Lieder Download

For German speakers, the term "Lied" has a long history ranging from twelfth-century troubadour songs (Minnesang) via folk songs (Volkslieder) and church hymns (Kirchenlieder) to twentieth-century workers' songs (Arbeiterlieder) or protest songs (Kabarettlieder, Protestlieder).[citation needed]

The German word Lied for "song" (cognate with the English dialectal leed) first came into general use in German during the early fifteenth century, largely displacing the earlier word gesang. The poet and composer Oswald von Wolkenstein is sometimes claimed to be the creator of the lied because of his innovations in combining words and music.[7] The late-fourteenth-century composer known as the Monk of Salzburg wrote six two-part lieder which are older still, but Oswald's songs (about half of which actually borrow their music from other composers) far surpass the Monk of Salzburg in both number (about 120 lieder) and quality.[4] From the 15th century come three large song collections compiled in Germany: the Lochamer Liederbuch, the Schedelsches Liederbuch, and the Glogauer Liederbuch.[8]

Lieder Download

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In Germany, the great age of song came in the nineteenth century. German and Austrian composers had written music for voice with keyboard before this time, but it was with the flowering of German literature in the Classical and Romantic eras that composers found inspiration in poetry that sparked the genre known as the lied.[citation needed] The beginnings of this tradition are seen in the songs of Haydn, Mozart and Beethoven, but it was with Schubert that a new balance was found between words and music, a new expression of the sense of the words in and through the music. Schubert wrote over 600 songs, some of them in sequences or song cycles that relate an adventure of the soul rather than the body. The tradition was continued by Schumann, Brahms, and Hugo Wolf, and on into the 20th century by Richard Strauss, Mahler, and Hans Pfitzner. Composers of atonal music, such as Arnold Schoenberg,[10] Alban Berg and Anton Webern, also composed lieder.

Typically, Lieder are arranged for a single singer and piano, Lieder with orchestral accompaniment being a later development. Some of the most famous examples of Lieder are Schubert's Erlknig, Der Tod und das Mdchen ("Death and the Maiden"), Gretchen am Spinnrade, and Der Doppelgnger. Sometimes, lieder are composed in a song cycle (German Liederzyklus or Liederkreis), a series of songs (generally three or more) tied by a single narrative or theme, such as Schubert's Die schne Mllerin and Winterreise, or Robert Schumann's Frauen-Liebe und Leben and Dichterliebe. Schubert and Schumann are most closely associated with this genre, mainly developed in the Romantic era.[11][12]

Dear Donna, Is there a CD of lieder with accompanying text in English? I should like to give such a gift to many people. Especially, I should like to read a text with my wife and grandchildren and run my finger along the text as its sung. I would mark the parts and the accompanying voices. Would you be so kind =as to advise. Michael

Most CDs of German lieder provide the original text in German with the English translations in the liner notes. I usually listen to 3-4 interpretations of the song cycle online before making a purchase. I tend to like the older recordings. I am unable to suggest any particular recordings on this site but if you would like, I can send you a separate email with a short list.

"Lieder" is a rather general term in German, basically covering all sorts of song that have progressing lyrics (like "Weihnachtslieder" for "Christmas carols"). The modern troubadour self-accompanying on guitar with lyrics often critical of society is a "Liedermacher", "song maker". Schubert made somewhat more artful versions (with spelled-out accompaniment for one thing) of what would generally be more of a "folk song" genre.

I just wanted to celebrate and bid auf Wiederhren to the life of one of the paragons of our age, truly one of the most supremely gifted vocalists and discriminating and insightful musicians. It was the lieder form that he so magisterially exhumed and polished and perfected before our ears, Schubert principally of course, but Wolf and Schoek too, lesser known names but now regularly performed thanks to him.

What white audiences in central Europe had not expected, however, was that African Americans would perform this daring feat quite so well. Although many African American musicians had traveled to Europe before the interwar era, the majority had performed black popular music, like Josephine Baker, or sung African American spirituals, like the Fisk Jubilee Singers.13 Black classical musicians who traveled to Germany and Austria before the Great War, such as Sissieretta Jones, had not specialized in German music either, preferring instead to sing Italian arias or American parlor songs. In the interwar era, however, black concert singers committed themselves to the study of German music in a manner that was simply unprecedented in the history of black musicianship in Europe. In fact, it was precisely due to their rigorous study and meticulous execution of German lieder that African American concert singers rose to celebrity during the so-called transatlantic Jazz Age.14

Anderson's primary motivation for studying in Europe had little to do with cultivating her vocal technique; rather, she sought out German teachers in the United States, England, Berlin, and Vienna who could coach her in the lieder repertoire.73 Like Hayes, Anderson began seriously studying German lieder in England before journeying to Germany.74 In 1927, she asked Hayes's accompanist Lawrence Brown to find her a reputable teacher in London, and Brown arranged for her to study with German concert singer Raimund von Zur Mhlen, a celebrated lieder singer and former student of Clara Schumann.75

Anderson gave three recitals in Berlin in 1930. First, she performed lieder and African American spirituals at the Bachsaal in the Konzerthaus. (The recital program may be seen in Figure 2.)79 Following her success there, she performed for a private gathering hosted by Sara Cahier, a white American singer who had premiered Gustav Mahler's Das Lied von der Erde and a patron, teacher, and friend of Anderson's. Finally, she gave a recital at the University of Berlin for prospective managers interested in signing a contract with her.

Black performances of German lieder take on new meaning when we consider them not only as musical interpretations of canonical works but also as performances of cultural citizenship in Europe. The question of whether different racial minorities can claim a German or Austrian identity has become only more urgent in the twenty-first century, especially with the rise of far-right political parties in Europe. Musicological scholarship has the potential to play a critical role in public conversations about the relationship between blackness and national identity not only in the United States but also in Europe, a continent that still largely embraces a mythology of whiteness in order to deny Europeans of color their European identities.136 African American renditions of Brahms or Beethoven offer a powerful musical counternarrative to our historical narratives of European identity formation because what they performed struck right at the heart of German culture and the question of whom it belonged to. Their rigorous study and successful execution of German lieder suggest that, contrary to ongoing far-right biological claims to German national identity, Germanness is something that can be not only performed but also learned.

Anton Webern's Zwei Lieder fr gemischten Chor, op. 19 (1925-1926) remains one of his least-known compositions, yet it occupies an extremely important position in his oeuvre. Not only is this Webern's first twelve-tone work on a comparatively large scale, it also marks the first time he organized constituent movements around the same row. His previous experiments with twelve-tone composition had treated the row rather as an isolated device and emphasized solo lieder accompanied by two to three instruments. Beginning with op. 19, however, and continuing with the instrumental works of opp. 20-22, Webern embarked on a series of multimovement compositions that featured an increasingly more sophisticated handling of the row and expanded performing forces as well as extended forms.1 The choral lieder of op. 19 thus seem tosignal the composer's readiness to test his twelve-tone skills on a larger, more expanded scale.2

Webern's interest in this late Goethe cycle is remarkable for a number of reasons. Not only do the Tageszeiten poems stand outside the canon of Goethe texts traditionally set by lieder composers, they were also dismissed as vague in intent and design and even retrogressive until very recently.5 In addition to the two poems Webern set as op. 19, he turned to the Tageszeiten lyrics once again in 1929 and began sketches on "Nun wei man erst, was Rosenknospe sei," a pivotal poem from the end of the cycle that relates directly to the two poems he had set earlier as op. 19.6

The manuscript shows an intermediate stage in the genesis of Webern's choral lieder. It appears to preserve his first attempt to write out the songs in a full, fair-copy score, proceeding from the sketches and done before a cleaner manuscript that was used as an engraver's copy.10 Measures 21-26 are from the first song, "Wei wie Lilien." The extensive amount of revision evident here and elsewhere in the manuscript does not constitute recomposition per se, but rather a refinement of details such as dynamics, phrasing, tempo, and articulation. Many of these details are either additions to, or revisions of, instructions already found in the sketches, and they reflect the special weight and importance Webern imparted to each musical gesture. 2351a5e196