The Cambridge Companion to the Lied (Cambridge Companions to Music)

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 Strauss's 1948 Vier letzte Lieder, this rich repertoire has moved beyond the home and keyboard accompaniment to the symphony hall. This is a 2004 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 comprehensive bibliography. Notes on the contributors Acknowledgments The Lied in context: a chronology Names and dates mentioned in this Volume Part I. Introducing a Genre: 'Introduction: Why the Lied?' James Parsons: 1. 'In the beginning was poetry' Jane Brown Part II. The Birth and Early History of a Genre in the Age of Enlightenment: 2. The eighteenth-century Lied James Parsons 3. The Lieder of Carl Philipp Emanuel Bach, Haydn, Mozart, and Beethoven Amanda Glauert Part III. The Nineteenth Century: Issues of Style and Development: 4. The Lieder of Schubert Marie-Agnes Dittrich 5. The early nineteenth-century song cycle Ruth O. Bingham 6. Schumann: reconfiguring the Lied Jürgen Thym 7. The Lied at mid-century James Deaville 8. The Lieder of Liszt Rena Charnin Mueller 9. The Lieder of Brahms Heather Platt 10. Tradition and innovation: the Lieder of Hugo Wolf Susan Youens 11. Song beyond song: instrumental transformations and adaptations of the Lied from Schubert to Mahler Christopher H. Gibbs Part IV. Into the Twentieth Century: 12. The Lieder of Mahler and Richard Strauss James L. Zychowicz 13. The Lied in the modern age: to mid century James Parsons Part V. Reception and Performance: 14. The circulation of the Lied: the double life of an artwork and a commodity David Gramit 15. The Lied in performance Graham Johnson A guide to suggested further reading Index. PART I : INTRODUCING A GENRE -- Introduction : why the Lied? -- James Parsons In the beginning was poetry -- Jane K. Brown. PART II : THE BIRTH AND EARLY HISTORY OF A GENRE IN THE AGE OF ENLIGHTENMENT The eighteenth-century Lied -- James Parsons The Lieder of Carl Philipp Emanuel Bach, Haydn, Mozart, and Beethoven -- Amanda Glauert. PART III : THE NINETEENTH CENTURY: ISSUES OF STYLE AND DEVELOPMENT The nineteenth century : issues of style and development. The Lieder of Schubert -- Marie-Agnes Dittrich The early nineteenth-century song cycle -- Ruth O. Bingham Schumann : reconfiguring the Lied -- J urgen Thym A multitude of voices : the Lied at mid century -- James Deaville The Lieder of Liszt -- Rena Charnin Mueller The Lieder of Brahms -- Heather Platt Tradition and innovation : the Lieder of Hugo Wolf -- Susan Youens Beyond song : instrumental trasformations and adaptations of the Lied from Schubert to Mahler -- Christopher H. Gibbs. PART IV : INTO THE TWENTIETH CENTURY The Lieder of Mahler and Richard Strauss -- James L. Zychowicz The Lied in the modern age : to mid century -- James Parsons. PART V : RECEPTION AND PERFORMANCE The circulation of the Lied : the double life of an artwork and a commodity -- David Gramit The Lied in performance -- Grahm Johnson. 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 Strauss's 1948 Vier letzte Lieder, this rich repertoire has moved beyond the home and keyboard accompaniment to the symphony hall. 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 comprehensive bibliography. -- publisher description This Is The First Introductory Chronicle Of This 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 Comprehensive Bibliography.--book Jacket. Introducing A Genre -- The Birth And Early History Of A Genre In The Age Of Enlightenment -- The Nineteenth Century : Issues Of Style And Development -- Into The Twentieth Century -- Reception And Performance. Edited By James Parsons. Includes Bibliographical References (p. 334-382) And Index. 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. This is a 2004 introductory chronicle of the Lied and places it in its full context - at once musical, literary, and cultural - with chapters devoted to focal composers, influence on other musical genres, use as a musical commodity, and issues of performance.

This is the first introductory chronicle of the Lied and places it in its full context.