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 1900, under the auspices of Walter Biggar Blaikie (1847–1928) in a limited edition of 300 copies, costing 3 guineas a copy. "Carmina Gadelica" was a landmark in Scottish art publishing, intended not just as a treasury of lore, but as an object of beauty in itself. The first two volumes of "Carmina Gadelica" were initially welcomed by reviewers as a monumental achievement in folklore, as well as a lasting testament to their creator: the ‘splendid consummation of the love-labour of a whole diligent life-time’. Although little public criticism was voiced during Carmichael's lifetime, it is clear that other Gaelic folklore