Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
| Identifer | oai:union.ndltd.org:DRESDEN/oai:qucosa:de:qucosa:72647 |
| Date | 30 October 2020 |
| Creators | Kim, Ji Young |
| Contributors | Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold |
| Source Sets | Hochschulschriftenserver (HSSS) der SLUB Dresden |
| Language | English |
| Detected Language | English |
| Type | doc-type:conferenceObject, info:eu-repo/semantics/conferenceObject, doc-type:Text |
| Rights | info:eu-repo/semantics/openAccess |
| Relation | 10.25366/2020.78, urn:nbn:de:bsz:14-qucosa2-726312, qucosa:72631 |
Page generated in 0.0014 seconds