German Song Onstage. Laura Tunbridge

Diva: Zur Rezeption Jenny Linds in der Musikkulture um 1850,” Musikforschung 62, no. 4 (October–December 2009): 347–63, esp. 354–55.

      41.Cited in Litzmann, Clara Schumann, 208–9: “Vormittags besuchte uns die Lind zu einer kleinen Lieder-Probe, aus der aber noch mehr wurde, denn sie sang eine ganze Menge von Roberts Liedern, und wie sang sie sie, mit welcher Wahrheit, mit welcher Herzinnigkeit und Einfachheit, wie sang sie ‘Marienwürmchen’, ‘Frühlingsglaube’ aus dem Album, das sie nicht kannte, vom Blatt—das bleibt einem unvergeßlich; welch ein herrliches gottbegabtes Wesen ist das, welch eine reine echt künstlerische Seele, wie erfrischt einen alles, was sie sagt, wie trifft sie immer das Rechte, spricht es aus mit wenig Worten, kurz nie wohl liebte und verehrte ich ein weibliches Wesen mehr als sie. Diese Lieder werden ewig in meiner Seele klingen, und wäre es nicht ein Unrecht, so möchte ich sagen, nie will ich mehr die Lieder von andern hören als von ihr.”

      42.Robert’s Liederalbum für die Jugend contains “Marienwürmchen,” as well as several songs with Frühling in the title, but none by the name of “Frühlingsglaube” specifically. With the second song title, it is possible that Clara was instead referring to Schubert’s famous “Frühlingsglaube,” D686, although it is hard to imagine that Lind would “not have known” that song already, even if she was sight-reading from Clara’s album.

      43.For information on the programming for these concerts, see Nauhaus, Schumann Tagebücher, 3: 783–84.

      44.For example, see Gesse-Harm, “Casta Diva,” 357–58.

      45.Jennifer Ronyak, Intimacy, Performance, and the Lied in the Early Nineteenth Century (Bloomington: Indiana University Press, 2018).

      Bibliography

      Auslander, Philip. “Musical Personae.” Drama Review 50, no. 1 (Spring 2006): 100–119.

      Borchard, Beatrix. “‘Ma chère petite Klara—Pauline de mon cœur’: Clara Schumann et Pauline Viardot, une amitié d’artistes franco-allemande.” Cahiers Ivan Tourguéniev, Pauline Viardot, Maria Malibran 20 (1997): 127–43.

      Cone, Edward. The Composer’s Voice. Berkeley: University of California Press, 1974.

      Gesse-Harm, Sonia. “Casta Diva: Zur Rezeption Jenny Linds in der Musikkulture um 1850.” Musikforschung 62, no. 4 (October–December 2009): 347–63.

      Glümer, Claire von. Erinnerungen an Wilhelmine Schröder-Devrient. Leipzig: J. A. Barth, 1862.

      Glümer, Claire von, and Henry Chorley. “Wilhelmine Schröder-Devrient and Wagner’s Dresden.” In Richard Wagner and His World, translated and edited by Thomas Grey, 201–29. Princeton, NJ: Princeton University Press, 2009.

      Hunter, Mary. “‘To Play as if from the Soul of the Composer’: The Idea of the Performer in Early Romantic Aesthetics.” Journal of the American Musicological Society 58, no. 2 (Summer 2005): 357–98.

      Leistra-Jones, Karen. “Staging Authenticity: Joachim, Brahms, and the Politics of Werktreue Performance.” Journal of the American Musicological Society 66, no. 2 (Summer 2013): 397–436.

      Litzmann, Berthold. Clara Schumann: Ein Künstlerleben durch Tagebüchern und Briefen, 3rd ed. 3 vols. Leipzig: Breitkopf und Härtel, 1907.

      Meyer, Stephen. “Das wilde Herz: Interpreting Wilhelmine Schröder-Devrient.” Opera Quarterly 14, no. 2 (Winter 1997/98): 23–40.

      Nauhaus, Gerd, ed. Robert Schumann: Tagebücher. 2 vols. Leipzig: Deutscher Verlag für Musik, 1971–87.

      Ozawa-Müller, Kazuko. “Clara Schumann und Wilhelmine Schröder-Devrient.” In Clara Schumann, 1819–1896: Katalog zur Ausstellung, edited by Ingrid Bodsch and Gerd Nauhaus, 179–86. Bonn: Stadtmuseum Bonn, 1996.

      Prince, April. “Der anmutreichen, unschuldsvollen Herrin: Clara Schumann’s Public Personas.” PhD diss., University of Texas at Austin, 2009.

      Ronyak, Jennifer. Intimacy, Performance, and the Lied in the Early Nineteenth Century. Bloomington: Indiana University Press, 2018.

      Schumann, Robert. “Concerte: Zwanzigstes Abonnementconcert, den 18ten März.” Neue Zeitschrift für Musik 14, no. 29 (April 9, 1841): 117–18.

      ———. “Drei gute Liederhefte.” Neue Zeitschrift für Musik 13, no. 30 (November 29, 1836).

      ———. “Musikleben in Leipzig, während des Winters 1839/40 (Fortsetzung).” Neue Zeitschrift für Musik 12, no. 38 (May 8, 1840), 151.

      ———. “Zweites Abonnementconcert, den 11 October.” Neue Zeitschrift für Musik 13, no. 36 (October 31, 1840): 144.

      Schumann, Robert, and Clara Schumann. Liederalbum für Wilhelmine Schröder-Devrient. Edited by Angelika Horstmann. Kassel, Ger.: Bärenreiter, 1994.

      Todd, R. Larry. Mendelssohn: A Life in Music. New York: Oxford University Press, 2003.

      Weissweiler, Eva, and Susanna Ludwig, eds. Robert and Clara Schumann, Briefwechsel: Kritische Gesamtausgabe, 3 vols. Frankfurt: Stroemfeld/Roter Stern, 2001.

      Wendler, Eugen, ed. “Das Band der ewigen Liebe”: Clara Schumanns Briefwechsel mit Emilie und Elise List. Stuttgart: Metzler, 1996.

      Wolzogen, Alfred von. Wilhelmine Schröder-Devrient: Ein Beitrag zur Geschichte des musikalischen Dramas. Leipzig: F. A. Brockhaus, 1863.

      BENJAMIN BINDER is Associate Professor of Music at Duquesne University. He is also a collaborative pianist.

       3From Miscellanies to Musical Works

       Julius Stockhausen, Clara Schumann, and Dichterliebe

       Natasha Loges

      THE SONG CYCLE eludes definition. As John Daverio has eloquently argued, the genre “discloses a paradoxical movement between the artlessness, the noble simplicity demanded by the Lied tradition, and the artfulness that a cyclic form should display. … We expect that the Lieder in question will amount to more than a mere collection, that they will exhibit elements of musicopoetic cohesiveness extending beyond the individual Lied to encompass the entire set.”¹

      Several things can be inferred from this description. The first is well known, namely that the individual Lieder that collectively constitute a cycle occupy a nebulous aesthetic space that shifts between small-scale, accessible miniatures and high art, sometimes within the same song. The second—namely, the implication that a cycle is always apprehended as an unbroken whole, whether via a score, recording or performance—is worthy of pause, because, as I have shown elsewhere, this was certainly not the case for the early concert history of the song cycle, starting in the mid-nineteenth century.² At that time, within the standard patterned miscellany concert format, cycles were frequently broken up, presented as subgroups of songs usually interspersed with instrumental works, or in smaller selections.³ A third, more implicit point in Daverio’s use of the words “we expect” is that expectations play a role in the perception of the cyclic qualities of a group of songs, or indeed, any collection of small pieces bearing such associations. Today, audiences (both scholarly and general) are conditioned to receive song cycles as continuous wholes, so the broken-up song cycle presents intriguing challenges to this inevitability. Most commentators have dismissed this substantial performance tradition as peculiar and outdated, a blip in the song cycle’s history that contravenes the composer’s planned coherence in an otherwise tidy teleology of wholeness.⁴ In this chapter, I will explore how the first public performers of song cycles helped shape the genre’s substantial and tenacious identity as it has coalesced in both performance