• Preface, Foreword, Acknowledgements--
• 1. Introduction--
• 2. Background--
• 3. Six Sonnets of Shakespeare, Opus 12--
• 4. Three Poems of Holly Beye, Opus 15--
• 5. Four Songs for Soprano, Opus 2--
• 6. Three American Folk Songs--
• 7. Three English Folk Songs--
• 8. Invocation, Opus 4--
• 9. Miscellaneous Solo Songs--
• 10. Conclusion-- Appendices-- Bibliography-- Index-- List of Musical Figures.
• (source: Nielsen Book Data)

John La Montaine is known primarily for his Concerto for Piano and Orchestra, Opus 9, which was awarded the Pulitzer Prize for Music in 1959. In addition, he has won countless awards for composition. However, his compositions for voice and piano are not yet an established part of the vocal solo repertoire. This work illustrates La Montaine's music for voice and piano through an analysis of musical and dramatic elements that support the text and drama. A biographical study provides details about the composer's life such as musical training, personal influences, awards and goals. In addition, the issues of philosophy, creativity, methods, musical styles, and textual considerations are discussed and are the basis for the following analysis.
(source: Nielsen Book Data)

• Part 1: The Great Operas-- Mozart's Operatic Style-- Idomeneo-- Die Entfuhrung aus dem Serail-- Le Nozze di Figaro-- Don Giovanni-- Cosi Fan Tutte-- La Clemenza di Tito-- Die Zauberflote--
• Part 2: Other Vocal Works-- The Not-So-great Operas (11 works)-- Concert Arias (10 works)-- Sacred Music (7 works)--
• Part 3: CD Track Listing.
• (source: Nielsen Book Data)

In the virtual cottage industry of recent works on fin-de-siecle Vienna, Hugo Wolf (1860-1903) has been somewhat neglected, perhaps because he was the master of a small genre - the late Romantic lied - and never truly made his mark in the larger forms that command greater public attention. But in the realm of song, he is among the greatest inheritors of Schubert and Schumann, one who was both a traditionalist and a modernist. This study examines five aspects of Wolf's compositional art, each exemplifying a different synthesis of traditionalism and modernity and spanning his entire, tragically brief creative life, from his first efforts to his lapse into insanity in 1897. Wolf's youthful imitations of Schumann (a common phenomenon at the time), his genius for comic songs of a kind unlike any of his predecessors, and his part in the ballad revival of the late 19th century are discussed. The author investigates the poetic texts as closely as the music and includes numerous previously unpublished sketches and fragments, examples from songs now long out-of-print and difficult to obtain, and citations from Wolf's vivid letters and other sources of the period.
(source: Nielsen Book Data)

Dietrich Fischer-Dieskau examines Schumann's life in relation to his entire vocal oeuvre. The songs, his only opera Genoveva, his secular oratorios, the Scenes from Goethe's Faust, Manfred, and the Mass and Requiem are all given consideration with suggestions for interpretation.
(source: Nielsen Book Data)

• Bd. 1. Die geistlichen Kantaten des 1. bis 27. Trinitatis-Sonntages / musikwissenschaftliche Beratung, Don O. Franklin
• Bd. 2. Die geistlichen Kantaten vom 1. advent bis zum trinitatisfest / musikwissenschaftliche Beratung, Norbert Bolin
• Bd. 3. Fest- und Kasualkantaten, Passionen / musikwissenschaftliche Beratung, Jochen Arnold.