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).
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Gesse-Harm, Sonia. “Casta Diva: Zur Rezeption Jenny Linds in der Musikkulture um 1850.” Musikforschung 62, no. 4 (October–December 2009): 347–63.
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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
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 and scholarship and how that identity was aligned with the instrumental work concept as defined by Lydia Goehr. I argue that such programs enabled audiences to attach the associations of serious instrumental music to song cycles.5 Programming
