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• W290410000 abstract "The Song Cycle. By Laura Tunbridge. (Cambridge Introductions to Music.) Cambridge: Cambridge University Press, 2010. [xvii, 230 p. ISBN 9780521896443 (hardcover), $84; ISBN 9780521721073 (paperback), $29.99.] Works list, music examples, illustrations, index, bibliography. Pedagogical guides to art song have traditionally granted the song cycle cursory space, leaving those curious to know more to sort through narrowly focused studies of Individual cycles. Laura Tunbridge's The Song Click (in the Cambridge Introductions to Music series) turns this disciplinary model on its head by focusing exclusively on the song cycle in a dazzlingly wide variety of nineteenth- and twenth-century contexts. Befitting the series, the friendly, slim volume successfully introduces readers new to the genre numerous important works in the tradition. as well as diverse issues surrounding composition, performance, recordings, and reception. Tunbridge's study, moreover provides ample material for the experienced researcher or performer. It asks challenging questions about the status of the song cycle as a genre, its relationship to operatic and pop traditions, nationalism and exoticism in the works' poetry and music. the formative effective feet that live and recorded performance practices can have on cycles, and additional aesthetic matters that have enlivened much of the genre's history. Tunbridge departs Irom the frequently schematic approach of other Cambridge Introductions to make ports of call at NA fiat seem significant moments in the history of the song cycle (p. 5). She adumbrates this strategy in the first chapter of the book, Concepts. After describing a handful of foundational ideas concerning cycles, she concretizes these complex issues through a series of brief yet remarkable close readings of seven distinct song cycles. Three of these are canonical (Beethoven's An die ferne Gelieble, Schubert's Schwanengesang, and Schumann's Dichterliebe), and four are lesser known (Schubert's Abendrote, Poulenc's Tel jour, telle nuit, as well as the pop concept albums Serge Gainsbourg's Histoire de Melody Nelson and The Streets A Grand Don't Come for Free). Tunbridge treats each cule as a case study in the often contentious issues that define the genre as a whole, providing points of entry into each work along the way. Alongside the wonderful contextual details in these discussions, Tunbridge embarks on musico-poetic analyses that, while sufficiently technical to engage skilled musicians, also use vibrant metaphorical language that should be accessible to readers in other disciplines. Through the disparate examples, Tunbridge outlines not only how a number of composers Approached this important sphere of composition, but also how the very notions of coherence or unity so .central to the idea of cycles arise as the product of in ti lions between poets, composers, editors, performers. listeners, and (in the case classical and pop concept albums) recording engineers or producers. The rest of. the book's chapters proceed roughly chronologically, although they are organized around concepts including nationalism, exoticism, gender, genre boundaries and interrelationships, subjectivity, political contexts, and performance (all of which could be very fruitful starting points for seminar class meetings involving these subjects). Tunbridge's strategic use of close reading continues alongside the comparison of exemplary works and their contexts in the service of these thematic chapter headings. ANhile helpful throughout, this technique proves especially insightful in Tunbridge's discussions of two earlier twenth-century contexts, where she demonstrates how Schoenberg's and Hindemith's revisions of cycles responded to the shifting aesthetic and political contexts in which they worked. In particular, through a discussion of Schoenberg's two versions of his Gurrelieder (the first more harmonically and structurally anchored in nineteenth-century techniques than the second), Tunbridge leads into a longer exploration of the very different directions that Schoenberg took with Das Buch der hangenden Garten and Pierrot Lunaire (pp. …" @default.
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