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German song onstage : lieder performance in the nineteenth and early twentieth centuries /
"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...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Bloomington, Indiana :
Indiana University Press,
[2020]
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 245 | 0 | 0 | |a German song onstage : |b lieder performance in the nineteenth and early twentieth centuries / |c edited by Natasha Loges and Laura Tunbridge. |
| 264 | 1 | |a Bloomington, Indiana : |b Indiana University Press, |c [2020] | |
| 300 | |a 1 online resource (vii, 292 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 504 | |a Includes bibliographical references and index. | ||
| 520 | |a "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"-- |c Provided by publisher. | ||
| 588 | |a Description based on online resource; title from digital title page (viewed on May 13, 2020). | ||
| 505 | 0 | |a ǂt "Eine wahre Olla Patrida [sic]": Anna Milder-Hauptmann, Schubert, and programming the Orient / ǂr Susan Youens -- ǂt Song in concert as observed by the Schumans: toward the personalization of the public stage / ǂr Benjamin Binder -- ǂt From miscellanies to musical works: Julius Stockhausen, Clara Schumann, and Dichterliebe / ǂr Natasha Loges -- ǂt Natalia Macfarren and the English German lied / ǂr Katy Hamilton -- ǂt "For any ordinary performer it would be absurd, ridiculous, or offensive": performing lieder cycles on the American stage / ǂr Heather Platt -- ǂt The concert hall as a gender-neutral space: the case of Amalie Joachim, nèe Schneeweiss / ǂr Beatrix Borchard ; translated by Jeremy Coleman -- ǂt Nikolai Medtner: championing the German lied and Russian spirit / ǂr Maria Razumovskaya -- ǂt From the benefit concert to the solo song recital in London, 1870-1914 / ǂr Simon McVeigh and William Weber -- ǂt German song and the working classes in Berlin, 1980-1914 / ǂr Wiebke Rademacher -- ǂt Lili Lehmann's dedicated lieder recitals / ǂr Rosamund Cole -- ǂt "Eine Reihe bunter Zauberbilder": Thomas Mann, Hans Pfitzner, and the politics of song accompaniment / ǂr Nicholas Attfield -- ǂt Performers' reflections / ǂr Natasha Loges and Laura Tunbridge. | |
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 590 | |a JSTOR |b Books at JSTOR Evidence Based Acquisitions | ||
| 650 | 0 | |a Songs, German |y 19th century |x History and criticism. | |
| 650 | 0 | |a Songs, German |y 20th century |x History and criticism. | |
| 650 | 0 | |a Songs, German |x Performances. | |
| 650 | 6 | |a Chansons allemandes |y 19e siècle |x Histoire et critique. | |
| 650 | 6 | |a Chansons allemandes |y 20e siècle |x Histoire et critique. | |
| 650 | 7 | |a MUSIC / History & Criticism |2 bisacsh | |
| 650 | 7 | |a Songs, German. |2 fast |0 (OCoLC)fst01126343 | |
| 648 | 7 | |a 1800-1999 |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635 | |
| 700 | 1 | |a Loges, Natasha, |e editor. | |
| 700 | 1 | |a Tunbridge, Laura, |d 1974- |e editor. | |
| 776 | 0 | 8 | |i Print version: |t German song onstage |d Bloomington : Indiana University Press, 2020. |z 9780253047007 |w (DLC) 2019053391 |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.2307/j.ctv104t9zt |z Texto completo |
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| 938 | |a Recorded Books, LLC |b RECE |n rbeEB00777447 | ||
| 938 | |a ProQuest Ebook Central |b EBLB |n EBL6168046 | ||
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| 994 | |a 92 |b IZTAP | ||