The fine art of lieder singer: Lotte Lehmann recordings of Schumann's Dichterliebe
Palavras-chave:
singers, recordings, performance studies, Lieder, US reception
Resumo
The article focuses on the soprano Lotte Lehmann's specific contribution to the performance practice of Lieder repertoire. Lehmann's recordings of and discourses around Schumann's cycle Dichterliebe are analyzed by comparing documentary information with musical data obtained through the software SonicVisualiser. Finally, the article discusses Lehmann's legacy to the US Second Post-War context and young musicians.
Referências
Cook, Nicholas (2013), “Bridging the Unbridgeable? Empirical Musicology and Interdisciplinary Performance Studies” in Cook, Nicholas & Pettengill, Richard (eds.) (2013), Taking it to the Bridge: Music as Performance, Ann Arbor: The University of Michigan Press, pp. 70-85
Draper, Ruth (1960), The Art of Ruth Draper: Her Dramas and Characters, London: Oxford University Press
Glass, Beaumont (1988), Lotte Lehmann. A Life in Opera and Song, Santa Barbara: Capra Press
Hickling, Gary (2011), Lotte Lehmann Chronology 1888-1916, http://www.lottelehmannleague.org/wp-content/uploads/2011/03/Chronology1888-1916.pdf [accessed 06/04/2018]
Hinton Brown, Kathy (2012), Lotte Lehmann in America: Her Legacy as Artist Teacher, Missoula: College Music Society
Jefferson, Alan (1988), Lotte Lehmann: 1888-1976, A Centenary Biography, London: MacRae Books
Kater, Michael (2008), Never Sang for Hitler: The Life and Times of Lotte Lehmann, Cambridge: Cambridge University Press
Leech-Wilkinson, Daniel (2009a), “Musicology and Performance” in Blazckovic, Zdravko & Dobbs Mackenzie, Barbara (eds) (2009), Music's Intellectual History, New York: RILM, pp. 791-803
__________________ (2009b), The Changing Sound of Music: Approaches to Studying Recorded Musical Performance, London: CHARM, http://www.charm.rhul.ac.uk/studies/chapters/intro.html [accessed 06/04/2018]
Lehmann, Lotte (1941, 23rd March), “The Fine Art of Lieder Singing”, The New York Times
______________ (1966), “Göring, the Lioness and I” in Osborne, Charles (ed.)(1966), Opera 66, London: Alan Ross, pp. 187-199
______________ (1945), More than Singing: The Interpretation of Songs, New York: Boosey & Hawkes
______________ (1948), My Many Lives, New York: Boosey & Hawkes
______________ (1964), Five Operas and Richard Strauss, New York: Macmillan
______________ (1970, 1938), Midway in my Song, New York: Libraries Press
______________ (1971), Eighteen Song Cycles: Studies in Their Interpretation, London: Cassell & Co
Palma, Daniele (2016), «Alles zergeht, wie Dunst und Traum», Lotte Lehmann: la Marschallin. Per una metodologia dell'ascolto storico, (non-published master thesis), University of Pavia, Cremona
Todd, Neil (1985), “A model of expressive Timing in Tonal Music”, Music Perception, 3(1), pp. 33-57
Tunbridge, Laura (2018), Singing in the Age of anxiety: Lieder performance in New York and London between the World Wars, Chicago: The University of Chicago Press
Walter, Bruno (1977, 1957), Von der Musik und vom Musizieren, Frankfurt: Fischer Verlag
Draper, Ruth (1960), The Art of Ruth Draper: Her Dramas and Characters, London: Oxford University Press
Glass, Beaumont (1988), Lotte Lehmann. A Life in Opera and Song, Santa Barbara: Capra Press
Hickling, Gary (2011), Lotte Lehmann Chronology 1888-1916, http://www.lottelehmannleague.org/wp-content/uploads/2011/03/Chronology1888-1916.pdf [accessed 06/04/2018]
Hinton Brown, Kathy (2012), Lotte Lehmann in America: Her Legacy as Artist Teacher, Missoula: College Music Society
Jefferson, Alan (1988), Lotte Lehmann: 1888-1976, A Centenary Biography, London: MacRae Books
Kater, Michael (2008), Never Sang for Hitler: The Life and Times of Lotte Lehmann, Cambridge: Cambridge University Press
Leech-Wilkinson, Daniel (2009a), “Musicology and Performance” in Blazckovic, Zdravko & Dobbs Mackenzie, Barbara (eds) (2009), Music's Intellectual History, New York: RILM, pp. 791-803
__________________ (2009b), The Changing Sound of Music: Approaches to Studying Recorded Musical Performance, London: CHARM, http://www.charm.rhul.ac.uk/studies/chapters/intro.html [accessed 06/04/2018]
Lehmann, Lotte (1941, 23rd March), “The Fine Art of Lieder Singing”, The New York Times
______________ (1966), “Göring, the Lioness and I” in Osborne, Charles (ed.)(1966), Opera 66, London: Alan Ross, pp. 187-199
______________ (1945), More than Singing: The Interpretation of Songs, New York: Boosey & Hawkes
______________ (1948), My Many Lives, New York: Boosey & Hawkes
______________ (1964), Five Operas and Richard Strauss, New York: Macmillan
______________ (1970, 1938), Midway in my Song, New York: Libraries Press
______________ (1971), Eighteen Song Cycles: Studies in Their Interpretation, London: Cassell & Co
Palma, Daniele (2016), «Alles zergeht, wie Dunst und Traum», Lotte Lehmann: la Marschallin. Per una metodologia dell'ascolto storico, (non-published master thesis), University of Pavia, Cremona
Todd, Neil (1985), “A model of expressive Timing in Tonal Music”, Music Perception, 3(1), pp. 33-57
Tunbridge, Laura (2018), Singing in the Age of anxiety: Lieder performance in New York and London between the World Wars, Chicago: The University of Chicago Press
Walter, Bruno (1977, 1957), Von der Musik und vom Musizieren, Frankfurt: Fischer Verlag
Publicado
2019-09-25
