Secondary Sources
Abbate, Carolyn, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton, NJ: Princeton University Press, 1991).
Abraham, Gerald, 100 Years of Music, 4th edn (Worcester: Duckworth, 1974).
Altenburg, Detlef, ‘Franz Liszt and the Legacy of the Classical Era’, 19th-Century Music, 8, 1 (1994), 46–63.
Altenburg, Detlef (ed.), Liszt und die Weimarer Klassik (Regenburg: Laaber, 1997).
Altenburg, Detlef (ed.), Sämtliche Schriften, Vol. 5: Dramaturgische Blätter (Wiesbaden: Breitkopf & Härtel, 1989).
Altmann, Wilhelm (ed.), Letters of Richard Wagner (London: Dent, 1927).
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.
Aristotle, , Poetics, trans. Heath, Malcolm (London and New York: Penguin Books, 1996).
Arnold, Ben (ed.), The Liszt Companion (Westport, CT, and London: Greenwood, 2002).
Ashbrook, William, Donizetti and his Operas (Cambridge: Cambridge University Press, 1982).
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).
Bailey, Helen Phelps, Hamlet in France: From Voltaire to Laforgue (Switzerland: Librairie Droz, 1964).
Bartels, Adolf, Chronik des Weimarischen Hoftheaters 1817–1907 (Weimar: pub. unknown, 1908).
Barzun, Jacques Martin, Berlioz and the Romantic Century, Vol. 1, 3rd edn (New York and London: Columbia University Press, 1969).
Bauer, Marion, ‘The Literary Liszt’, The Musical Quarterly, 22 (1936), 295–313.
Beer, Axel, Pfarr, Kristina, and Ruf, Wolfgang (eds), Festschrift Christoph-Hellmut Mahling zum 65. Geburstag, 2 vols (Tutzing: Hans Schneider, 1997).
Bellas, Jacqueline and Gut, Serge (eds), Correspondance Franz Liszt Marie d’Agoult (Paris: Fayard, 2001).
Berger, Christian, ‘Die Musik der Zukunft: Franz Liszts Symphonische Dichtung Die Ideale’, Liszt-Jahrbuch, 1 (1994), 101–14.
Berger, Karol, ‘Diegesis and Mimesis: The Poetic Modes and the Matter of Artistic Presentation’, The Journal of Musicology, 12, 4 (1994), 407–33.
Berlioz, Hector, The Memoirs of Hector Berlioz, trans. Cairns, David (London: Gollancz, 1969).
Berlioz, Hector, Traité d’instrumentation et d’orchestration (Paris: Henry Lemoine, 1844).
Bernhardi, Theodor, Aus dem Leben Theodor von Bernhardis, Vol. 2: Briefe und Tagebuchblätter aus den Jahren 1834–1857 (Leipzig: Verlag von S. Hirzel, 1899).
Bertagnolli, Paul, Prometheus in Music: Representations of the Myth in the Romantic Era (Aldershot: Ashgate, 2007).
Bertagnolli, Paul A., ‘Amanuensis or Author? The Liszt–Raff Collaboration Revisited’, 19th-Century Music, 26 (2002), 23–51.
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).
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.
Blackbourn, David, History of Germany 1780–1918: The Long Nineteenth Century, 2nd edn (Oxford: Blackwell Publishing, 2003).
Blackman, Robert D. (ed.), Voice, Speech and Gesture: A Practical Handbook to the Elocutionary Art (Edinburgh: John Grant, 1908).
Bloom, Peter (ed.), The Cambridge Companion to Berlioz (Cambridge: Cambridge University Press, 2000).
Bloom, Peter (ed.), Music in Paris in the 1830s (New York: Stuyvesant, 1987).
Bohlman, Philip V., Music, Nationalism, and the Making of the New Europe, 2nd edn (New York and London: Routledge, 2011).
Bonds, Mark Evan, Absolute Music: The History of an Idea (New York and Oxford: Oxford University Press, 2014).
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), 387–420.
Bonner, Andrew, ‘Liszt’s Les Préludes and Les Quatre Élémens: A Reinvestigation’, 19th-Century Music, 10, 2 (1986), 95–107.
Bowen, José Antonio, ‘The Rise of Conducting’ in The Cambridge Companion to Conducting, ed. Bowen, José Antonio (Cambridge: Cambridge University Press, 2003), 93–113.
Bowen, José Antonio (ed.), The Cambridge Companion to Conducting (Cambridge: Cambridge University Press, 2003).
Breuilly, John (ed.), 19th-Century Germany: Politics, Culture and Society 1780–1918 (London and New York: Edward Arnold Publishers, 2001).
Brooke, Iris, Costume in Greek Classic Drama (Westport, CT: Greenwood Press, 1962).
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).
Brooks, Peter, The Melodramatic Imagination (New Haven, CT, and London: Yale University Press, 1995).
Bülow, Hans, The Early Correspondence, ed. his widow, trans. Bache, Constance (London: T. Fisher Unwin, 1896).
Bülow, Marie (ed.), Hans von Bülow: Briefe und Schriften, 6 vols (Leipzig: Breitkopf & Härtel, 1895–1907).
Byron, George Gordon, The Lament of Tasso, 2nd edn (London: John Murray, 1817).
Byron, George Gordon, Lord Byron: Everyman’s Poetry Series, ed. Stabler, Jane (London: J. M. Dent, 1997).
Cairns, David, Berlioz: 1803–1832: The Making of an Artist (London: Andre Deutsch, 1989).
Cairns, David, ‘The French Tradition’ in The Cambridge Companion to Conducting, ed. Bowen, José Antonio (Cambridge: Cambridge University Press, 2003), 134–45.
Calhoun, Martha, ‘Music as Subversive Text: Beethoven, Goethe and the Overture to Egmont’, Mosaic, 20, 1 (1987), 43–54.
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).
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), 92–119.
Carnegy, Partick, Wagner and the Art of the Theatre (New Haven, CT, and London: Yale University Press, 2006).
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.
Cha, Jee-weon, ‘Ton versus Dichtung: Two Aesthetic Theories of the Symphonic Poem and Their Sources’, Journal of Musicological Research, 26, 4 (2007), 377–403.
Clark, Kenneth, The Romantic Rebellion: Romantic Versus Classic Art (London: John Murray Ltd, 1973).
Cone, Edward T., The Composer’s Voice (Berkeley, CA: University of California Press, 1974).
Cooper, Barry, Beethoven and the Creative Process (Oxford: Clarendon, 1990).
Cormac, Joanne, ‘Liszt, Language and Identity: A Multi-National Chameleon’, 19th-Century Music, 36, 3 (2013), 231–47.
Cormac, Joanne, ‘Revising Hamlet: The Symphonic Poem in the Theatre’, Studia Musicologica, 54, 1 (2013), 35–48.
Cornelius, Peter, Ausgewählte Schriften und Briefe (Berlin: Bernhard Hahnefeld Verlag, 1938).
Curtis, Benjamin, Music Makes the Nation: Nationalist Composers and Nation Building in Nineteenth-Century Europe (Amherst, MA, and New York: Cambria Press, 2008).
Dahlhaus, Carl, Nineteenth-Century Music, trans. Robinson, Bradford (Berkeley, CA, and London: University of California Press, 1989).
Deane, Basil, ‘The French Operatic Overture from Gréty to Berlioz’, Proceedings of the Royal Musicological Association, 99 (1972–3), 67–80.
Deaville, James, ‘Writing Liszt: Lina Ramann, Marie Lipsius, and Early Musicology’, Journal of Musicological Research, 21, 1 (2002), 73–97.
Deaville, James, Saffle, Michael, and Walker, Alan, New Light on Liszt and His Music (New York: Pendragon Press, 1997).
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).
Delabastita, Dirk and D’Hulst, Lieven (eds), European Shakespeares: Translating Shakespeare in the Romantic Age (Amsterdam: John Benjamins, 1993).
Devrient, Eduard, Aus seinen Tagebüchern, ed. Kabel, Rolf (Weimar, 1964).
Devrient, Eduard, ‘Tagebuchaufzeichnungen Eduard Devrients über Darstellungen Shakespearescher Rollen: Karl Seydelmann als Shylock; Bogumil Dawison als Hamlet’, Shakespeare-Jahrbuch, 68 (1932), 140–6.
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.
Donovan, Siobhán and Elliott, Robin, Music and Literature in German Romanticism (New York and Suffolk: Boydell & Brewer, 2004).
Dowd, Garin, Strong, Jeremy, and Stevenson, Lesley, Genre Matters: Essays in Theory and Criticism (Bristol and Portland, OR: Intellect, 2006).
Downes, Stephen (ed.), Aesthetics of Music: Musicological Perspectives (New York and London: Routledge, 2014).
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), 485–516.
Draeseke, Felix, ‘Liszts Dante-Symphonie’, Neue Zeitschrift für Musik, 53 (1860), 193–6, 201–4, 213–15, and 221–3.
Draeseke, Felix, Schriften 1855–1861, eds Gutiérrez-Denhoff, Martella and Loos, Helmut (Bad Honnef: Gudrun Schröder Verlag, 1987).
Dubrow, Heather, Genre (London: Methuen, 1982).
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.
Eckhardt, Mária, Franz Liszt’s Music Manuscripts in the National Széchényi Library, Budapest, trans. Mészáros, Erzsébet (Budapest: Akadémiai Kiadó, 1986).
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.
Eckhardt, Mária and Liepsch, Evelyn, Franz Liszts Weimarer Bibliothek (Laaber: Laaber-Verlag, 1999).
Eigeldinger, Jean-Jacques, Chopin: Pianist and Teacher (Cambridge: Cambridge University Press, 1986).
Elliott, John R. Jr, ‘The Shakespeare Berlioz Saw’, Music and Letters, 57, 3 (1976), 292–308.
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).
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), 86–108.
Joël-Marie, Fauquet, ‘Berlioz and Gluck’ in The Cambridge Companion to Berlioz, ed. Bloom, Peter (Cambridge: Cambridge University Press, 2000), 199–210.
Fiske, Roger, Beethoven Concertos and Overtures: BBC Music Guides (London: BBC, 1970).
Freedman, Aviva and Medway, Peter (eds), Genre and the New Rhetoric (London: Taylor & Francis, 1994).
Freytag, Gustav, ‘Essay on Dawison’ in Aufsätze zur Geshichte, Literatur, und Kunst, Vol. 8 of first series of Gesammelte Werke (Leipzig: Hirzel, 1920).
Frow, John, Genre (London and New York: Routledge, 2006).
Frye, Northrop, Anatomy of Criticism (Princeton, NJ: Princeton University Press, 1971).
Garlington, Aubrey, ‘Le Merveilleux and the Operatic Reform in Eighteenth-century French Opera’, The Musical Quarterly, 49, 4 (1963), 484–97.
Genast, Eduard, Aus Weimars klassischer und nachklassischer Zeit (Stuttgart: Robert Lutz, 1904).
Gerhard, Anselm, The Urbanization of Opera: Music Theatre in Paris in the Nineteenth Century (Chicago, IL: University of Chicago Press, 1998).
Gervinus, G. G., Shakespeare Commentaries, trans. Bunnett, F. E., 2 vols (London: Smith, Elder and Co., 1863).
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.
Gibbs, Christopher H. and Gooley, Dana (eds), Franz Liszt and His World (Princeton, NJ, and Oxford: Princeton University Press, 2006).
Gilliam, Bryan (ed.), Richard Strauss: New Perspectives on the Composer and His Work (Durham, NC: Durham University Press).
Goehr, Lydia, The Imaginary Museum of Musical Works, rev. edn (Oxford and New York: Oxford University Press, 2007).
Goethe, J. W., Elective Affinities, trans. Hollingdale, R. J. (Harmondsworth: Penguin, 1971).
Goethe, J. W., Wilhelm Meister’s Apprenticeship, Book V, The Harvard Classics Shelf of Fiction (New York: Collier & Son, 1917).
Goldhill, Simon, Victorian Culture and Classical Antiquity (Princeton, NJ, and Oxford: Princeton University Press, 2011).
Göllerich, August, Franz Liszt (Berlin: Marquardt & Co., 1908).
Göllerich, August, The Piano Master Classes of Franz Liszt 1884–1886, ed. Jerger, Wilhelm, trans. Zimdars, Richard Louis (Bloomington, IN: Indiana University Press, 1996).
Gooley, Dana, The Virtuoso Liszt (Cambridge: Cambridge University Press, 2004).
Gooley, Dana, ‘Warhorses: Liszt, Weber’s Konzertstück, and the Cult of Napoléon’, 19th-Century Music, 24 (2000), 62–88.
Gossett, Philip, ‘The Overtures of Rossini’, 19th-Century Music, 3, 1 (1979), 3–31.
Gottschalg, A. W., Franz Liszt in Weimar und seine letzten Lebensjahre (Berlin: pub. unknown, 1910).
Gottwald, Clytus, ‘Die Liszt-Autographe des Germanisches Nationalmuseums in Nürnberg’, Die Musikforschung, 35 (1982), 166–72.
Grey, Thomas S., ‘Tableaux Vivants: Landscape, History Painting and the Visual Imagination in Mendelssohn’s Orchestral Music’, 19th-Century Music, 21, 1 (1997), 38–76.
Grey, Thomas S., ‘Wagner, the Overture and the Aesthetics of Musical Form’, 19th-Century Music, 12, 1 (1988), 3–22.
Grey, Thomas S. (ed.), Richard Wagner and His World (Princeton, NJ, and Oxford: Princeton University Press, 2009).
Grimes, Nicole, Donovan, Siobhán, and Marx, Wolfgang, Rethinking Hanslick: Music, Formalism and Expression (Rochester, NY: University of Rochester Press, 2013).
Grout, Donald, A Short History of Opera, 3rd edn (New York: Columbia University Press, 1988).
Grimley, Daniel (ed.), The Cambridge Companion to Sibelius (Cambridge: Cambridge University Press, 2004).
Grove, George, ‘Mendelssohn’s Overture to A Midsummer Night’s Dream’, The Musical Times, 44, 729 (1903), 728–38.
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), 26–45.
Hamburger, Klára, Liszt (Gondolat, Budapest, 1980).
Hamburger, Klára (ed.), Franz Liszt Briefwechsel mit seiner Mutter (Eisenstadt, 2000).
Hamburger, Maik and Williams, Simon (eds), A History of German Theatre (Cambridge: Cambridge University Press, 2008).
Hamilton, Kenneth, After the Golden Age: Romantic Pianism and Modern Performance (Oxford and New York: Oxford University Press, 2007).
Hamilton, Kenneth, ‘Liszt’ in The Nineteenth-Century Symphony, ed. Holoman, D. Kern (New York: Schirmer Books, 1997), 142–62.
Hamilton, Kenneth, Liszt: Sonata in B Minor (Cambridge: Cambridge University Press, 1996).
Hamilton, Kenneth, ‘Not with a Bang, but a Whimper: The Death of Liszt’s Sardanapale’, Cambridge Opera Journal, 8, 1 (1996), 45–58.
Hamilton, Kenneth (ed.), The Cambridge Companion to Liszt (New York: Cambridge University Press, 2005).
Hanslick, Eduard, On the Musically Beautiful, trans. Payzant, Geoffrey (Indianapolis, IN: Hackett, 1986).
Hanslick, Eduard, Hanslick’s Music Criticisms, trans. Pleasants, Henry (New York: Dover Publications, 1988).
Haraszti, Émile, ‘Franz Liszt – Author Despite Himself. The History of a Mystification’, The Musical Quarterly, 3, 4 (1947), 490–516.
Haraszti, Émile, ‘Genèse des préludes de Liszt qui n’ont aucun rapport avec Lamartine’, Revue de Musicologie, 35, 107e/108e (1953), 111–40.
Harwood, Gregory, ‘Verdi’s Reform of the Italian Opera Orchestra’, 19th-Century Music, 10, 2 (1986), 108–34.
Hase, Oskar, Breitkopf & Härtel Gedenkschrift und Arbeitsbericht, Vol. 2: 1828 bis 1918 (Leipzig: Breitkopf & Härtel, 1919).
Hayman, Ronald (ed.), The German Theatre: A Symposium (London: Wolff; New York: Barnes & Noble, 1975).
Hays, Michael and Nikolopoulou, Anastasia (eds), Melodrama: The Cultural Emergence of a Literary Genre (Basingstoke: Macmillan, 1996).
Head, Matthew, ‘Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont’, 19th-Century Music, 30 (2006), 97–132.
Hegel, G. W. F., Hegel’s Aesthetics: Lectures on Fine Art, trans. Knox, T. M. (Oxford: Oxford University Press, 1975).
Hegel, G. W. F., The Philosophy of Fine Art, Vol. 4, trans. Osmaton, F. P. B. (London: Bell and Sons Ltd, 1920).
Heilman, Robert Bechtold, Tragedy and Melodrama (Seattle, WA, and London: University of Washington Press, 1968).
Heine, Heinrich, Sämtliche Werke, Vol. 8, ed. Strich, Fritz (Munich, 1925).
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.
Hennemann, Monika, ‘Operatorio?’ in The Oxford Handbook of Opera, ed. Greenwald, Helen M. (Oxford and New York: Oxford University Press, 2014).
Hepokoski, James, ‘Beethoven Reception: The Symphonic Tradition’, Cambridge History of Nineteenth-Century Music, ed. Samson, Jim (Cambridge: Cambridge University Press, 2002), 424–59.
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.
Hepokoski, James, ‘Program Music’ in Aesthetics of Music: Musicological Perspectives, ed. Downes, Stephen (New York and London: Routledge, 2014), 62–83.
Hepokoski, James, Sibelius Symphony No. 5 (Cambridge: Cambridge University Press, 1993).
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).
Herder, Johann Gottfried, Philosophical Writings, trans. and ed. Forster, Michael (Cambridge: Cambridge University Press, 2002).
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.
Hibberd, Sarah (ed.), Melodramatic Voices: Understanding Music Drama (Aldershot: Ashgate, 2011).
Hibberd, Sarah (ed.), ‘Si l’orchestre seul chantait’: Melodramatic Voices in Chelard’s Macbeth (1827)’ in Melodramatic Voices: Understanding Music Drama (Aldershot: Ashgrave, 2011), 85–102.
Hicks, Jonathan and Hambridge, Katherine (eds), The Melodramatic Moment (Chicago, IL: University of Chicago Press, in press).
Hiller, Ferdinand, Aus dem Tonleben unserer Zeit: Gelegentliches von Ferdinand Hiller, Vol. 1 (Leipzig: Hermann Mendelssohn, 1868).
Hoenselaars, A. J and Pujante, Angel-Luis (eds), Four Hundred Years of Shakespeare in Europe (Newark, NJ: University of Delaware Press, 2003).
Holmström, Kirsten Gram, Monodrama, Attitudes, Tableaux Vivants: Studies on Some Trends of Theatrical Fashion 1770–1815 (Stockholm: Almqvist & Wiksell, 1967).
Holoman, D. Kern (ed.), The Nineteenth-Century Symphony (New York: Schirmer Books, 1997).
Hopkins Porter, Cecelia, The Rhine as Musical Metaphor: Cultural Identity in German Romantic Music (Lebanon, NH: Northeastern University Press, 1996).
Hoskins, Geoffrey and Schöpfen, George (eds), Myths and Nationhood (New York: Routledge, 1997).
Howard, Patricia, C. W. Von Gluck: Orfeo (Cambridge: Cambridge University Press, 1981).
Howard, Patricia, Gluck and the Birth of Modern Opera (London: Barrie and Rockliff, 1963).
Howard, Patricia, ‘Orfeo and Orphée’, The Musical Times, 108, 1496 (1967), 892–5.
Hueffer, Francis, Correspondence of Wagner and Liszt (Cirencester: The Echo Library, 2005).
Hugo, Howard E. (ed.), The Letters of Franz Liszt to Marie zu Sayn-Wittgenstein (Cambridge: Harvard University Press, 1953).
Hugo, Victor, Cromwell (Paris: Ambroise Dupont et Cie, 1828).
Huneker, James, Franz Liszt (London: Chapman & Hall, 1911).
Huré, Pierre-Antoine and Knepper, Claude (eds), Correspondance, Lettres choisies, presentées et annotées (Paris: J. C. Lattès, 1987).
Huschke, Wolfram, Franz Liszt: Wirken und Wirkungen in Weimar (Weimar: Weimarer Verlagsgesellschaft, 2010).
Huschke, Wolfram, Musik im klassischen und nachklassischen Weimar, 1756–1861 (Weimar: Böhlau, 1982).
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.
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.
Jackson, Russell and Bate, Jonathan (eds), Shakespeare: An Illustrated Stage History (Oxford: Oxford University Press, 1996).
Jena, Detlef, Maria Pawlowna: Groβherzogin an Weimars Musenhof (Graz, Vienna and Cologne: Verlag Styria, 1999).
Jensen, Erik, Schumann, 2nd edn (Oxford and New York: Oxford University Press, 2012).
Johns, Keith T., The Symphonic Poems of Franz Liszt (New York: Pendragon Press, 1997).
Kaplan, Richard, ‘Sonata Form in the Orchestral Works of Liszt: The Revolutionary Reconsidered’, 19th-Century Music, 8 (1984), 142–52.
Kapp, Julius, Franz Liszt, 3rd edn (Berlin and Leipzig: Schuster and Loeffler, 1911).
Keiler, Allan, ‘Liszt and the Weimar Hoftheater’, Studia Musicologica Academiae Scientiarum Hungaricae, 28 (1986), 431–50.
Kennedy, Dennis (ed.), The Oxford Encyclopaedia of Theatre and Performance, Vol. 2 (Oxford: Oxford University Press, 2003).
Kesting, Hanjo (ed.), Franz Liszt – Richard Wagner Briefwechsel (Frankfurt am Main: Insel Verlag, 1988).
Kivy, Peter, Sound and Semblance: Reflections on Musical Representation (Princeton, NJ: Princeton University Press, 1984).
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.
Knetschke, Emil, ‘Bogumil Dawison’, Deutsche Schaubühne, 6 (1861), 58.
Kollek, Peter, Bogumil Dawison: Porträt und Deutung eines genialen Schauspielers (Kastellaun, Henn, 1978).
Kregor, Jonathan, Liszt as Transcriber (Cambridge: Cambridge University Press, 2010).
Kregor, Jonathan, Program Music (Cambridge: Cambridge University Press, 2015).
Kroll, Mark, Johann Nepomuk Hummel: A Musician’s Life and World (Lanham, MD, and Plymouth: Scarecrow Press, 2007).
Kruse, G. R., ‘August Conradi. Ein Gedenkbl’, Die Musik, 12 (1912/13), 3–13.
Kujawińska-courtney, Krystyna and Mercer, John Moore, The Globalization of Shakespeare in the Nineteenth Century (Lewiston, NY: Edwin Mellen Press, 2003).
Mara, La, Briefe hervorragender Zeitgenossen an Franz Liszt, 3 vols (Leipzig: pub. unknown, 1895, 1904).
Mara, La, Briefwechsel zwischen Franz Liszt und Carl Alexander, Grossherzog von Sachsen (Leipzig: pub. unknown, 1909).
Mara, La, Briefwechsel zwischen Franz Liszt und Hans von Bülow (Leipzig: Breitkopf & Härtel, 1898).
Mara, La, Franz Liszts Briefe, 8 vols (Leipzig: pub. unknown, 1893–1905).
Mara, La, Letters of Liszt, trans. Bache, Constance, 2 vols (London: pub. unknown, 1894).
Langford, Jeffrey A., ‘The “Dramatic Symphonies” of Berlioz as an Outgrowth of the French Operatic Tradition’, The Musical Quarterly, 69 (1983), 85–103.
Larkin, David, ‘Dancing to the Devil’s Tune: Liszt’s Mephisto Waltz and the Encounter with Virtuosity’, 19th-Century Music, 39, 3 (2015), 193–218.
Laver, James, Costume in the Theatre (London: George G. Harrap and Co., 1964).
Leoussi, Athena S., Nationalism and Classicism: The Classical Body as National Symbol in Nineteenth-Century France and England (Hampshire and London: MacMillan Press, 1998).
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).
Liszt, Franz, ‘Foreword’, Album d’un Voyageur (Vienna: Tobias Haslinger, 1842).
Liszt, Franz, Franz Liszts Musikalische Werke: Band 7 Eine Symphonie zu Dantes Divina Commedia, ed. Liszt-Stiftung, Franz (Leipzig: Breitkopf & Härtel, 1966).
Liszt, Franz, Gesammelte Schriften, 6 vols, ed. Ramann, Lina (Vol. 1, ed. Mara, La) (Leipzig: pub. unknown, 1880–3).
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), 319–405.
Liszt, Franz, Hunnenschlacht (London: Ernst Eulenburg Ltd, 1976).
Liszt, Franz, ‘Keine Zwischenakts-Musik!’ in Gesammelte Schriften, Vol. 3, ed. and trans. Ramann, Lina (Leipzig: Breitkopf & Härtel, 1881), 136–50.
Liszt, Franz, Lohengrin et Tannhäuser de Richard Wagner (Memphis, TN: General Books LLC, 2012).
Liszt, Franz ‘Preface’ in Ce qu’on entend sur la montagne, trans. Searle, Humphrey (London: Ernst Eulenberg, 1976).
Liszt, Franz, ‘Preface’ to Orpheus, trans. Searle, Humphrey London: (Ernst Eulenberg Ltd, 1975).
Liszt, Franz, ‘Preface’ in Prometheus, trans. Searle, Humphrey (London: Ernst Eulenberg Ltd, 1975).
Liszt, Franz, ‘Preface’ to Tasso Lamento e Trionfo (London: Ernst Eulenberg, 1976).
Liszt, Franz, Sämtliche Schriften, 9 vols, ed. Altenberg, Detlef (Wiesbaden: Breitkopf & Härtel, 1989–present).
Liszt, Franz, The Collected Writings of Franz Liszt, 3 vols, ed. Hall-Swadley, Janita (Lanham, MD: Rowman & Littlefield, 2011–present).
Liszt, Franz, ‘Zwischenaktsmusik’, Berliner Musikzeitung Echo, 9 December 1855.
Longyear, Rey, ‘Clarinet Sonorities in Early Romantic Music’, The Musical Times, 124, 1682 (1983).
Macdonald, Hugh, Beethoven’s Century (Rochester, NY: University of Rochester Press, 2008).
Macy, Laura and Sadie, Stanley (eds), The Grove Book of Operas, rev. edn (Oxford and New York: Oxford University Press, 2006).
Magee, Bryan, ‘The Secret of Tristan and Isolde’, Philosophy, 82, 320 (2007), 339–46.
Main, Alexander, ‘Liszt’s “Lyon”: Music and the Social Conscience’, 19th-Century Music, 4, 3 (1981), 228–43.
Main, Alexander, ‘Liszt after Lamartine: Les Préludes’, Music and Letters, 60 (1979), 133–148.
Mak, Su Yin, ‘Schubert’s Sonata Forms and the Poetics of the Lyric’, The Journal of Musicology, 23, 2 (2006), 263–306.
Marcoux, J. Paul, Guilbert de Pixerécourt: French Melodrama in the Early Nineteenth Century (New York: P. Lang, 1992).
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), 53–71.
Mason, William, Memories of a Musical Life (New York: Da Capo Press, 1970).
Matthews, Denis, Beethoven Master Musicians (Oxford: Oxford University Press, 1997).
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.
Merbach, Paul Alfred, Heinrich Marr 1797–1871: Ein Beitrag zur Geschichte des deutschen Theaters im 19. Jahrhundert (Leipzig: Verlag von Leopold Voss, 1926).
Mercer-Taylor, Peter, The Cambridge Companion to Mendelssohn (Cambridge: Cambridge University Press, 2004).
Mercer-Taylor, Peter (ed.), ‘Mendelssohn and the Institutions of German Art Music’ in The Cambridge Companion to Mendelssohn (Cambridge: Cambridge University Press, 2004), 11–25.
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.
Merrick, Paul, Revolution and Religion in the Music of Liszt (Cambridge: Cambridge University Press, 1987).
Micznik, Vera, ‘The Absolute Limitations of Programme Music: The Case of Liszt’s “Die Ideale”’, Music and Letters, 80 (1999), 207–40.
Millington, Barry, The New Grove Wagner (London: Macmillan Reference, 2002).
Minor, Ryan, Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany (Cambridge: Cambridge University Press, 2012).
Mitchell, W. J. T., ‘There are No Visual Media’, Journal of Visual Culture, 4, 2 (2005), 257–66.
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).
Mueller, Rena, ‘Liszt’s Tasso Sketchbook: Studies in Sources and Chronology’, Studia Musicologica Academiae Scientiarum Hungaricae, 28, 1, 4 (1986), 273–93.
Mueller, Rena, ‘Reevaluating the Liszt Chronology: The Case of “Anfangs wollt ich fast verzagen”’, 19th-Century Music, 12, 2 (1988), 132–47.
Mueller, Rena Charnin, ‘Liszt’s Tasso Sketchbook: Studies in Sources and Revisions’, Ph.D. diss. (New York University, 1986).
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).
Murphy, Edward W., ‘A Detailed Program for Liszt’s Hamlet’, Journal of the American Liszt Society, 29 (1991), 42–60.
Nattiez, J-J., ‘Can One Speak of Narrativity in Music?’, Journal of the Royal Musical Association, 115 (1990), 240–57.
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).
Nerval, Gérard, Souvenirs d’Allemagne (Paris: Michel Lévy Frères, Libraires-Éditeurs, 1860).
Newman, Ernest, The Man Liszt: A Study of the Tragi-comedy of a Soul Divided against Itself (London: Victor Gollancz, 1969).
Newman, William, The Sonata since Beethoven (Chapel Hill, NC: University of North Carolina Press, 1969).
Norman, Geraldine, Nineteenth-Century Painters and Painting: A Dictionary (Berkeley and Los Angeles, CA: University of California Press, 1977).
Ollivier, Daniel (ed.), Correspondance de Liszt et de la Comtesse d’Agoult (Paris, 1933–4).
Osnes, Beth, Acting: An Encyclopaedia of Traditional Culture (Santa Barbara, CA: ABC-CLIO, 2001).
Ostwald, Peter F., Schumann: The Inner Voices of a Musical Genius (Lebanon, NH: Northeastern University Press, 1985).
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).
Pasler, Jann, Writing Through Music: Essays on Music, Culture, and Politics (Oxford and New York: Oxford University Press, 2008).
Paulin, Roger, The Critical Reception of Shakespeare in Germany 1682–1914 (Hildesheim: Olms, 2003).
Pekacz, Jolanta T. (ed.), Musical Biography: Towards New Paradigms (Aldershot and Burlington: Ashgate, 2006).
Pemble, John, Shakespeare Goes to Paris: How the Bard Conquered France (London: Hambledon and London, 2005).
Perényi, Eleanor, Liszt: The Artist as Romantic Hero (New York.: Little Brown and Company, 1974).
Pesce, Dolores, Liszt’s Final Decade (Rochester, NY, and Woodbridge: University of Rochester Press, 2014).
Phelan, James and Rabinowitz, Peter J., A Companion to Narrative Theory (Malden, MA, and Oxford: Blackwell Publishing Ltd, 2005).
Plantinga, Leon, Romantic Music: A History of Musical Style in Nineteenth-Century Europe (New York: W. W. Norton, 1984).
Plato, , Republic, Book 3, ed. Butler-Bowden, Tom (Chichester: Capstone Publishing, 2012).
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).
Pocknell, Pauline (ed.), Franz Liszt and Agnes Street-Klindworth: A Correspondence (New York: Pendragon Press, 1999).
Pohl, Richard, Gesammelte Schriften über Musik und Musiker, Vol. 2: Franz Liszt Studien und Erinnerungen (Leipzig: Verlag von Bernhard Schlicke, 1883).
Poole, Adrian (ed.), Great Shakespearians: Scott, Dickens, Elliot, Hardy (London and New York: Continuum, 2011).
Raabe, Peter, ‘Die Entstehungsgeschichte der ersten Orchesterwerke Franz Liszts’, Ph.D. diss. (University of Jena, 1916).
Raabe, Peter, Franz Liszt Vols 1: Liszts Leben and 2: Liszts Schaffen, ed. Raabe, Felix (Tutzing: Hans Schneider, 1968).
Raff, Helene, ‘Franz Liszt und Joachim Raff im Spiegel ihrer Briefe’, Die Musik I, 15/16 (1902).
Ramann, Lina, Franz Liszt als Künstler und Mensch, 2 vols (Leipzig: pub. unknown, 1880–94).
Ramann, Lina, Franz Liszt: Artist and Man, 1811–1840, Vol.1, trans. Cowdery, E. (London: Allen, 1882).
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).
Ramann, Lina (ed.) Franz Liszts gesammelte Schriften, 6 vols (Leipzig, 1880–83).
Redmond, James (ed.), Melodrama (Cambridge: Cambridge University Press, 1992).
Rehding, Alexander, ‘Liszt’s Musical Monuments’, 19th-Century Music 26, 1 (2002), 52–72.
Rehding, Alexander, Music and Monumentality: Commemoration and Wonderment in Nineteenth-Century Germany (Oxford and New York: Oxford University Press, 2009).
Reichwald, Siegwart (ed.), Mendelssohn in Performance (Bloomington and Indianapolis, IN: Indiana University Press, 2008).
Reynolds, Christopher Alan, Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge, MA, and London: Harvard University Press, 2003).
Robinson, Paul, Ludwig van Beethoven: Fidelio, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1996).
Roenneke, Rudolf, Franz Dingelstedts Wirksamkeit am Weimarer Hoftheater: ein Beitrag zur Theatergeschichte des 19. Jahrhunderts, Ph.D. diss. (Greifswald University, 1912).
Rosen, Charles, The Classical Style: Haydn, Mozart, Beethoven (London and Boston: Faber and Faber, 1976).
Rosenberg, Marvin, The Masks of Hamlet (Newark; London: University of Delaware Press; Associated University Presses, 1992).
Rushton, Julian, Berlioz: Roméo et Juliette, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1994).
Saffle, Michael, A Guide to Research, 2nd edn (New York: Routledge, 2004).
Saffle, Michael, ‘Lingering Legends: Liszt after Walker’ in Musical Biography: Towards New Paradigms, ed. Pekacz, Jolanta T. (Aldershot and Burlington: Ashgate, 2006), 107–10.
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).
Saffle, Michael, ‘Orchestral Works’ in The Liszt Companion, ed. Arnold, Ben (Westport, CT, and London: Greenwood, 2002), 235–80.
Saffle, Michael (ed.), Liszt and His World (New York: Pendragon Press, 1998).
Samson, Jim, Virtuosity and the Musical Work: The Transcendental Studies of Liszt (Cambridge: Cambridge University Press, 2003).
Samson, Jim (ed.), Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2002).
Schimpf, Wolfgang, Lyrisches Theater: das Melodrama des 18. Jahrhunderts (Göttingen: Vandenhoeck & Ruprecht, 1988).
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).
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).
Schoell, Adolf, Prolog und Epilog zum Festspiel: Die Huldigung der Künste (Weimar: pub. unknown, 1854).
Schorn, Adelheid, Das nachklassiche Weimar unter der Regierungszeit Karl Friedrichs und Maria Paulownas (Weimar: pub. unknown, 1911–12).
Schrikel, Leonhard, Geschichte des Weimarer Theaters von seinen Anfängen bis heute (Weimar: pub. unknown, 1928).
Schröter, Axel, Der historische Notenbestand des Deutschen Nationaltheaters Weimar (Sinzig: Katalog Studio Verlag, 2010).
Schumann, Robert, Music and Musicians, trans. Ritter, F. (London, 1878).
Searle, Humphrey, ‘Foreword’ in Liszt, Franz, Hamlet (London: Eulenberg, 1976).
Searle, Humphrey, ‘Liszt’s “Don Sanche”’, The Musical Times, 118, 1616 (1977), 815–17.
Searle, Humphrey, The Music of Liszt, 2nd edn (New York: Dover Publications, 1966).
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).
Shakespeare, William, The Arden Shakespeare Complete Works, eds Proudfoot, Richard, Thompson, Ann, and Kastan, David Scott (Walton-on-Thames: Nelson, 1998).
Shakespeare, William, The Arden Shakespeare, Hamlet The Texts of 1603 and 1623, eds Thomson, Ann and Taylor, Neil (London: Thomson Learning, 2006).
Shakespeare, William, Hamlet, trans. Tourneur, Le (Paris: pub. unknown, 1881).
Shapiro, Ann Dhu, ‘Action Music in American Pantomime and Melodrama, 1730–1913’, American Music, 2, 4 (1984), 49–72.
Short, Michael, Correspondence of Franz Liszt and the Comtesse Marie d’Agoult: Franz Liszt Studies Series, No. 14 (Hillsdale, NY: Pendragon Press, 2013).
Singer, Ben, Melodrama and Modernity: Early Sensational Cinema and Its Contexts (New York: Columbia University Press, 2001).
Sly, Gordon (ed.), Keys to the Drama: Nine Perspectives on Sonata Forms (Aldershot: Ashgate, 2009).
Smart, Mary Ann, Mimomania: Music and Gesture in Nineteenth-Century Opera (Berkeley and Los Angeles, CA: University of California Press, 2004).
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).
Sonneck, O. G., ‘Liszt’s Huldigungs Marsch and Weimar’s Volkslied’, The Musical Quarterly, 4, 1(1918), 61–73.
Styan, J. L., Modern Drama in Theory and Practice 1: Realism and Naturalism (Cambridge: Cambridge University Press, 1981).
Suppan, Wolfgang (ed.), Liszt Studien 1 (Graz, Austria: Akademische Druck- u. Verlagsanstalt, 1977).
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).
Szelényi, László, ‘Liszts Opernpläne’ in Liszt Studien 1, ed. Suppan, Wolfgang (Graz: Akademische Druck- u. Verlagsanstalt, 1977), 215–24.
Taruskin, Richard, The Oxford History of Western Music, Vol. 3: The Nineteenth Century (Oxford and New York: Oxford University Press, 2005).
Taylor, Benedict, Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge: Cambridge University Press, 2011).
Taylor, Philip, Anton Rubinstein: A Life in Music (Bloomington, IN: Indiana University Press, 2007).
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.
Todd, Larry R., Mendelssohn: The Hebrides and Other Overtures (Cambridge: Cambridge University Press, 1993).
Todd, Larry R., ‘The “Unwelcome Guest” Regaled: Franz Liszt and the Augmented Triad’, 19th-Century Music, 12 (1988), 93–115.
Torkewitz, Dieter, ‘Innovation und Tradition. Zur Genesis eines Quartenakkords. Über Liszts ‘Prometheus’, Die Musik Forschung, 33 (1980), 291–302.
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.
Trippett, David, ‘Après une Lecture de Liszt: Virtuosity and Werktreue in the “Dante” Sonata’, 19th-Century Music, 32, 1 (2008), 52–93.
Trippett, David, ‘Bayreuth in Miniature: Wagner and the Melodramatic Voice’, The Musical Quarterly, 95, 1 (2012), 71–138.
Tunbridge, Laura, ‘Schumann’s Manfred in the Mental Theatre’, Cambridge Opera Journal, 15, 2 (2003), 153–83.
Tyson, Alan (ed.), Beethoven Studies 3 (Cambridge: Cambridge University Press, 1982).
Vande Moortele, Steven, ‘Beyond Sonata Deformation: Liszt’s Symphonic Poem Tasso and the Concept of 2-Dimensional Sonata Form’, Current Musicology, 86 (2008), 41–62.
Vande Moortele, Steven, ‘Form, Program, and Deformation in Liszt’s Hamlet’, Tijdschrift Voor Muziektheorie, 11 (2006), 71–82.
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).
Veen, J., Le Mélodrame Musical de Rousseau au Romantisme: Ses Aspects Historiques et Stylistiques (The Hague: Martinus Nijhoff, 1955).
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).
Waeber, Jacqueline, En musique dans le texte; le mélodrame, de Rousseau à Schoenberg (Paris: Van Dieren Éditeur, 2005).
Wagner, Cosima, Diaries, Vols 1 and 2, eds Gregor-Dellin, Martin and Mack, Dietrich, trans. Skelton, Geoffrey (London: Collins, 1978–1980).
Wagner, Richard, Gesammelte Schriften und Dichtungen (Leipzig, 1888).
Wagner, Richard, My Life, trans. Gray, Andrew, ed. Whittall, Mary (Cambridge: Cambridge University Press, 1983).
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).
Walker, Alan, Franz Liszt, Vol. 1: The Virtuoso Years, 1811–1847, rev. edn (London: Faber and Faber Ltd, 1989).
Walker, Alan, Franz Liszt, Vol. 2: The Weimar Years (London: Faber and Faber Ltd, 1989).
Walker, Alan, Franz Liszt, Vol. 3: The Final Years (London: Faber and Faber Ltd, 1997).
Walker, Alan, ‘Liszt’ in The New Grove Dictionary of Music and Musicians, Vol. 14, ed. Sadie, Stanley, 2nd edn (London: Macmillan Publishers Limited, 2001), 755–877.
Walker, Alan, Liszt, Carolyne, and the Vatican: The Story of a Thwarted Marriage, ed. and trans. Erasmi, Gabriele (Stuyvesant, NY: Pendragon Press, 1991).
Wang, Dan, ‘Melodrama, Two Ways’, 19th-Century Music, 36, 2 (2012), 122–35.
Warrack, John, Carl Maria von Weber, 2nd edn (Cambridge: Cambridge University Press, 1976).
Watson, Derek, Liszt (The Master Musicians) (New York: Oxford University Press, 1989).
Weber, William, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (Cambridge: Cambridge University Press, 2009).
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).
Williams, Adrian, Portrait of Liszt by Himself and His Contemporaries (Oxford: Oxford University Press, 1990).
Williams, Adrian (ed.), Franz Liszt: Selected Letters (New York: Oxford University Press, 1998).
Williams, Simon, German Actors of the Eighteenth and Nineteenth Centuries: Idealism, Romanticism and Realism (Westport, CT, and London: Greenwood, 1985).
Williams, Simon, Richard Wagner and Festival Theatre (Westport, CT: Greenwood Press, 1994).
Williams, Simon, Shakespeare on the German Stage, Vol. 1 (Cambridge: Cambridge University Press, 1990).
Williamson, John, ‘The Revision of Liszt’s “Prometheus”’, Music and Letters, 67, 4 (1986), 381–90.
Wilson Kimber, Marian, ‘Reading Shakespeare, Seeing Mendelssohn: Concert Readings of A Midsummer Night’s Dream, ca. 1850–1920’, The Musical Quarterly, 89 (2006), 199–236.
Winckelmann, Johann Joachim, History of the Art of Antiquity, trans. Mallgrave, Harry Francis (Los Angeles, CA: Getty Publications, 2006).
Wingfield, Paul, ‘Beyond “Norms and Deformations”: Towards a Theory of Sonata Form as Reception Theory’, Music Analysis, 27, 1 (2008), 137–77.
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), 61–73.
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).
Winklhofer, Sharon, Liszt’s Sonata in B Minor: A Study of Autograph Sources and Documents (Ann Arbor, MI: UMI Research Press, 1978).
Wurzbach, Alfred, Bogumil Dawison (Wien: A. Hartleben, 1871).
Zenger, Max, Geschichte Münchner Oper, ed. Kroyer, Theodor (Munich, 1923).
Ziblett, Daniel, Structuring the State: The Formation of Italy and Germany and the Puzzle of Federalism (Princeton, NJ: Princeton University Press, 2006).
