Book contents
- The Lied at the Crossroads of Performance and Musicology
- The Lied at the Crossroads of Performance and Musicology
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Foreword
- Acknowledgments
- Introduction
- 1 In Search of Song
- 2 Max Heinrich, “Wizard of Song”
- 3 Fragmenting Frauenliebe und -leben
- 4 Robert Schumann’s “Ich grolle nicht”
- 5 Schubert’s Mignon and Reimann’s Mignon
- 6 Locating the Wanderer’s Solitude in Choral and Nonsolo Performances of Winterreise
- 7 Analysis, Performance, and the Deep Nineteenth Century
- 8 Crossing Boundaries
- 9 Singers Speak about Musicology and Performance
- Bibliography
- Index
9 - Singers Speak about Musicology and Performance
Published online by Cambridge University Press: 09 February 2024
- The Lied at the Crossroads of Performance and Musicology
- The Lied at the Crossroads of Performance and Musicology
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Foreword
- Acknowledgments
- Introduction
- 1 In Search of Song
- 2 Max Heinrich, “Wizard of Song”
- 3 Fragmenting Frauenliebe und -leben
- 4 Robert Schumann’s “Ich grolle nicht”
- 5 Schubert’s Mignon and Reimann’s Mignon
- 6 Locating the Wanderer’s Solitude in Choral and Nonsolo Performances of Winterreise
- 7 Analysis, Performance, and the Deep Nineteenth Century
- 8 Crossing Boundaries
- 9 Singers Speak about Musicology and Performance
- Bibliography
- Index
Summary
This chapter turns to a series of interviews with five distinguished Lied interpreters, at various stages in their careers and coming from both German and Anglo-American contexts, to look at how professional performers think about the role of musicological inquiry or information in relationship to their art form. Based on interviews with Christian Gerhaher, Thomas Quasthoff, Martha Guth, Randall Scarlata, and Clara Osowski, the chapter examines issues including: the role of understanding historical context in preparing or relating to song performance; “dramatic” vs. more “lyric” approaches to singing and thinking about Lieder; the use of historical research in assembling concert programs; and the role of historical knowledge in decisions concerning transposition and other performance concerns.
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- Information
- The Lied at the Crossroads of Performance and Musicology , pp. 188 - 199Publisher: Cambridge University PressPrint publication year: 2024