Derrick Puffett on Music

KathrynBailey Puffett

Contents: Introduction; The Analyst Speaks: Editorial: in defence of formalism; Schenker’s ’Eroica’; Liner and Programme Notes: Wagner: overtures and orchestral music; Richard Strauss: Tod und Verklärung and Don Quixote; Richard Strauss: Symphonia Domestica and Parergon; The ’tawdriness’ of Salome; English Music: A Nietzschean libretto: Delius and the text for A Mass of Life; In the garden of Fand: Arnold Bax and the ’Celtic Twilight’; The fugue from Tippett’s Second String Quartet; Tippet and the retreat from mythology; ...an analytical offering (A.G. 1992)...on Goehr’s homage to Bach; Russian and French Music: A graphic analysis of Musorgsky’s ’Catacombs’; Eight bars of Stravinsky: the Septet revisited; Debussy’s Ostinato Machine; Opera: Siegried in the context of Wagner’s operatic writing; Schoeck’s operas: a question of genre; Some reflections on Literaturoper; Berg and German opera; Salome: an introduction; Images of Salome; Strauss’s scenario for the ’Dance of the Seven Veils’; Salome as music drama; Elektra: beginnings; The music of Elektra: some preliminary thoughts; An introduction to Der Rosenkavalier; Vienna: Transcription and recomposition; the strange case of Zemlinsky’s Maeterlinck songs; A notational peculiarity in early Webern and its implications; Gone with the summer wind; or, what Webern lost; ’Music that echoes within one’ for a lifetime: Berg’s reception of Schoenberg’s Pelleas und Melisande; Berg, Mahler and the Three Orchestral Pieces, Op. 6; German music: ’Lass er die Musi, wo sie ist’: pitch specificity in Strauss; Bruckner’s way: the Adagio of the Ninth Symphony; Sources; Index.