Celesta (1925), Richard Strauss's "Ariadne auf Naxos" (1912), and "Die Frau ohne Schatten" (1918), while "an excellent example of its beauty when well employed", is the Silver Rose scene in his "Der Rosenkavalier" (1911), Ferruccio Busoni's "Arlecchino" (1917) and "Doktor Faust" (1925), Carl Orff's "Carmina Burana" (1936) and "Der Mond" (1939), Gian Carlo Menotti's "Amelia Goes to the Ball" (1937), Benjamin Britten's "The Turn of the Screw" (1954) and "A Midsummer Night's Dream" (1960), Conrad Susa's "Transformations" (1973), and Philip Glass' "Akhnaten" (1984). The keyboard glockenspiel part in Mozart's "The Magic Flute" is nowadays often played by a celesta. Since Earl
Carmina Gadelica John Lorne Campbell in the following issue of the journal, although Campbell conceded that '[m]uch of the first three volumes of the "Carmina" must be taken as a literary and not as a literal presentation of Gaelic folklore'. Now that Alexander Carmichael's original field notebooks, accompanied by full transcriptions, have been published online under the auspices of the Carmichael Watson Project at the Centre for Research Collections, University of Edinburgh, for the first time the editing processes involved in the creation of "Carmina Gadelica" can properly be assessed. Although "Carmina Gadelica" remains a controversial text, its volumes have to be