Bücher der Reihe Carysfort Press Ltd.

Contents: The Instrument - Compass - Strings - Tuning - Blades - Placing the Instrument - Key-Board, Key change system, Keys Position of hands (diagrams) - Independence of Fingering - Equality of Tone - Chord Playing - Articulation - Damped Sounds - Octaves - Gliding - Harmonics - Recapitulation - Glissando - Relative Minor Scales - C, G and D (Harmonic Form) - Relative Minor Scales - A and E - Scales in all possible keys, Arpeggios and Inversions, Sixths and Tenths - Contrary Motion (One Octave) - Dominant Seventh Chord and Inversions, Similar Motion - Dominant Seventh Chord and Inversions, Similar and Contrary Motion - Diminished Seventh Chord and Inversions, Similar Motion - Complete Scale Programme as in Eleventh Lesson - Diminished Seventh Chord and Inversions. Similar and Contrary Motion.

«It was a great pleasure both to host and to participate in an international conference that brought together musicologists, composers, performers, and literary artists in stimulating and thought-provoking discourse. The collaboration of our colleagues from Queen¿s University, Belfast, was particularly welcome and appreciated; they, together with distinguished international Goethians, contributed much to what was a unique 36 hours of intellectual and artistic dialogue.»Professor Gerard Gillen, Chair of Music, National University of Ireland Maynooth & Titular Organist of Dublin¿s Pro-Cathedral«Goethe¿s influence on the musical world is far reaching. While it seems impossible to grasp the full extent of his legacy, a sense of optimism was in the air at the Maynooth conference where we were entertained by a series of highly stimulating papers and concerts, exploring some fascinating details of Goethe¿s world and his unique contributions to music. It was indeed a rare opportunity to have had such a wonderful mix of scholarly exchanges on a literary giant, Goethe, who continues to enrich our lives through his creative output.»Dr Yo Tomita, Reader in Music, Queen¿s University Belfast«I have long been conscious of the modernity of much of Goethe¿s writing and aware of the very direct message it can deliver to a 21st century man or woman. In particular the characters of both Mignon and the Harper in Wilhelm Meisters Lehrjahre speak to us of an all-too-familiar sense of fractured identity. It was therefore with especial pleasure that I undertook the musical setting of Goethe¿s poems associated with these two vivid characters for performance at the conference. What a wonderful opportunity was afforded me to present a first performance of Goethe settings before an audience that included so many distinguished scholars of the great German writer!»Seóirse Bodley, Composer and Emeritus Professor of Music, University College Dublin«Musical performance is a fundamental part of human existence, yet years of learning and preparation lie behind it. The interpretation of music requires decisions ¿ conscious and/or intuitive ¿ about the meaning of musical features as well as knowledge of the historical context in which the music was written. The unique interaction of theory and practice in this conference offered scholars and performers an opportunity to unravel the complexities of performance together, and to bring to light aspects of learning and playing. Each of the authors in this volume is a leading expert in the field, and the performers, who illustrated their lectures with recitals, were of considerable experience and renown. All of these factors ensure that the essays in this volume are vital, cogent, and musically challenging.»John O¿Conor, Pianist and Director of the Royal Irish Academy of Music«Goethe was interested in, and acutely aware of, the place of music in human experience generally ¿ and of its particular role in modern culture. Moreover, his own literary work - especially the poetry and ¿Faust¿ ¿ inspired some of the major composers of the European tradition to produce some of their finest works. What is it about Goethe¿s texts that invites a transformation into music? Perhaps it is his extraordinary combination of emotional immediacy and intense reflectivity. To that combination, and to the perennially fascinating question of what happens in the interplay between words and music, this volume of essays bears abundant witness.»Martin Swales, Emeritus Professor of German, University College London

This new critical edition collects together for the first time in one volume selected original arrangements of the world-famous Irish Melodies for solo voice and duet along with other successful English-language songs to texts by Moore and foreign-language settings by Schumann, Mendelssohn, Berlioz and Duparc.

The Elusive Celt departs from previous work in the wider ethnomusicological field about traditional Irish music within its home contexts by adding a central and eastern European perspective on perceptions of Irish musical culture and images of 'the Celtic.'

In this musical collection, Lorraine Byrne Bodley reflects upon composer Seoirse Bodley's musical settings of Goethe's poetry by examining the cultual and poetic contexts key to their construction.

Sedirse Bodley is one of the best-known senior figures of contemporary music in Ireland. This book seeks to examine his engagement with the poetry of Micheal O'Siadhail and the making of these song cycles. It assesses the joint contribution to Irish art song and seeks to understand its roots in and departure from European tradition.This apograph is the first publication of Bodley's O'Siadhail song cycles and is the first book to explore the composer's lyrical modernity from a number of perspectives. Lorraine Byrne Bodley's insightful introduction describes in detail the development and essence of Bodley's musical thinking, the European influences he absorbed which linger in these cycles, and the importance of his work as a composer of Irish art song. She asks an array of questions: Does song play a new role in twentieth-century music or was this the age, as many have insisted, that bears witness to the «death of song»? How does contemporary Irish art song inscribe individual concerns and mirror the influence of dominant social trends through its music and its texts? She demonstrates that the answers to such questions illuminate the context in which these cycles were created, and how they were valued and viewed. Through a blend of close analysis of Bodley's songs and wide-ranging engagement with both poetry and music, this book sheds new light on Bodley's integral part in fashioning Irish art song. It analyses the way Bodley's song has been harnessed both to legitimate and to challenge national art song. And it identifies elements of Bodley's musical style which are shaped by European tradition.Beyond such musico-poetic analysis, Lorraine Byrne Bodley's reading of the threefold roles of continuity, gradual change, and revolution opens up a «braided history» of Irish art song, where song is not an aesthetic given but a means to understanding the changing patterns of life. She argues convincingly that an understanding of the way in which Irish society has perceived song in recent centuries is available through a consideration of song as social document, and in her appraisal of Bodley's O'Siadhail settings she considers the importance of these song cycles as a reflection of Ireland's rich cultural history.

In a modern Christian conception of God, however, God is no longer seen as a lawgiver outside the cosmos but as dynamic fundamental love, whose dynamism is manifested in cosmic evolution. Precisely this drive forms the root of the ethical imperative.

This biography delves into Fitzmaurice's creative identity by reconstructing the regional roots of his themes, characters and dialect.

Irish theatregoing 19551985.

This long overdue anthology captures the soul of MacIntyre's dramatic canon - its ethereal qualities, its extraordinary diversity, its emphasis on the poetic and on performance - in an extensive range of visual, journalistic and scholarly contributions from writers and theatre practitioners.

There remains an unexplored aspect of Goethe's career: his surprisingly significant role in 19th century melodrama. This score, the first edition of Eberwein's setting of Goethe's melodrama, Proserpina, offers an unprecedented examination of Goethe's text and overturns the accepted image of the artist as unmusical.

As well as providing a very readable and comprehensive study of the life and music of John Buckley,¿Constellations also offers an up-to-date and informative catalogue of compositions, a complete discography, translations of set texts and the full libretto of his chamber opera, making this book an essential guide for both students and professional scholars alike.

Lecture proceedings including the essence of theatre; Ireland's contribution to the art of theatre; the potential of drama in the classroom; the relationship between drama and film; and on opera and its history.

Poems 2000-2005 is a transitional collection written while the author - also known to be W. J. Me Cormack, literary historian - was in the process of moving back from London to settle in rural Ireland. It is also a vigorous contribution to the age-old dialogue between Sacred and Profane themes, questioning beliefs and pleasures, guilts and landscapes, poetic methods and prosaic realities.

The author looks at the gospels from a modern angle. Was Jesus a person like us? He investigates these issues conscientiously and opens up a new way in which the modern Christian, despite everything, can confidently be a believer.

This thought-provoking volume of essays, wide-ranging in scope and interdisciplinary in its approach, engages with questions surrounding the many meanings ascribed to death and the memorialisation of the dead.

The Drunkard is a wonderfully eloquent play.'Young Edward Kilcullen's life is blighted by alcohol.

This book is a literary tour de force, where 28 Irish plays are examined and their rich cultural context exposed in a way that educates and excites.

The book is remarkably well-focused: half is a series of production histories of Playboy performances through the twentieth century in the UK, Northern Ireland, the USA, and Ireland. The remainder focuses on one contemporary performance, that of Druid Theatre, as directed by Garry Hynes

The essays collected in Edna O'Brien: New Critical Perspectives illustrate the range, complexity and interest of O'Brien as a fiction writer and dramatist.

This book, edited by Christina Hunt Mahony, presents twelve essays that trace the development of Sebastian Barry's career and the individual achievement of his works, concentrating largely, but not exclusively, on the plays.

It aims to stimulate further enquiry, research and critical reflection, in sceptical, analytic or celebratory modes, on the riches of Irish literary texts and traditions. The collection discusses texts from the early 18th century to the present.