There is no historical or geographical limit on what can be covered. There is no restriction on the style or genre of song or singing.
Now largely forgotten, Madame Charles Cahier was one of the most famous interpreters of Mahler’s vocal music. She, and the few recordings she made, deserve our attention.
Candace Bailey pursues the determination of Harriett Abrams to be recognized for her songs from 1803, and especially in numerous publications of those songs.
As the 25th anniversary of her husband’s death approached, Amy Beach composed two somber songs. Megan Lyons asks why Beach never published them.
In the Japanese-Chinese film Eternity (1943), Yoshiko Yamaguchi sang two songs that made her a star in China. But the film backfired.
Did nuns in Medieval Europe sing anything other than chants and sacred songs? Mary Caldwell discusses one example, a song performed during the Christmas season.
Alexander Stefaniak explores how Clara Schumann’s Lieder – both in her performances and in her publications – supported her work as a celebrated concert pianist.
Simon Morrison examines the career of the iconic Soviet and Russian singer Alla Pugacheva, who just publicly opposed the Ukraine war.
In this concluding post, Julia Simon reads Memphis Minnie’s lyrics and probes why she is, seemingly, a self-consciously anomalous figure in the history of the blues.
Five friends return to discuss interpreting and programming Schumann’s Lieder, and to suggest that they encourage us to listen to songs in new ways.
Alexandra Apolloni tracks the turns of California-born P. P. Arnold’s British career, from a collaborator sought after for her remarkable voice to overlooked soloist to survivor.
