Onstage publishing4/30/2023 ![]() ~Barry Zaslow, Music Reference Services Quarterly The editors are to be commended for a fine compilation that will pique interest in discovering or re-visiting the wide range of German song repertoire and the acclaimed artists who presented these cultural offerings to the world. The essays herein should appeal to a wide range of readers from the informed concert-goer who enjoys vocal music to conservatory students to the professoriate who will appreciate the exemplary scholarly apparatus. Lieder is released from its patina of constraint back into the more fluid and flexible settings of the period which first produced it. What emerges from is a much fuller picture of historical lieder performance than has hitherto been available. Such a publication, of intrinsic value in its own right, provides a timely reminder that there are always fresh ways to approach a subject we thought we knew all there was to know. German Song Onstage abounds with fresh insights, the result of asking new questions about German song-all based on meticulous research. Performers' Reflections / Natasha Loges and Laura Tunbridge "Eine Reihe bunter Zauberbilder": Thomas Mann, Hans Pfitzner, and the Politics of Song Accompaniment / Nicholas Attfieldġ2. Lilli Lehmann's Dedicated Lieder Recitals / Rosamund Coleġ1. ![]() German Song and the Working Classes in Berlin, 1890–1914 / Wiebke Rademacherġ0. From the Benefit Concert to the Solo Song Recital in London, 1870–1914 / Simon McVeigh and William Weberĩ. Nikolai Medtner: Championing the German Lied and Russian Spirit / Maria RazumovskayaĨ. The Concert Hall as a Gender-Neutral Space: The Case of Amalie Joachim, née Schneeweiss / Beatrix Borchard, Translated by Jeremy Colemanħ. "For Any Ordinary Performer It Would Be Absurd, Ridiculous or Offensive": Performing Lieder Cycles on the American Stage / Heather PlattĦ. Natalia Macfarren and the English German Lied / Katy Hamiltonĥ. From Miscellanies to Musical Works: Julius Stockhausen, Clara Schumann and Dichterliebe / Natasha LogesĤ. Song in Concert as Observed by the Schumanns: Toward the Personalization of the Public Stage / Benjamin Binderģ. "Eine wahre Olla Patrida :" Anna Milder-Hauptmann, Schubert, and Programming the Orient / Susan YouensĢ. Introduction: Restaging German Song / Laura Tunbridgeġ. Together these case studies unsettle narrow and elitist assumptions about what it meant and still means to present German song onstage by providing a transnational picture of historical Lieder performance, and opening up discussions about the relationship between history and performance today. These historical case studies are set alongside reflections from a selection of today's leading musicians, offering insights on current Lied practices that will inform future generations of performers, scholars, and connoisseurs. The contributors to this volume explore a broad range of venues, singers, and audiences in distinct places and time periods-including the United States, the United Kingdom, Russia, and Germany-from the mid-19th century through the early 20th century. The Lied was a genre with both more private and more public associations than is commonly recalled. A dedicated program was rare, a dedicated audience even more so. ![]() For much of the 19th century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home, salon, and, no less significantly, on the concert platform alongside orchestral and choral works. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. This is the way of the Lieder recital these days. A program consisting entirely of songs by one or two composers. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A singer in an evening dress, a grand piano.
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