Though viewed as quintessentially German, lieder became a centerpiece of nineteenth century song recitals in the United States. By the 1890s, these songs, which were often sung in English, were a sensation among tutored and untutored music lovers alike. Heather Platt examines the varied supporters and singers who both established the lied as a concert repertoire and shaped a new kind of recital dedicated to art songs. Lieder were embraced and spread by performers like Max Heinrich and advocates like John Sullivan Dwight, as well as by the women’s clubs that flourished nationwide. At the same time as examining the critical reception of the artists and songs, Platt reveals ways in which US recital programs anticipated trends in European recitals. She also places lieder against the backdrop of the time, when factors like the growth in the sheet music industry, the evolution of American art song, and emerging anti-German feeling had a profound impact on the genre’s popularity.

Acknowledgments

Notes Regarding Titles of Compositions and Sources

Introduction

1. Introducing a “Higher Class” of Song to American Audiences
2. Song Recitals and Song Recital Series
3. The Henschels’ Polyglot “Vocal Recitals”
4. Max Heinrich’s “Classical Song Recitals”
5. Max Heinrich’s Expanding Stylistic and Geographic Vistas
6. Villa Whitney White and Women’s Music Clubs
7. David Bispham and the Heyday of Song Recitals

Epilogue: The End of an Era

Appendix: Milestones in the Development of Song Recitals

Notes

Bibliography

Index