Natasha Loges Bücher

A singer in evening dress and a grand piano set the scene for a Lieder recital, attended by a modest audience equipped with translation booklets. While this may appear to be a long-standing tradition, the reality is quite different. German Song Onstage reveals that, for much of the 19th century, the works of Beethoven, Schubert, Schumann, and Brahms were primarily enjoyed in homes and salons, and were often performed alongside orchestral and choral pieces in concert settings. Dedicated programs and audiences were rare, highlighting the Lied's dual associations with both private and public spheres. This volume features contributions that examine a variety of venues, singers, and audiences across different regions—including the United States, the United Kingdom, Russia, and Germany—spanning from the mid-19th to early 20th centuries. Historical case studies are complemented by reflections from contemporary musicians, providing valuable insights into modern Lied practices. Together, these explorations challenge narrow perceptions of German song performance, offering a transnational perspective on its historical context and fostering discussions about the ongoing relationship between history and contemporary performance.