds), Lettres de Franz Liszt à la Princesse Marie de Hohenlohe-Schillingsfürst Née de Sayn-Wittgenstein (Paris: Vrin, 2010).Google Scholar
Pocknell, Pauline (ed.), Franz Liszt and Agnes Street-Klindworth: A Correspondence (New York: Pendragon Press, 1999).Google Scholar
Pohl, Richard, Gesammelte Schriften über Musik und Musiker, Vol. 2: Franz Liszt Studien und Erinnerungen (Leipzig: Verlag von Bernhard Schlicke, 1883).Google Scholar
Poole, Adrian (ed.), Great Shakespearians: Scott, Dickens, Elliot, Hardy (London and New York: Continuum, 2011).Google Scholar
Raabe, Peter, ‘Die Entstehungsgeschichte der ersten Orchesterwerke Franz Liszts’, Ph.D. diss. (University of Jena, 1916).Google Scholar
Raabe, Peter, Franz Liszt Vols 1: Liszts Leben and 2: Liszts Schaffen, ed. Raabe, Felix (Tutzing: Hans Schneider, 1968).Google Scholar
Raff, Helene, ‘Franz Liszt und Joachim Raff im Spiegel ihrer Briefe’, Die Musik I, 15/16 (1902).Google Scholar
Ramann, Lina, Franz Liszt als Künstler und Mensch, 2 vols (Leipzig: pub. unknown, 1880–94).Google Scholar
Ramann, Lina, Franz Liszt: Artist and Man, 1811–1840, Vol.1, trans. Cowdery, E. (London: Allen, 1882).Google Scholar
Ramann, Lina, Lisztiana: Erinnerungen an Franz Liszt in Tagebuchblättern, Briefen und Dokumenten aus den Jahren 1873–1886/87, eds Seidl, Arthur and Schnapp, Friedrich (Mainz: Schott, 1983).Google Scholar
Ramann, Lina (ed.) Franz Liszts gesammelte Schriften, 6 vols (Leipzig, 1880–83).Google Scholar
Redmond, James (ed.), Melodrama (Cambridge: Cambridge University Press, 1992).Google Scholar
Rehding, Alexander, ‘Liszt’s Musical Monuments’, 19th-Century Music 26, 1 (2002), 5272.Google Scholar
Rehding, Alexander, Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany (Oxford and New York: Oxford University Press, 2009).Google Scholar
Reichwald, Siegwart (ed.), Mendelssohn in Performance (Bloomington and Indianapolis, IN: Indiana University Press, 2008).Google Scholar
Reynolds, Christopher Alan, Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge, MA, and London: Harvard University Press, 2003).Google Scholar
Robinson, Paul, Ludwig van Beethoven: Fidelio, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1996).Google Scholar
Roenneke, Rudolf, Franz Dingelstedts Wirksamkeit am Weimarer Hoftheater: ein Beitrag zur Theatergeschichte des 19. Jahrhunderts, Ph.D. diss. (Greifswald University, 1912).Google Scholar
Rosen, Charles, The Classical Style: Haydn, Mozart, Beethoven (London and Boston: Faber and Faber, 1976).Google Scholar
Rosenberg, Marvin, The Masks of Hamlet (Newark; London: University of Delaware Press; Associated University Presses, 1992).Google Scholar
Rushton, Julian, Berlioz: Roméo et Juliette, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1994).Google Scholar
Saffle, Michael, A Guide to Research, 2nd edn (New York: Routledge, 2004).Google Scholar
Saffle, Michael, ‘Lingering Legends: Liszt after Walker’ in Musical Biography: Towards New Paradigms, ed. Pekacz, Jolanta T. (Aldershot and Burlington: Ashgate, 2006), 107–10.Google Scholar
Saffle, Michael, ‘Liszt’s Use of Sonata Form: The Case of Festklänge’ in Liszt 2000 Selected Lectures Given at the International Liszt Conference in Budapest (Budapest: Hungarian Liszt Society, 2000).Google Scholar
Saffle, Michael, ‘Orchestral Works’ in The Liszt Companion, ed. Arnold, Ben (Westport, CT, and London: Greenwood, 2002), 235–80.Google Scholar
Saffle, Michael (ed.), Liszt and His World (New York: Pendragon Press, 1998).Google Scholar
Samson, Jim, Virtuosity and the Musical Work: The Transcendental Studies of Liszt (Cambridge: Cambridge University Press, 2003).Google Scholar
Samson, Jim (ed.), Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2002).Google Scholar
Schimpf, Wolfgang, Lyrisches Theater: das Melodrama des 18. Jahrhunderts (Göttingen: Vandenhoeck & Ruprecht, 1988).Google Scholar
Schmalfeldt, Janet, In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music (Oxford and New York: Oxford University Press, 2011).Google Scholar
Schneeman, Eric Olds, ‘The German Reception of Christoph Willibald Ritter von Gluck in the Early Nineteenth Century’, Ph.D. diss. (University of Southern California, 2013).Google Scholar
Schoell, Adolf, Prolog und Epilog zum Festspiel: Die Huldigung der Künste (Weimar: pub. unknown, 1854).Google Scholar
Schorn, Adelheid, Das nachklassiche Weimar unter der Regierungszeit Karl Friedrichs und Maria Paulownas (Weimar: pub. unknown, 1911–12).Google Scholar
Schrikel, Leonhard, Geschichte des Weimarer Theaters von seinen Anfängen bis heute (Weimar: pub. unknown, 1928).Google Scholar
Schröter, Axel, Der historische Notenbestand des Deutschen Nationaltheaters Weimar (Sinzig: Katalog Studio Verlag, 2010).Google Scholar
Schumann, Robert, Music and Musicians, trans. Ritter, F. (London, 1878).Google Scholar
Searle, Humphrey, ‘Foreword’ in Liszt, Franz, Hamlet (London: Eulenberg, 1976).Google Scholar
Searle, Humphrey, ‘Liszt’s “Don Sanche”, The Musical Times, 118, 1616 (1977), 815–17.Google Scholar
Searle, Humphrey, The Music of Liszt, 2nd edn (New York: Dover Publications, 1966).Google Scholar
Seibold, Wolfgang, Robert und Clara Schumann in ihren Beziehungen zu Franz Liszt: Im Spiegel ihrer Korrespondenz und Schriften (Frankfurt am Main and Oxford: P. Lange, 2005).Google Scholar
Shakespeare, William, The Arden Shakespeare Complete Works, eds Proudfoot, Richard, Thompson, Ann, and Kastan, David Scott (Walton-on-Thames: Nelson, 1998).Google Scholar
Shakespeare, William, The Arden Shakespeare, Hamlet The Texts of 1603 and 1623, eds Thomson, Ann and Taylor, Neil (London: Thomson Learning, 2006).Google Scholar
Shakespeare, William, Hamlet, trans. Tourneur, Le (Paris: pub. unknown, 1881).Google Scholar
Shapiro, Ann Dhu, ‘Action Music in American Pantomime and Melodrama, 1730–1913’, American Music, 2, 4 (1984), 4972.Google Scholar
Short, Michael, Correspondence of Franz Liszt and the Comtesse Marie d’Agoult: Franz Liszt Studies Series, No. 14 (Hillsdale, NY: Pendragon Press, 2013).Google Scholar
Singer, Ben, Melodrama and Modernity: Early Sensational Cinema and Its Contexts (New York: Columbia University Press, 2001).Google Scholar
Sly, Gordon (ed.), Keys to the Drama: Nine Perspectives on Sonata Forms (Aldershot: Ashgate, 2009).Google Scholar
Smart, Mary Ann, Mimomania: Music and Gesture in Nineteenth-Century Opera (Berkeley and Los Angeles, CA: University of California Press, 2004).Google Scholar
Smither, Howard E., A History of the Oratorio: Vol 4, The Oratorio in the 19th and 20th Centuries (Chapel Hill, NC, and London: University of North Carolina Press, 2000).Google Scholar
Sonneck, O. G., ‘Liszt’s Huldigungs Marsch and Weimar’s Volkslied’, The Musical Quarterly, 4, 1(1918), 6173.Google Scholar
Styan, J. L., Modern Drama in Theory and Practice 1: Realism and Naturalism (Cambridge: Cambridge University Press, 1981).Google Scholar
Suppan, Wolfgang (ed.), Liszt Studien 1 (Graz, Austria: Akademische Druck- u. Verlagsanstalt, 1977).Google Scholar
Suttoni, Charles (ed.), Liszt, An Artist’s Journey. Lettres d’un bachelier ès musique 1835–41: Franz Liszt (Chicago, IL, and London: University of Chicago Press, 1989).Google Scholar
Szelényi, László, ‘Liszts Opernpläne’ in Liszt Studien 1, ed. Suppan, Wolfgang (Graz: Akademische Druck- u. Verlagsanstalt, 1977), 215–24.Google Scholar
Taruskin, Richard, The Oxford History of Western Music, Vol. 3: The Nineteenth Century (Oxford and New York: Oxford University Press, 2005).Google Scholar
Taylor, Benedict, Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge: Cambridge University Press, 2011).Google Scholar
Taylor, Philip, Anton Rubinstein: A Life in Music (Bloomington, IN: Indiana University Press, 2007).Google Scholar
Temperley, Nicholas, ‘Overture’ in The New Grove Dictionary of Music and Musicians, Vol. 18, ed. Sadie, Stanley, 2nd edn (London: Macmillan Publishers Limited, 2001), 824–6.Google Scholar
Todd, Larry R., Mendelssohn: The Hebrides and Other Overtures (Cambridge: Cambridge University Press, 1993).Google Scholar
Todd, Larry R., ‘The “Unwelcome Guest” Regaled: Franz Liszt and the Augmented Triad’, 19th-Century Music, 12 (1988), 93115.Google Scholar
Torkewitz, Dieter, ‘Innovation und Tradition. Zur Genesis eines Quartenakkords. Über Liszts ‘Prometheus’, Die Musik Forschung, 33 (1980), 291302.Google Scholar
Torkewitz, Dieter, ‘Liszts Tasso’ in Torquato Tasso in Deutschland: Seine Wirkung in Literatur, Kunst und Musik seit der Mitte des 18. Jahrhunderts ed. Aurnhammer, Achim (Berlin and New York: Walter de Gruyter, 1995), 321–47.Google Scholar
Trippett, David, ‘Après une Lecture de Liszt: Virtuosity and Werktreue in the “Dante” Sonata’, 19th-Century Music, 32, 1 (2008), 5293.Google Scholar
Trippett, David, ‘Bayreuth in Miniature: Wagner and the Melodramatic Voice’, The Musical Quarterly, 95, 1 (2012), 71138.Google Scholar
Tunbridge, Laura, Schumann’s Manfred in the Mental Theatre’, Cambridge Opera Journal, 15, 2 (2003), 153–83.Google Scholar
Tyson, Alan (ed.), Beethoven Studies 3 (Cambridge: Cambridge University Press, 1982).Google Scholar
Vande Moortele, Steven, ‘Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of 2-Dimensional Sonata Form’, Current Musicology, 86 (2008), 4162.Google Scholar
Vande Moortele, Steven, ‘Form, Program, and Deformation in Liszt’s Hamlet’, Tijdschrift Voor Muziektheorie, 11 (2006), 7182.Google Scholar
Vande Moortele, Steven, Two-dimensional Sonata Form: Form and Cycle in Single-movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky (Leuven: Leuven University Press, 2009).Google Scholar
Veen, J., Le Mélodrame Musical de Rousseau au Romantisme: Ses Aspects Historiques et Stylistiques (The Hague: Martinus Nijhoff, 1955).Google Scholar
Vosteen, Annette, ‘Chelard, André Hippolyte (Jean Baptiste)’ in Die Musik in Geschichte und Gegenwart, Vol. 4, ed. Finscher, Ludwig, 2nd edn (Kassel and London: Bärenreiter, 1994).Google Scholar
Waeber, Jacqueline, En musique dans le texte; le mélodrame, de Rousseau à Schoenberg (Paris: Van Dieren Éditeur, 2005).Google Scholar
Wagner, Cosima, Diaries, Vols 1 and 2, eds Gregor-Dellin, Martin and Mack, Dietrich, trans. Skelton, Geoffrey (London: Collins, 1978–1980).Google Scholar
Wagner, Richard, Gesammelte Schriften und Dichtungen (Leipzig, 1888).Google Scholar
Wagner, Richard, My Life, trans. Gray, Andrew, ed. Whittall, Mary (Cambridge: Cambridge University Press, 1983).Google Scholar
Wagner, Richard, Richard Wagner’s Prose Works, Vol. 3: The Theatre, ed. and trans. Ellis, William Ashton (London: Kegan Paul, Trench, Trübner, 1894); Vol. 2: Opera and Drama (London: Kegan Paul, Trench, Trübner, 1893); Vol. 7: In Dresden and Paris (New York: Boude Brothers, 1898).Google Scholar
Walker, Alan, Franz Liszt, Vol. 1: The Virtuoso Years, 1811–1847, rev. edn (London: Faber and Faber Ltd, 1989).Google Scholar
Walker, Alan, Franz Liszt, Vol. 2: The Weimar Years (London: Faber and Faber Ltd, 1989).Google Scholar
Walker, Alan, Franz Liszt, Vol. 3: The Final Years (London: Faber and Faber Ltd, 1997).Google Scholar
Walker, Alan, ‘Liszt’ in The New Grove Dictionary of Music and Musicians, Vol. 14, ed. Sadie, Stanley, 2nd edn (London: Macmillan Publishers Limited, 2001), 755877.Google Scholar
Walker, Alan, Liszt, Carolyne, and the Vatican: The Story of a Thwarted Marriage, ed. and trans. Erasmi, Gabriele (Stuyvesant, NY: Pendragon Press, 1991).Google Scholar
Wang, Dan, ‘Melodrama, Two Ways’, 19th-Century Music, 36, 2 (2012), 122–35.Google Scholar
Warrack, John, Carl Maria von Weber, 2nd edn (Cambridge: Cambridge University Press, 1976).Google Scholar
Watson, Derek, Liszt (The Master Musicians) (New York: Oxford University Press, 1989).Google Scholar
Weber, William, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (Cambridge: Cambridge University Press, 2009).Google Scholar
West, Shearer, The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble (New York: St. Martin’s Press, 1991).Google Scholar
Williams, Adrian, Portrait of Liszt by Himself and His Contemporaries (Oxford: Oxford University Press, 1990).Google Scholar
Williams, Adrian (ed.), Franz Liszt: Selected Letters (New York: Oxford University Press, 1998).Google Scholar
Williams, Simon, German Actors of the Eighteenth and Nineteenth Centuries: Idealism, Romanticism and Realism (Westport, CT, and London: Greenwood, 1985).Google Scholar
Williams, Simon, Richard Wagner and Festival Theatre (Westport, CT: Greenwood Press, 1994).Google Scholar
Williams, Simon, Shakespeare on the German Stage, Vol. 1 (Cambridge: Cambridge University Press, 1990).Google Scholar
Williamson, John, ‘The Revision of Liszt’s “Prometheus”’, Music and Letters, 67, 4 (1986), 381–90.Google Scholar
Wilson Kimber, Marian, ‘Reading Shakespeare, Seeing Mendelssohn: Concert Readings of A Midsummer Night’s Dream, ca. 1850–1920’, The Musical Quarterly, 89 (2006), 199236.Google Scholar
Winckelmann, Johann Joachim, History of the Art of Antiquity, trans. Mallgrave, Harry Francis (Los Angeles, CA: Getty Publications, 2006).Google Scholar
Wingfield, Paul, ‘Beyond “Norms and Deformations”: Towards a Theory of Sonata Form as Reception Theory’, Music Analysis, 27, 1 (2008), 137–77.Google Scholar
Winkler, Gerhard J., ‘Liszt’s “Weimar Mythology”’ in Liszt and His World: Franz Liszt Studies Series No. 5, ed. Saffle, Michael (Stuyvesant, NY: Pendragon Press, 1998), 6173.Google Scholar
Winkler, Gerhard J., ‘“Tradition” and “Progress”: Liszt’s First Melodrama Lenore in Liszt the Progressive (Studies in the History and Interpretation of Music Series) eds Kagebeck, Hans and Lagerfelt, Johan (New York: Edwin Mellen Press, 2001).Google Scholar
Winklhofer, Sharon, Liszt’s Sonata in B Minor: A Study of Autograph Sources and Documents (Ann Arbor, MI: UMI Research Press, 1978).Google Scholar
Wurzbach, Alfred, Bogumil Dawison (Wien: A. Hartleben, 1871).Google Scholar
Zenger, Max, Geschichte Münchner Oper, ed. Kroyer, Theodor (Munich, 1923).Google Scholar
Ziblett, Daniel, Structuring the State: The Formation of Italy and Germany and the Puzzle of Federalism (Princeton, NJ: Princeton University Press, 2006).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Joanne Cormac, University of Nottingham
  • Book: Liszt and the Symphonic Poem
  • Online publication: 19 October 2017
  • Chapter DOI: https://doi.org/10.1017/9781316850374.010
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Joanne Cormac, University of Nottingham
  • Book: Liszt and the Symphonic Poem
  • Online publication: 19 October 2017
  • Chapter DOI: https://doi.org/10.1017/9781316850374.010
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Joanne Cormac, University of Nottingham
  • Book: Liszt and the Symphonic Poem
  • Online publication: 19 October 2017
  • Chapter DOI: https://doi.org/10.1017/9781316850374.010
Available formats
×