German Song Onstage - Laura Tunbridge

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      GERMAN SONG ONSTAGE

      GERMAN SONG ONSTAGE

       Lieder Performance in the Nineteenth and Early Twentieth Centuries

      Edited by Natasha Loges and Laura Tunbridge

      Indiana University Press

      This book is a publication of

      Indiana University Press

      Office of Scholarly Publishing

      Herman B Wells Library 350

      1320 East 10th Street

      Bloomington, Indiana 47405 USA

       iupress.indiana.edu

      © 2020 by Indiana University Press

      All rights reserved

      No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.

      Manufactured in the United States of America

      Library of Congress Cataloging-in-Publication Data

      Names: Loges, Natasha, editor. | Tunbridge, Laura [date], editor.

      Title: German song onstage : lieder performance in the nineteenth and early twentieth centuries / Natasha Loges and Laura Tunbridge.

      Description: Bloomington : Indiana University Press, 2020. | Includes bibliographical references and index.

      Identifiers: LCCN 2019053391 (print) | LCCN 2019053392 (ebook) | ISBN 9780253047007 (hardback) | ISBN 9780253047014 (paperback) | ISBN 9780253047038 (ebook)

      Subjects: LCSH: Songs, German—19th century—History and criticism. | Songs, German—20th century—History and criticism. | Songs, German—Performances.

      Classification: LCC ML1400 .G47 2020 (print) | LCC ML1400 (ebook) | DDC 782.4216809/43—dc23

      LC record available at https://lccn.loc.gov/2019053391

      LC ebook record available at https://lccn.loc.gov/2019053392

      1 2 3 4 5 25 24 23 22 21 20

      Contents

       4Natalia Macfarren and the English German Lied / Katy Hamilton

       5“For Any Ordinary Performer It Would Be Absurd, Ridiculous, or Offensive”: Performing Lieder Cycles on the American Stage / Heather Platt

       6The Concert Hall as a Gender-Neutral Space: The Case of Amalie Joachim, née Schneeweiss / Beatrix Borchard, Translated by Jeremy Coleman

       7Nikolai Medtner: Championing the German Lied and Russian Spirit / Maria Razumovskaya

       8From the Benefit Concert to the Solo Song Recital in London, 1870–1914 / Simon McVeigh and William Weber

       9German Song and the Working Classes in Berlin, 1890–1914 / Wiebke Rademacher

       10Lilli Lehmann’s Dedicated Lieder Recitals / Rosamund Cole

       11“Eine Reihe bunter Zauberbilder”: Thomas Mann, Hans Pfitzner, and the Politics of Song Accompaniment / Nicholas Attfield

       12Performers’ Reflections / Natasha Loges and Laura Tunbridge

       Timeline

       Index

       Acknowledgments

      THIS COLLECTION AROSE after the conference German Song Onstage 1789–1914, which took place at the Royal College of Music and Wigmore Hall in February 2016. We are grateful to the following institutions for financial and other support: the German Historical Institute, the Royal College of Music, Wigmore Hall, Music and Letters, the British Academy, the Embassy of the Federal Republic of Germany, TORCH (The Oxford Research Centre in the Humanities), and Music Talks. We are also grateful to Janice Frisch and the staff of Indiana University Press for seeing this volume to production and to the anonymous readers for their extremely helpful suggestions. Finally, thanks to all our contributors and, as always, our families.

      GERMAN SONG ONSTAGE

       Introduction

       Restaging German Song

       Laura Tunbridge

      A SINGER IN 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. There is an assumption among performers and audiences that this performance tradition is long-standing. As this book demonstrates, however, it is not. For much of the nineteenth century, the songs of Beethoven, Schubert, Schumann, and Brahms were heard in the home and salon and, no less significantly, on the concert platform alongside orchestral and choral works. The dedicated program was rare; the dedicated audience even more so. The Lied was, then, a genre with both more private and more public associations than is commonly recalled. The purpose of this volume is to unsettle some of our assumptions about what it meant and still means to present German song onstage, in the hope that greater historical awareness will open up discussion about how and why we care about, and make a case for, Lieder.

      In a generation in which the notion of period performance has become firmly established as a routine mode of interpretation, it is striking

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