Description

Furthers the integration of music into the field of classical reception studies, balancing text and music in order to illuminate the nature of lyric
• Identifies important lyric characteristics that run throughout Catullus’s corpus of poems
• Presents musical reception case studies to develop a wider understanding of Catullus’s lyric voice
• Demonstrates how study of ancient sources is fundamental to our understanding of a musical work

Catullus in Twentieth-Century Music reinvigorates discussions around the nature of Catullus’s lyricism, centring around four musical works from the twentieth century. Stephanie Oade considers how and why musical composers used Catullus’s poetry as their stimulus to uncover new ideas about Catullus’s poetry.

Contents

1. 1 Introduction
2. Part I: Catullus as a Lyric Poet
3. The Context: Ideas of Lyric
4. 2 Catullus Within the Ancient Lyric Tradition
5. 3 A Modern Lyric View of Catullus
6. 4 Music and Lyric
7. Part II: Lyric and Song
8. The Context: The Catullus of Rorem and Rawsthorne
9. 5 The Lyric Setting in Rorem s Catullus: On the Burial of his Brother
10. 6 Instability in Catullus 3 and Rawsthorne s Lament for a Sparrow
11. Part III: Staging the Cycle
12. The Context: Orff s Catullus
13. 7 Cycles in Catullus and Orff s Catulli Carmina: Ludi Scaenici
14. 8 Orff s Narrative-Dramatic Cycle
15. Part IV: Lyric and Drama
16. The Context: The Presence of Catullus 64 in Strauss-Hofmannsthal s Ariadne auf Naxos
17. 9 Lyric Structures in Catullus 64 and Strauss-Hofmannsthal s Ariadne auf Naxos
18. 10 A Lyric Figure: Ariadne
19. 11 Strauss s Musical Drama
20. 12 Conclusion
21. Appendix 1: Beardsley s Ave Atque Vale
22. Appendix 2: A Glossary of Musical Terminology