This book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on women’s achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Lied’s musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and the energy it generates among scholars and performers. Women and the Nineteenth-Century Lied aims to widen readers’ perception of the genre and help promote awareness of women’s contribution to nineteenth-century musical life through critical appraisal of the cultural context of the Lied, encouraging acquaintance with the voices of women composers, and the variety of their contributions to the repertoire.
"This is an important book. (…) This rich collection assembled by Aisling Kenny and Susan Wollenberg is a ‘must-have’ for those interested in the history of lieder, the musical practices of women, and the social landscape of the nineteenth century." – Marcia J. Citron, Rice University.
"Women and the Nineteenth-Century Lied takes nineteenth-century music scholarship a considerable step closer toward a greater inclusiveness of repertoire, composers and methodologies, and for that it is profoundly welcome." – Laura K.T. Stokes, Brown University
"… a fine volume for lieder scholars…" - Susan H. Borwick, Journal of the International Alliance for Women in Music
Part 1 Contexts for Women's Lieder, I:
Blurring the gendered dichotomies: issues of gender and creativity for the female Lied composer
Absence and dialogue: Pauline von Decker in a performing and cultural context
In pursuit of a single flame: Fanny Hensel's 'musical salon'
Lorraine Byrne Bodley
Part 2 Individual Composers and their Lieder, I:
Early 19th Century: 'Der Jungling und Das Madchen':
Fanny Hensel, Felix Mendelssohn and the Zwolf Lieder, op. 9
Angela Mace Christian
Functions of piano introductions in the Lieder of Josephine Lang
Clara Schumann's 'Liebst du um Schonheit' and the integrity of a composer's vision
Part 3 Individual Composers and their Lieder, II:
Later 19th Century: Pauline Viardot-Garcia's 'Ne poj, krasavica, pri mne' and the genre of Russian romance
(Re)claiming space for Ingeborg von Bronsart's Wildenbruch Lieder, op. 16
Cyclic organization, narrative and self-construction in Ethel Smyth's Lieder und Balladen, op. 3 and Lieder, op. 4, Cornelia Bartsch; Contrasting concepts of love in two songs by Alma Schindler(-Mahler) and Gustav Mahler
Part 4 Contexts for Women's Lieder, II:
'Und das hat mit ihrem Singen, Die Lore-Ley gethan': subjectivity and objectification in two Heine settings
Echoes of the Lied: women's vocal repertoire in 19th-century Ireland
Women composers of Lieder: selected sources
Tammy Hensrud, Aisling Kenny and Susan Wollenberg