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James Parsons (Editor) - The Cambridge Companion to the Lied

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The Cambridge Companion to the Lied
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James Parsons Editor
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Cambridge University Press
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2004
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Several generations before Schubert, the Lied emerged as domestic entertainment destined to move beyond the home to the symphony hall. This introductory chronicle of this fascinating genre analyzes the Lied in its musical, literary, and cultural contexts--with chapters devoted to focal composers; influence of the Lied on other musical genres; use as a musical commodity and issues of performance. The volume includes a chronology and a comprehensive bibliography.

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The Cambridge Companion to the Lied

Beginning several generations before Schubert, the Lied first appears as domestic entertainment. In the century that follows it becomes one of the primary modes of music-making. By the time German song comes to its presumed conclusion with Richard Strausss 1948 Vier letzte Lieder , this rich repertory has moved beyond the home and keyboard accompaniment to the symphony hall. This is the first introductory chronicle of this fascinating genre. In essays by eminent scholars, this Companion places the Lied in its full context at once musical, literary, and cultural with chapters devoted to focal composers as well as important issues, such as the way in which the Lied influenced other musical genres, its use as a musical commodity, and issues of performance. The volume is framed by a detailed chronology of German music and poetry from the late 1730s to the present and also contains a wide-ranging guide to suggested further reading.

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to the Lied

Edited by

James Parsons

CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi, Tokyo, Mexico City

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521800273

Cambridge University Press 2004

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2004

A catalogue record for this publication is available from the British Library

Library of Congress cataloguing in publication data

The Cambridge companion to the Lied / edited by James Parsons.

p. cm. (Cambridge companions to music)

Includes bibliographical references (p. 369) and index.

ISBN 0 521 80027 7 (hardback) ISBN 0 521 80471 X (paperback)

1. Songs Germany History and criticism. 2. Songs Austria History and criticism.

I. Parsons, James, 1956 II. Series.

ML2829.C36 2003 2003051229

ISBN 978-0-521-80027-3 Hardback

ISBN 978-0-521-80471-4 Paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Information regarding prices, travel timetables, and other factual information given in this work is correct at the time of first printing but Cambridge University Press does not guarantee the accuracy of such information thereafter.

Contents

James Parsons

Jane K. Brown

James Parsons

Amanda Glauert

Marie-Agnes Dittrich

Ruth O. Bingham

Jrgen Thym

James Deaville

Rena Charnin Mueller

Heather Platt

Susan Youens

Christopher H. Gibbs

James L. Zychowicz

James Parsons

David Gramit

Graham Johnson

Contributors

Ruth O. Bingham, after receiving her Ph.D. from Cornell University, moved to Honolulu, where she lectures at the University of Hawaii at Manoa, and reviews for Opera News and the Honolulu Star-Bulletin . Past projects include summer workshops on music in American history for Boise State University and a series of lecture/workshops on early childhood education for the University of Hawaii, Manoa, Childcare Center. Publications include Topical Song Cycles of the Early Nineteenth Century (A-R Editions, 2003), an edition of six cycles, and Music Theory in Practice: A Companion to Fundamentals in Western Music (Kendall-Hunt Publishing, 1995).

Jane K. Brown, is Professor of Germanics and Comparative Literature at the University of Washington. A former president of the Goethe Society of North America, she works on drama, narrative, and poetry of the seventeenth through nineteenth centuries and has published extensively on Goethe, particularly Faust , and also on Droste-Hlshoff, Shakespeare, Schubert, and Mozart. Currently she is working on a book on allegory and the advent of neo-classicism in drama and opera from Shakespeare to Wagner.

James Deaville, is Associate Professor in the School of the Arts at McMaster University in Hamilton, Canada. His 1986 dissertation from Northwestern University concerned Peter Cornelius as music critic. Since then, he has spoken and published on the music of Liszt and his circle in Weimar, Wagner, Mahler, Strauss, Reger, music criticism, music and gender, television music, and music and race. His edition of the Bayreuth memoirs of Wagners balletmaster Richard Fricke was published as Wagner in Rehearsal 18751876: The Diaries of Richard Fricke (Pendragon Press, 1997). Essays and reviews by him have appeared in The New Grove Dictionary of Music and Musicians, The New Grove Dictionary of Opera, Norton / New Grove Dictionary of Women Composers, Pipers-Enzyklopaedie des Musiktheaters, Studies in American Music, Notes, Canadian University Music Review, Journal of Musicological Research , and Studien zur Wertungsforschung .

Marie-Agnes Dittrich, studied history and musicology in Germany at the University of Hamburg where, in 1989, she completed her dissertation, Harmonik und Sprachvertonung in Schuberts Liedern. She was a lecturer in Music Theory and Musicology at the Conservatory of Hamburg from 1983 until 1993 and a guest lecturer at the Universities of Ibadan, Ilorin and Nsukka in Nigeria. In 1993 she was named Professor of Formal Analysis at the Universitt fr Musik und darstellende Kunst Wien. Since 1995, she also has been a lecturer for the Vienna Courses of the American Heritage Association. Her research interests include music analysis, music of northern Germany, and Schubert. Publications by her have appeared in Musica, Hamburger Jahrbuch fr Musikwissenschaft and numerous collections of essays.

Christopher H. Gibbs, is James H. Ottaway, Jr. Professor of Music at Bard College and Co-Artistic Director of the Bard Music Festival. He is the author of The Life of Schubert (Cambridge University Press, 2000) and editor of The Cambridge Companion to Schubert (Cambridge University Press, 1997). He received the ASCAP-Deems Taylor Award in 1998 and has been musicological consultant and program annotator for The Philadelphia Orchestra since 2000.

Amanda Glauert, joined the academic faculty of the Royal Academy of Music in 1994 where she is now Head of Research. She studied at Clare College, Cambridge, and subsequently undertook research into the aesthetics of the Lied at Cambridge and Goldsmiths College, London. She has held lecturing positions at Trinity College, Dublin, and Colchester Institute. She has contributed essays to Wagner in Performance (Yale University Press, 1992) and The Cambridge Companion to Beethoven (Cambridge University Press, 2000), and her article Ich singe, wie der Vogel singt: Reflections on Nature and Genre in Wolfs Setting of Goethes Der Snger was published in 2000 in the Journal of the Royal Musical Association (vol. 125). Her book on Wolf song, Hugo Wolf and the Wagnerian Inheritance , came out in 1999 (Cambridge University Press). She currently is writing a book on the Lieder of Beethoven.

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