![]() This is the first introductory chronicle of this fascinating genre. By the time German song comes to its presumed conclusion with Richard Strauss’s 1948 Vier letzte Lieder, this rich repertory has moved beyond the home and keyboard accompaniment to the symphony hall. In the century that follows it becomes one of the primary modes of music-making. The Cambridge Companion to the Lied Beginning several generations before Schubert, the Lied first appears as domestic entertainment. The circulation of the Lied: the double life of an artwork and a commodity David Gramitġ5. The Lied in the modern age: to mid century James Parsons The Lieder of Mahler and Richard Strauss James L. Song beyond song: instrumental transformations and adaptations of the Lied from Schubert to Mahler Christopher H. ![]() Tradition and innovation: the Lieder of Hugo Wolf Susan Youensġ1. The Lieder of Liszt Rena Charnin Muellerġ0. Schumann: reconfiguring the Lied Jurgen Thymħ. The early nineteenth-century song cycle Ruth O. The Lieder of Schubert Marie-Agnes Dittrichĥ. The Nineteenth Century: Issues of Style and Development: 4. ![]() The Lieder of Carl Philipp Emanuel Bach, Haydn, Mozart, and Beethoven Amanda Glauert The eighteenth-century Lied James Parsonsģ. The Birth and Early History of a Genre in the Age of Enlightenment: 2. Introducing a Genre: 'Introduction: Why the Lied?' James Parsons: 1. It does make for a gentle point of entry into Carter’s oeuvre as a whole, even if it sounds like nothing else the composer wrote.Part I. Later that night, Christoph von Dohnanyi opened the BSO performance with Carter’s “Sound Fields,” a brief yet enthralling study in sonic density that stands a chance of being taken up more widely by orchestras seeking a modern-tinted concert-raiser. Elliott Carter’s music also had a presence, with Aimard deftly dispatching three solo piano works (“Retrouvailles,” “Tri-Tribute” and “90+”). Saturday’s program also featured an intriguing work by Marco Stroppa titled “Ossia: Seven Strophes for a Literary Drone,” a study in the shifting properties of acoustic space as the musicians (Matthew Leslie Santana, violin Louis Grevin, cello) migrated across 10 different positions on stage, playing at varying angles with the piano (Katherine Dowling). ![]() A few people walked out of Ozawa Hall as mentioned, but most of the audience listened in rapt silence. ![]() Pianist Stephen Drury punctuated Keusch’s sighs with ghostly thuds and spiky volleys of notes, and added some vocal clucks of his own. (Imagine Hofmannsthal’s Lord Chandos attempting to compose lieder.) Saturday’s soprano, Elizabeth Keusch, was superb not only in her virtuosic performance of this outlandish vocalism but in her ability to convey the sense that more meaningful truths lay behind the hilarity - perhaps in part a meta-riff on language and the futility of expression, the distance between the signifier and the signified. The ridiculousness is part of the music, yet so is its ultra-serious delivery. The singer transmutes the words into an absorbing sequence of precisely executed sighs, heavy breathing, trills, clucks, pitched facial slaps, and high notes belted out like a hitherto unknown subgenre of flamenco for extraterrestrials. Then again, to say that Lachenmann “sets” these texts may be putting it a bit too literally. ![]()
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