![]() Grimley The Cambridge Companion to Verdi Edited by Scott L. ![]() Keefe The Cambridge Companion to Ravel Edited by Deborah Mawer The Cambridge Companion to Rossini Edited by Emanuele Senici The Cambridge Companion to Schubert Edited by Christopher Gibbs The Cambridge Companion to Sibelius Edited by Daniel M. The Cambridge Companion to Handel Edited by Donald Burrows The Cambridge Companion to Mozart Edited by Simon P. The volume is framed by a detailed chronology of German music and poetry from the late 1730s to the present and also contains a wide-ranging guide to suggested further reading.Ĭambridge Companions to Music Topics The Cambridge Companion to Blues and Gospel Music Edited by Allan Moore The Cambridge Companion to Conducting Edited by Jos´e Antonio Bowen The Cambridge Companion to Grand Opera Edited by David Charlton The Cambridge Companion to Jazz Edited by Mervyn Cooke and David Horn The Cambridge Companion to the Lied Edited by James Parsons The Cambridge Companion to the Musical Edited by William Everett and Paul Laird The Cambridge Companion to the Orchestra Edited by Colin Lawson The Cambridge Companion to Pop and Rock Edited by Simon Frith, Will Straw and John Street The Cambridge Companion to the String Quartet Edited by Robin Stowell Composers The Cambridge Companion to Bach Edited by John Butt ´ The Cambridge Companion to Bartok Edited by Amanda Bayley The Cambridge Companion to Beethoven Edited by Glenn Stanley The Cambridge Companion to Berg Edited by Anthony Pople The Cambridge Companion to Berlioz Edited by Peter Bloom The Cambridge Companion to Brahms Edited by Michael Musgrave The Cambridge Companion to Benjamin Britten Edited by Mervyn Cooke The Cambridge Companion to Bruckner Edited by John Williamson The Cambridge Companion to John Cage Edited by David Nicholls The Cambridge Companion to Chopin Edited by Jim Samson The Cambridge Companion to Debussy Edited by Simon Trezise In essays by eminent scholars, this Companion places the Lied in its full context – at once musical, literary, and cultural – with chapters devoted to focal composers as well as important issues, such as the way in which the Lied influenced other musical genres, its use as a musical commodity, and issues of performance. 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.
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