German Song Onstage

Natasha Loges is Head of Postgraduate Programmes at the Royal College of Music. She is author of Brahms and His Poets: A Handbook. She is also editor (with Katy Hamilton) of Brahms in the Home and the Concert Hall: Between Private and Public Performance and Brahms in Context, as well as editor (with Anja Bunzel) of Musical Salon Culture in the Long Nineteenth Century.Laura Tunbridge is Professor of Music at the University of Oxford. She is author of Schumann's Late Style, The Song Cycle, and Singing in the Age of Anxiety: Lieder Performances in New York and London between the World Wars and editor (with Roe-Min Kok) of Rethinking Schumann.

• Acknowledgments Introduction: Restaging German Song / Laura Tunbridge1. "Eine wahre Olla Patrida [sic]:" Anna Milder-Hauptmann, Schubert, and Programming the Orient / Susan Youens2. Song in Concert as Observed by the Schumanns: Toward the Personalization of the Public Stage / Benjamin Binder3. From Miscellanies to Musical Works: Julius Stockhausen, Clara Schumann and Dichterliebe / Natasha Loges4. Natalia Macfarren and the English German Lied / Katy Hamilton5. "For Any Ordinary Performer It Would Be Absurd, Ridiculous or Offensive": Performing Lieder Cycles on the American Stage / Heather Platt6. The Concert Hall as a Gender-Neutral Space: The Case of Amalie Joachim, née Schneeweiss / Beatrix Borchard, Translated by Jeremy Coleman 7. Nikolai Medtner: Championing the German Lied and Russian Spirit / Maria Razumovskaya8. From the Benefit Concert to the Solo Song Recital in London, 1870–1914 / Simon McVeigh and William Weber9. German Song and the Working Classes in Berlin, 1890–1914 / Wiebke Rademacher10. Lilli Lehmann's Dedicated Lieder Recitals / Rosamund Cole11. "Eine Reihe bunter Zauberbilder": Thomas Mann, Hans Pfitzner, and the Politics of Song Accompaniment / Nicholas Attfield12. Performers' Reflections / Natasha Loges and Laura TunbridgeTimelineIndex

The essays herein should appeal to a wide range of readers from the informed concert-goer who enjoys vocal music to conservatory students to the professoriate who will appreciate the exemplary scholarly apparatus. The editors are to be commended for a fine compilation that will pique interest in discovering or re-visiting the wide range of German song repertoire and the acclaimed artists who presented these cultural offerings to the world.- Barry Zaslow (Music Reference Services Quarterly) This volume offers a multifaceted overview of the rich history of German song, and challenges contemporary performers and audiences, like Janus with a wide angle lens, to look at the totality oflieder's history to determine performance practice. It is highly recommended.- Debra Greschner (Journal of Singing) The editors are to be commended for a fine compilation that will pique interest in discovering or re-visiting the wide range of German song repertoire and the acclaimed artists who presented these cultural offerings to the world.- Barry Zaslow - Miami University (Music Reference Services Quarterly) The variety of methodologies and contexts probed in this volume will doubtless inspire future performance-centric song scholarship. The novel inclusion of current performers' voices will hopefully broaden scholarly discourse about lieder and, more generally, art song.- Verica Grmuša (Music & Letters)