David Francis Urrows is Associate Professor in the Department of Music at Hong Kong Baptist University, where he teaches music history, analysis, and aesthetics. He has also served on the teaching staff of the University of Massachusetts, and Eastern Mediterranean University. Dr. Urrows is co-author of Randall Thompson: A Bio-Bibliography (1991), and co-edited WMS Volume 7; and is also the editor of a critical edition of the works of the nineteenth-century German-American composer, Otto Dresel. A published composer as well as a musicologist, he has works and editions in the catalogs of Boosey & Hawkes, E.C. Schirmer, and Paraclete Press.

• Preface Introduction Word/Music AdaptationSimon WILLIAMS: Berlioz’s Roméo et Juliette Symphony and the European Reception of Shakespeare Walter BERNHART: From Novel to Song via Myth: Wuthering Heights as a Case of Popular Intermedial Adaptation Michael HALLIWELL: From Novel into Film into Opera: Multiple Transformations of Emily Brontö’s Wuthering HeightsUlla-Britta LAGERROTH: Adaptations of Othello: Shakespeare – Verdi – ZeffirelliBernhard KUHN: The Spoken Opera-Film Fedora (1942): Intermedial Transposition and Implicit Operatic References in FilmFrédérique ARROYAS: Literary Mediations of Baroque Music: Biber, Bach, and Nancy Huston Peter DAYAN: Interart Contraband: What Passed between García, Liszt and Sand in “Le Contrebandier” David Francis URROWS: Conscientious Translation: Liszt, Robert Franz, and the Phenomenology of Lied TranscriptionWilliam P. DOUGHERTY: Longing for Longing: Song as TransmutationSuzanne M. LODATO: Strauss, Idomeneo and PostmodernismSurveying the FieldWerner WOLF: Description: A Common Potential of Words and Music?Lawrence KRAMER: Whose Classical Music? Reflections on Film AdaptationNotes on Contributors

David Francis Urrows is Associate Professor in the Department of Music at Hong Kong Baptist University, where he teaches music history, analysis, and aesthetics. He has also served on the teaching staff of the University of Massachusetts, and Eastern Mediterranean University. Dr. Urrows is co-author of Randall Thompson: A Bio-Bibliography (1991), and co-edited WMS Volume 7; and is also the editor of a critical edition of the works of the nineteenth-century German-American composer, Otto Dresel. A published composer as well as a musicologist, he has works and editions in the catalogs of Boosey & Hawkes, E.C. Schirmer, and Paraclete Press.

• Preface Introduction Word/Music AdaptationSimon WILLIAMS: Berlioz’s Roméo et Juliette Symphony and the European Reception of Shakespeare Walter BERNHART: From Novel to Song via Myth: Wuthering Heights as a Case of Popular Intermedial Adaptation Michael HALLIWELL: From Novel into Film into Opera: Multiple Transformations of Emily Brontö’s Wuthering HeightsUlla-Britta LAGERROTH: Adaptations of Othello: Shakespeare – Verdi – ZeffirelliBernhard KUHN: The Spoken Opera-Film Fedora (1942): Intermedial Transposition and Implicit Operatic References in FilmFrédérique ARROYAS: Literary Mediations of Baroque Music: Biber, Bach, and Nancy Huston Peter DAYAN: Interart Contraband: What Passed between García, Liszt and Sand in “Le Contrebandier” David Francis URROWS: Conscientious Translation: Liszt, Robert Franz, and the Phenomenology of Lied TranscriptionWilliam P. DOUGHERTY: Longing for Longing: Song as TransmutationSuzanne M. LODATO: Strauss, Idomeneo and PostmodernismSurveying the FieldWerner WOLF: Description: A Common Potential of Words and Music?Lawrence KRAMER: Whose Classical Music? Reflections on Film AdaptationNotes on Contributors

David Francis Urrows is Associate Professor in the Department of Music at Hong Kong Baptist University, where he teaches music history, analysis, and aesthetics. He has also served on the teaching staff of the University of Massachusetts, and Eastern Mediterranean University. Dr. Urrows is co-author of Randall Thompson: A Bio-Bibliography (1991), and co-edited WMS Volume 7; and is also the editor of a critical edition of the works of the nineteenth-century German-American composer, Otto Dresel. A published composer as well as a musicologist, he has works and editions in the catalogs of Boosey & Hawkes, E.C. Schirmer, and Paraclete Press.

• Preface Introduction Word/Music AdaptationSimon WILLIAMS: Berlioz’s Roméo et Juliette Symphony and the European Reception of Shakespeare Walter BERNHART: From Novel to Song via Myth: Wuthering Heights as a Case of Popular Intermedial Adaptation Michael HALLIWELL: From Novel into Film into Opera: Multiple Transformations of Emily Brontö’s Wuthering HeightsUlla-Britta LAGERROTH: Adaptations of Othello: Shakespeare – Verdi – ZeffirelliBernhard KUHN: The Spoken Opera-Film Fedora (1942): Intermedial Transposition and Implicit Operatic References in FilmFrédérique ARROYAS: Literary Mediations of Baroque Music: Biber, Bach, and Nancy Huston Peter DAYAN: Interart Contraband: What Passed between García, Liszt and Sand in “Le Contrebandier” David Francis URROWS: Conscientious Translation: Liszt, Robert Franz, and the Phenomenology of Lied TranscriptionWilliam P. DOUGHERTY: Longing for Longing: Song as TransmutationSuzanne M. LODATO: Strauss, Idomeneo and PostmodernismSurveying the FieldWerner WOLF: Description: A Common Potential of Words and Music?Lawrence KRAMER: Whose Classical Music? Reflections on Film AdaptationNotes on Contributors