German Song Onstage
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| Author | : Natasha Loges |
| Publisher | : Indiana University Press |
| Total Pages | : 205 |
| Release | : 2020-05-05 |
| Genre | : Music |
| ISBN | : 0253047021 |
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.
| Author | : Natasha Loges |
| Publisher | : Indiana University Press |
| Total Pages | : 303 |
| Release | : 2020-05-05 |
| Genre | : Music |
| ISBN | : 025304703X |
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.
| Author | : Friedrich Wilhelm Kücken |
| Publisher | : |
| Total Pages | : 6 |
| Release | : 1859 |
| Genre | : |
| ISBN | : |
| Author | : Elisabeth Schumann (Soprano.) |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 1948 |
| Genre | : |
| ISBN | : |
| Author | : Valentin Lanzrein |
| Publisher | : Oxford University Press |
| Total Pages | : 313 |
| Release | : 2018 |
| Genre | : Foreign Language Study |
| ISBN | : 0190238402 |
The Singer's Guide to German Diction is the essential foundation for a complete course in German diction for singers, vocal coaches, choral conductors, and anyone wishing to learn the proper pronunciation of High German. Written by Valentin Lanzrein and Richard Cross, who each have years of experience on stage, in the voice studio, and in the diction classroom, it provides an all-encompassing and versatile reference for the rules of German diction and their exceptions. Featuring an easily navigable format that uses tables and charts to support a visual understanding of the text, this guide allows the reader to find information on diction rules and quick help with the formation of each sound. It also places an emphasis on exceptions to the rules, which are crucial in learning the proper pronunciation of any language. Exceptions are not only provided with the diction rules, but are also gathered in a specific section for ease of reference. A glossary of difficult words, names, and exceptions is provided in the appendix, along with a section on Latin pronounced in the German manner. Extensive pronunciation exercises, as well as IPA transcription worksheets and short examples from the vocal literature, are used for practical application of the diction rules, and feature musical exercises drawn from art song, opera, and oratorio. The book's companion website supplements these musical exercises with high-quality audio clips recorded by leading professional singers, providing an invaluable resource for independent study. A comprehensive companion for teachers, students, and singers alike, The Singer's Guide to German Diction brings German diction to life through its well-structured system of practice and reference materials.
| Author | : Fiona Jane Schopf |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 244 |
| Release | : 2019-01-24 |
| Genre | : Music |
| ISBN | : 152752695X |
The Music on Stage conferences are a unique engine for interdisciplinary interaction, which is reflected in this compendium of the latest research by international scholars. Scholars and practitioners of operas by Handel, Mozart, Thomas, Chabrier, Korngold and Taktakishvili will find new “readings” from hitherto unexplored contexts and contemporary fine art. Also discussed is operatic lighting and the problematics of traditional lighting schemes apropos recent inventive methodologies. Popular sound development of the late 1960s is highlighted through unique oral transcripts. Other chapters discuss the intermediality of music and social media in the work of Brigitta Muntendorf; the visual transcoding of Wagner’s leitmotif technique; a new theory of Affektenlehre, and the art and politics of the Slovenian conceptual music collective Laibach.
| Author | : Oscar J. McCullough |
| Publisher | : |
| Total Pages | : 38 |
| Release | : 1969 |
| Genre | : Songs, German |
| ISBN | : |
| Author | : Benjamin Binder |
| Publisher | : Cambridge University Press |
| Total Pages | : 247 |
| Release | : 2024-02-15 |
| Genre | : Music |
| ISBN | : 1009007750 |
There seems to be an essential relationship between the performance and the scholarship of the German Lied. Yet the process by which scholarly inquiry and performative practices mutually benefit one another can appear mysterious and undefined, in part because any dialogue between the two invariably unfolds in relatively informal environments – such as the rehearsal studio, seminar room or conference workshop. Contributions from leading musicologists and prominent Lied performers here build on and deepen these interactions to reconsider topics including Werktreue aesthetics and concert practices; the authority of the composer versus the performer; the value of lesser-known, incomplete, or compositionally modified songs; and the traditions, habits and prejudices of song recitalists regarding issues like transposition, programming and dramatic modes of presentation. The book as a whole reveals the reciprocal relevance of Lied musicology and Lied performance, thereby opening doors to fresh and exciting modes of interpretative artistry and intellectual discovery.
| Author | : Ian Bostridge |
| Publisher | : Faber & Faber |
| Total Pages | : 1247 |
| Release | : 2011-03-03 |
| Genre | : Music |
| ISBN | : 0571260918 |
This unique volume contains, in parallel translation, a thousand of the most frequently performed Lieder, both piano-accompanied and orchestral. Composers are arranged alphabetically, with their songs appearing under poet in chronological order of composition - thus allowing the reader to engage in depth with a particular poet and at the same time to follow the composer's development. Richard Stokes, whose work in this field is already widely acclaimed, provides illuminating short essays on each of the fifty composers' approach to Lieder composition, as well as well as notes on all the poets who inspired the songs.The volume is notable for the accuracy and elegance of its translations, and for its fidelity to the German verse: every care has been taken to print the words of the sung text, while adhering to the versification and punctuation of the original poem.Beethoven, Schubert and Schumann, Goethe, Heine and Schiller are among the highlights of a book which illuminates one of the great musical traditions and will be an indispensable handbook for every music lover.
| Author | : Robin Darwall-Smith |
| Publisher | : Boydell & Brewer |
| Total Pages | : 279 |
| Release | : 2023-04-18 |
| Genre | : Music |
| ISBN | : 1783277246 |
The first book length study of musical education and culture in twentieth century Oxford. Music has always played a central role in the life of Oxford, both in the city and the university, whether through the great collegiate choral foundations, the many amateur choirs and instrumentalists, or the professional musicians regularly drawn to perform there. Oxford, with its collegiate system and its centuries-long tradition of musical activity, therefore presents a distinctive and multi-layered picture of the role of music in urban culture and university life. While college and university life dominate the volume, the collection also draws attention to the city's musical life, underlining music's unique ability to link 'town and gown'. Volume chapters tackle varied subjects such the Oxford Bach Choir, music in the city churches and the major choral foundations. The volume also tells the story of the development of the University's Music Faculty, music in the women's colleges, and the University Opera Club. Special attention is given to prominent Oxford composers, including Edmund Rubbra, Kenneth Leighton and Robert Saxton. The University College Musical Society and the Oxford and Cambridge Musical Club, which served as a kind of laboratory for such significant figures as Ralph Vaughan Williams and Walford Davies, also feature prominently. The volume will be indispensable reading for scholars and students of music in twentieth-century Britain, as well as those interested more generally in the history of Oxford's thriving cultural life in the university, its colleges and the city.
