(Re)Claiming Space For Ingeborg Von Bronsart’s Wildenbruch Lieder, Op. 16
Women and the Nineteenth-Century Lied
The repertoire of nineteenth-century Lieder composed by women is a treasure-trove of hidden gems waiting to be rediscovered. Lieder by Clara Schumann, Fanny Hensel, Josephine Lang and Pauline Viardot are gradually making their way onto recital programmes and recordings. A handful of their works have already achieved what might be described as canonical status. For these composers, Lieder fulfilled two important functions, one of them artistic and the other social. On the one hand, these so-called small forms were deemed an appropriate outlet for feminine artistic pursuits. In contrast to the public, masculine spheres of opera and symphony, Lieder demanded only modest performance resources and therefore were staples of salons and domestic music making. On the other hand, some composers and critics also recognized a crucial distinction between collections of independent songs and song cycles. The distinction is neither arbitrary nor capricious, since the designation ‘song cycle’ implies a host of claims to greater artistic merit and aesthetic value. Even when published in collections of six, twelve, or twenty songs that might have a claim to the title, women’s Lieder were denied the prized designation of ‘song cycle’.
Original Publication Date
DOI of published version
UNI ScholarWorks, Rod Library, University of Northern Iowa
Boyd, Melinda, "(Re)Claiming Space For Ingeborg Von Bronsart’s Wildenbruch Lieder, Op. 16" (2016). Faculty Publications. 1135.