The Cambridge Companion to the Lied

• Frontmatter
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• pp. i-xxxviii

Part I - Introducing a genre

• Introduction: why the Lied? by James Parsons
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• pp. 1-11

• 1 - In the beginning was poetry by Jane K. Brown
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• pp. 12-32

Part II - The birth and early history of a genre in the Age of Enlightenment

• 2 - The eighteenth-century Lied by James Parsons
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• pp. 33-62

• 3 - The Lieder of Carl Philipp Emanuel Bach, Haydn, Mozart, and Beethoven by Amanda Glauert
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• pp. 63-82

Part III - The nineteenth century: issues of style and development

• 4 - The Lieder of Schubert by Marie-Agnes Dittrich
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• pp. 83-100

• 5 - The early nineteenth-century song cycle by Ruth O. Bingham
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• pp. 101-119

• 6 - Schumann: reconfiguring the Lied by Jürgen Thym
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• pp. 120-141

• 7 - A multitude of voices: the Lied at mid century by James Deaville
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• pp. 142-167

• 8 - The Lieder of Liszt by Rena Charnin Mueller
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• pp. 168-184

• 9 - The Lieder of Brahms by Heather Platt
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• pp. 185-203

• 10 - Tradition and innovation: the Lieder of Hugo Wolf by Susan Youens
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• pp. 204-222

• 11 - Beyond song: instrumental transformations and adaptations of the Lied from Schubert to Mahler by Christopher H. Gibbs
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• pp. 223-242

Part IV - Into the twentieth century

• 12 - The Lieder of Mahler and Richard Strauss by James L. Zychowicz
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• pp. 243-272

• 13 - The Lied in the modern age: to mid century by James Parsons
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• pp. 273-298

Part V - Reception and performance

• 14 - The circulation of the Lied: the double life of an artwork and a commodity by David Gramit
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• pp. 299-314

• 15 - The Lied in performance by Graham Johnson
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• pp. 315-333

• Notes
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• pp. 334-368

• A guide to suggested further reading
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• pp. 369-382

• Index
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• pp. 383-399