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10 - Women, Song, and Subjectivity in the Nineteenth Century

from Part III - Women Composers circa 1750–1880

Published online by Cambridge University Press:  23 May 2024

By
Anja Bunzel  and
Stephen Rodgers
Edited by
Matthew Head  and
Susan Wollenberg
Matthew Head
Affiliation:
King's College London
Susan Wollenberg
Affiliation:
University of Oxford
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Summary

In the first half of the nineteenth century, the Lied provided women composers and performers with an important vehicle for self-expression, a means to assert their creativity and agency at a time when larger, more public forms of artistic expression were less accessible to them. Studying the Lied with reference to the contexts in which it was conceived, performed, and received provides crucial insights into the interpersonal relationships fostered by music-making during this period. Equally important, analysing Lieder with these contexts in mind shows how such relationships were refracted through the prism of song. Both lines of enquiry – one historical, the other analytical – unite in an effort to uncover what Aisling Kenny and Susan Wollenberg have described as the ‘personal stamp’ that female composers and performers placed on the nineteenth-century Lied.1 It is this ‘personal stamp’ – this expression of female creativity and agency – which we understand in this chapter as female subjectivity.

Type
Chapter
Information
The Cambridge Companion to Women Composers , pp. 183 - 204
Publisher: Cambridge University Press
Print publication year: 2024

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References

Further Reading

Boyd, Melinda. ‘Gendered Voices: The Liebesfrühling Lieder of Robert and Clara Schumann’, 19th-Century Music, 23/2 (1999), 145–62.CrossRefGoogle Scholar
Bunzel, Anja. The Songs of Johanna Kinkel: Genesis, Reception, Context (Woodbridge: Boydell, 2020).Google Scholar
Bunzel, Anja and Loges, Natasha, eds. Musical Salon Culture in the Long Nineteenth Century (Woodbridge: Boydell, 2019).Google Scholar
Cypess, Rebecca and Sinkoff, Nancy, eds. Sara Levy’s World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin (Woodbridge: Boydell, 2018).CrossRefGoogle Scholar
Gajdošíková, Jana. ‘European and Czech Salon Piano Music in the Second Half of the 19th Century’, Musicologica Olomucensia, 12 (2010), Zdeněk Fibich as a Central European Composer at the End of the Nineteenth Century, 95–100.Google Scholar
Kenny, Aisling and Wollenberg, Susan, eds. Women and the Nineteenth-Century Lied (Farnham: Ashgate, 2015).Google Scholar
Loges, Natasha and Tunbridge, Laura, eds. German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries (Bloomington: Indiana University Press, 2020).CrossRefGoogle Scholar
Rodgers, Stephen, ed. The Songs of Fanny Hensel (New York: Oxford University Press, 2021).CrossRefGoogle Scholar
Ronyak, Jennifer. Intimacy, Performance, and the Lied in Early Nineteenth Century (Bloomington: Indiana University Press, 2018).CrossRefGoogle Scholar
Weliver, Phyllis. Mary Gladstone and the Victorian Salon: Music, Literature, Liberalism (Cambridge: Cambridge University Press, 2017).CrossRefGoogle Scholar
Wollenberg, Susan, ed. ‘“Fanny Hensel, (née Mendelssohn Bartholdy) and Her Circle”: Proceedings of the Bicentenary Conference, Oxford, July 2005’, Nineteenth-Century Music Review, 4/2 (November 2007).Google Scholar
Xepapadakou, Avra and Charkiolakis, Alexandros, eds. Interspersed with Musical Entertainment: Music in Greek Salons of the 19th Century (Athens: Hellenic Music Centre, 2017).Google Scholar

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