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This book reconsiders the significance of the salon as a social and
cultural phenomenon and as a source of artistic innovation and
exchange in the long nineteenth century. This collection explores
the idea of music in the salon during the long nineteenth century,
both as a socio-cultural phenomenon, and as a source of artistic
innovation and exchange. Drawing on a wide range of scholarly
approaches,this book uses the idea of the salon as a springboard to
examine issues such as gender, religion, biography and performance;
to explore the ways in which the salon was represented in different
media; and to showcase the heterogeneity of the salon through a
selection of case studies. It offers fresh considerations of
familiar salons in large cultural centres, as well as insights into
lesser-known salons in both Europe and the United States. Bringing
together an international group of scholars, the collection
underscores the enduring impact of the European musical salon. ANJA
BUNZEL holds a research position at the Czech Academy of Sciences.
She gained her PhD in Musicology from Maynooth University and has
published on Johanna Kinkel and nineteenth-century salon culture in
both English and German. NATASHA LOGES is Head of Postgraduate
Programmes at the Royal College of Music, London. Her publications
include Brahms in the Home and the Concert Hall (Cambridge, 2014)
and Brahms and his Poets (Boydell Press, 2017). She is a pianist,
broadcaster and critic. Contributors: Maren Bagge, PeterBozo, Anja
Bunzel, Katie A. Callam, Beatrix Darmstadter, Mary Anne Garnett,
Harald Krebs, Clemens Kreutzfeldt, Veronika Kusz, Natasha Loges,
Jennifer Ronyak, Kirsten Santos Rutschman, R. Larry Todd, Katharina
Uhde, Michael Uhde, Harry White, Petra Wilhelmy-Dollinger, Susan
Youens
Covering Brahms's 32 song opuses published during four decades of
song-writing, this book offers a way of understanding what Brahms
believed to be the right poetic basis for his immortal music.
Johannes Brahms's much-loved solo songs continue to be enjoyed in
recordings and on recital stages all over the world. This book
provides a wealth of information on the poets whose words he set,
many of whom are still unfamiliar.A substantial introduction
explores the multiple meanings song-poetry held for Brahms and
challenges the widely held opinion that he responded only to the
general mood of a poem. It is followed by alphabetically organised
essays on the forty-six poets whose verses he set. Each summarises
the settings, Brahms's links to the poet, interconnections between
the poets, and offers further context situating the poet within a
wider literary, cultural and political landscape. The poets are
revealed to be part of a deeply collegial cultural community of
which Brahms was an active part. Covering Brahms's 32 song opuses
published during four decades of song-writing, this book offers a
way of understanding what Brahms believed to be the right poetic
basis for his immortal music. It is designed to be an essential
reference tool for students and scholars of Johannes Brahms, as
well as performers and lovers of his songs.
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.
Essays on the synthesis of the musical and literary arts in German
Romanticism. The interrelationship between music and literature
reached its zenith during the Romantic era, and nowhere was this
relationship more pronounced than in Germany. Many representatives
of literary and philosophical German Romanticism held music to be
the highest and most expressive, quintessentially Romantic art
form, able to convey what cannot be expressed in words: the
ineffable and metaphysical. The influence was reciprocal, with
literature providing a rich source of inspiration for German
composers of both instrumental and vocal music, giving rise to a
wealth of new forms and styles. The essays in this volume are
selected from papers presented at an international,
interdisciplinary conference held at University College Dublin in
December 2000, and include contributions from Germanists,
musicologists, comparatists, and performance artists. This
interdisciplinarity makes for informed and complementary approaches
and arguments. The essays cover not only the "Romantic" nineteenth
century (commencing with the early Romanticism of the Jena circle),
but also look ahead to the legacy, reception, and continuation of
German Romanticism in the modern and postmodern ages. Alongside new
readings of familiar and established writers and composers such as
Goethe, Hoffmann, Wagner, and Schubert, a case is made for other
figures such as Wackenroder, Novalis, Schlegel, Schumann, Brahms,
Liszt, and Berlioz, as well as less-known figures such as Ritter,
Schneider, and Termen, and for a reconsideration of questions of
categorization. The essays will appeal to readers with a wide
variety of academic, musical, and literary interests. Siobhan
Donovan is a Lecturer in the Department of German at University
College Dublin. Robin Elliott is Jean A. Chalmers Chair in Canadian
Music at the University of Toronto.
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.
Covering Brahms's 32 song opuses published during four decades of
song-writing, this book offers a way of understanding what Brahms
believed to be the right poetic basis for his immortal music.
Johannes Brahms's much-loved solo songs continue to be enjoyed in
recordings and on recital stages all over the world. This book
provides a wealth of information on the poets whose words he set,
many of whom are still unfamiliar.A substantial introduction
explores the multiple meanings song-poetry held for Brahms and
challenges the widely held opinion that he responded only to the
general mood of a poem. It is followed by alphabetically organised
essays on the forty-six poets whose verses he set. Each summarises
the settings, Brahms's links to the poet, interconnections between
the poets, and offers further context situating the poet within a
wider literary, cultural and politicallandscape. The poets are
revealed to be part of a deeply collegial cultural community of
which Brahms was an active part. Covering Brahms's 32 song opuses
published during four decades of song-writing, this book offers a
wayof understanding what Brahms believed to be the right poetic
basis for his immortal music. It is designed to be an essential
reference tool for students and scholars of Johannes Brahms, as
well as performers and lovers of his songs. NATASHA LOGES is Head
of Postgraduate Programmes at the Royal College of Music and has
co-edited Brahms in the home and the concert hall: Between private
and public performance and contributed to the Cambridge History of
Musical Performance and is currently co-editing Johannes Brahms in
Context. As a song accompanist, she has performed in various venues
overseas and in the UK.
Brahms in Context offers a fresh perspective on the much-admired
nineteenth-century German composer. Including thirty-nine chapters
on historical, social and cultural contexts, the book brings
together internationally renowned experts in music, law, science,
art history and other areas, including many figures whose work is
appearing in English for the first time. The essays are accessibly
written, with short reading lists aimed at music students and
educators. The book opens with personal topics including Brahms's
Hamburg childhood, his move to Vienna, and his rich social life. It
considers professional matters from finance to publishing and
copyright; the musicians who shaped and transmitted his works; and
the larger musical styles which influenced him. Casting the net
wider, other essays embrace politics, religion, literature,
philosophy, art, and science. The book closes with chapters on
reception, including recordings, historical performance, his
compositional legacy, and a reflection on the power of composer
myths.
Brahms in Context offers a fresh perspective on the much-admired
nineteenth-century German composer. Including thirty-nine chapters
on historical, social and cultural contexts, the book brings
together internationally renowned experts in music, law, science,
art history and other areas, including many figures whose work is
appearing in English for the first time. The essays are accessibly
written, with short reading lists aimed at music students and
educators. The book opens with personal topics including Brahms's
Hamburg childhood, his move to Vienna, and his rich social life. It
considers professional matters from finance to publishing and
copyright; the musicians who shaped and transmitted his works; and
the larger musical styles which influenced him. Casting the net
wider, other essays embrace politics, religion, literature,
philosophy, art, and science. The book closes with chapters on
reception, including recordings, historical performance, his
compositional legacy, and a reflection on the power of composer
myths.
Johannes Brahms was a consummate professional musician, and a
successful pianist, conductor, music director, editor and composer.
Yet he also faithfully championed the world of private
music-making, creating many works and arrangements for enjoyment in
the home by amateurs. This collection explores Brahms' public and
private musical identities from various angles: the original works
he wrote with amateurs in mind; his approach to creating piano
arrangements of not only his own, but also other composers' works;
his relationships with his arrangers; the deeper symbolism and
lasting legacy of private music-making in his day; and a hitherto
unpublished memoir which evokes his Viennese social world. Using
Brahms as their focus point, the contributors trace the overlapping
worlds of public and private music-making in the nineteenth
century, discussing the boundaries between the composer's
professional identity and his lifelong engagement with amateur
music-making.
Johannes Brahms was a consummate professional musician, and a
successful pianist, conductor, music director, editor and composer.
Yet he also faithfully championed the world of private
music-making, creating many works and arrangements for enjoyment in
the home by amateurs. This collection explores Brahms' public and
private musical identities from various angles: the original works
he wrote with amateurs in mind; his approach to creating piano
arrangements of not only his own, but also other composers' works;
his relationships with his arrangers; the deeper symbolism and
lasting legacy of private music-making in his day; and a hitherto
unpublished memoir which evokes his Viennese social world. Using
Brahms as their focus point, the contributors trace the overlapping
worlds of public and private music-making in the nineteenth
century, discussing the boundaries between the composer's
professional identity and his lifelong engagement with amateur
music-making.
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