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German Song Onstage. Lieder Performance in the Nineteenth and Early Twentieth Centuries

jueves, 21 de septiembre de 2023
German Song Onstage © 2020 by Indiana University Press German Song Onstage © 2020 by Indiana University Press

Indiana University Press comunica la publicación del libro German Song Onstage. Lieder Performance in the Nineteenth and Early Twentieth Centuries coordinado por Natasha Loges, profesora de musicología de la Hochschule für Musik Freiburg, y Laura Tunbridge, profesora de musicología de Oxford University.* 

Ambas autoras son reconocidas especialistas en historia del repertorio alemán para voz y piano, Natasha Loges es autora de Brahms and His Poets (2017), y coeditora de Brahms in the Home and the Concert Hall (2014), Brahms in Context (2019), Musical Salon Culture in the Long Nineteenth Century (2019) y de la entrada sobre Clara Schumann en Oxford Music Online.

Pieza enlazada

Laura Tunbridge es autora de The Song Cycle (Cambridge, 2010), Singing in the Age of Anxiety: Lieder Performance in New York and London between the World Wars (Chicago, 2018), Beethoven: A Life in Nine Piece (Viking, 2020), es fundadora del proyecto Women`s Song Forum y actualmente desarrolla el proyecto de investigación A Social and Sonic History of the String Quartet.

Reproducimos a continuación la nota informativa sobre German Song Onstage facilitada por Indiana University Press.

A singer in an evening dress, a grand piano. A modest-sized audience, mostly well-dressed and silver-haired, equipped with translation booklets. A program consisting entirely of songs by one or two composers. This is the way of the Lieder recital these days. While it might seem that this style of performance is a long-standing tradition, German Song Onstage demonstrates that it is not. 
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. A dedicated program was rare, a dedicated audience even more so. The Lied was a genre with both more private and more public associations than is commonly recalled. 
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. 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. 
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.

Índice de German Song Onstage. Lieder Performance in the Nineteenth and Early Twentieth Centuries

Laura Tunbridge, Introduction: Restaging German Song 
1. Susan Youens"Eine wahre Olla Patrida [sic]:" Anna Milder-Hauptmann, Schubert, and Programming the Orient
2. Benjamin Binder, Song in Concert as Observed by the Schumanns: Toward the Personalization of the Public Stage
3. Natasha Loges, From Miscellanies to Musical Works: Julius Stockhausen, Clara Schumann and Dichterliebe
4. Katy Hamilton, Natalia Macfarren and the English German Lied 
5. Heather Platt"For Any Ordinary Performer It Would Be Absurd, Ridiculous or Offensive": Performing Lieder Cycles on the American Stage
6. Beatrix Borchard, The Concert Hall as a Gender-Neutral Space: The Case of Amalie Joachim, née Schneeweiss
7. Maria Razumovskaya, Nikolai Medtner: Championing the German Lied and Russian Spirit
8. Simon McVeigh and William WeberFrom the Benefit Concert to the Solo Song Recital in London, 1870–1914
9. Wiebke RademacherGerman Song and the Working Classes in Berlin, 1890–1914
10. Rosamund ColeLilli Lehmann's Dedicated Lieder Recitals 
11. Nicholas Attfield, "Eine Reihe bunter Zauberbilder": Thomas Mann, Hans Pfitzner, and the Politics of Song Accompaniment 
12. Natasha Loges and Laura Tunbridge, Performers' Reflections 

Natasha Loges and Laura Tunbridge (ed.), «German Song Onstage. Lieder Performance in the Nineteenth and Early Twentieth Centuries», Bloomington: Indiana University Press, 2020, 302 Pages, 15 b&w illus., 26 music exx., 27 tables. ISBN 9780253047007 Hardcover 86,64€, ISBN 9780253047014 Paperback 32,84€, ISBN 9780253047021 e-book 11,60€

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