The podcast about the art song pianist, brought to you with the support of the Department of Musicology and Performance Studes (IMI) at the mdw - University of Music and Performing Arts Vienna.
Concept, Narration & Interviews: Chanda VanderHart 
Editing, Production & Sound: Bill Lloyd

Too Many Frocks - the Art Song Pianist Podcast

Jennifer O'Loughlin

Renata Pokupic

We know that women are underrepresented in the arts as composers, conductors and directors, but did you know that art song accompaniment at the highest levels is also a man's world? And nobody is quite sure exactly why, but we delve into it this week through conversations with Roger Vignoles, Anna Tillbrook, Deirdre Brenner, Graham Johnson, Kathy Kelly, Jonathan Ware, Anna Ronai, Anna Bull, Thomas Hampson, Jean Barr and Elvia Puccinelli.

**correction: I am thrilled to correct the statement in this episode that there has only been one pianist who won the pianists' prize at Wigmore hall that you hear in this episode. The brilliant Erika Switzer also won in 2003, and two is definitely a pattern :-) ***

Music used in this episode:
-Schubert "Die Forelle": Dietrich Fischer-Dieskau & Gerald Moore WARNER CLASSICS
-Brahms "Das Madchen Spricht": Elisabeth Schumann & George Reeves Historische Lieder Vol 3
-Debussy "Fantoches": Sandrine Piau & Susan Manoff LINN RECORDS CHIMERE
-Schumann "Die Lotosblume": Sandrine Piau & Susan Manoff LINN RECORDS CHIMERE 

Concept & Narration: Chanda VanderHart
Sound and editing: Bill Lloyd

Sponsored by the Department of Musicology and Performance Studes (IMI) at the mdw - University of Music and Performing Arts Vienna

S1E3 Am I Too Loud (Or Just Too Female)?

Picking up the gender discussion begun last week, this week focuses on how gender, morality and sexual politics impact duo dynamics between singer and pianist, fashion on stage, audience perception and even who can sing what songs. My conversation partners for this episode are: Jean Barr, Deirdre Brenner, Anna Tillbrook, Jeanne-Minette Cilliers, Graham Johnson, Roger Vignoles, Elvia Puccianelli, Anna Ronai, Anna Bull, Thomas Hampson and Kathy Kelly.

Further Reading: I Played Their Accompaniments by Elizabeth Harbison David (Appleton 1940)

Music credits:
-Franz Schubert "Die Forelle": Dietrich Fischer-Dieskau & Gerald Moore WARNER CLASSICS
-Sergei Rachmaninov 3rd Piano Concerto, Opening: Daniil Trifonov, Orchestre Philharmonique de Radio France conducted by Myung-Whun Chung. Live recording, June 19, 2015, Philharmonie de Paris. 
-Franz Schubert Winterreise opening: Joyce di Donato & Yannick Nézet-Séguin WARNER CLASSICS
-Richard Strauss "Di Rigore Armate" from Rosenkavalier: Helge Rosvaenge. REBEAT DIGITAL GmBH (on behalf of Preiser Records) 

Concept & Narration: Chanda VanderHart
Sound and Editing: Bill Lloyd
Sponsored by the Department of Musicology and Performance Studes (IMI) at the mdw - University of Music and Performing Arts Vienna

S1E4 Too Many Frocks

It’s a trope well-known from film; that if two women are prominent then there must be conflict between them. Think of Bette Davis and Joan Crawford in Whatever Happened to Baby Jane. And though it’s now tired as a trope, it is true that those marginalized often fail to unite, due to a deep-seated mindset  that “in the end, there can be only one.” This podcast touches on efforts to create that sort of comradery within the art song piano community, the tricky dynamics between professional song pianists at the top of the game and during their studies, and the joys, shames and struggles of patchwork careers, and — of course — what to wear. 
Thanks to my heroes in conversation for this episode: Lana Bode, Florian Boesch, Elnora Pertz, Elvia Puccinelli, Pauliina Tukiainen, Bonnie Wagner.

Related Links: 
Collabfest: https://ikcas.org/collabfest/
Lied the Way: https://liedtheway.com/ 
Pauliina Tukiainen: http://www.pauliinatukiainen.com/ 
Lana Bode: https://www.lanabode.com/ 
Florian Boesch: https://www.machreich-artists.com/en/artist/florian-boesch 
Bonnie Wagner: https://www.oper-wuppertal.de/ueber-uns/detailansicht-ensemble/bonnie-wagner 

Music used in this episode: 
- Gioachino Rossini: “Voga, o Tonio benedetto” from La regata veneziana.
- Flanders & Swann: “The Warthog (The Hog Beneath the Skin)” · Flanders & Swann, 1961 Parlophone

Concept & Narration: Chanda VanderHart iwk.mdw.ac.at/chanda-vanderhart/
Sound and Editing: Bill Lloyd www.linkedin.com/in/bill-lloyd-40…inalSubdomain=uk
Sponsored by the Stabstelle Gleichstellung, Gender Studies und Diversität and the Department of Musicology and Performance Studies (IMI) at the mdw - University of Music and Performing Arts Vienna www.mdw.ac.at/imi/too-many-frocks/

S2E5 Comradery in the Trenches

This episode focuses on the relationships between teachers and students, mentors and mentees, a staples of classical education. We look at how they can work fantastically well; be supportive and collaborative, and why they have persisted in dominating the classical music landscape, a place which glorifies the best, the top, the elite, and the chosen.  

We also look at how vulnerable one-on-one relationships without oversight can make young professionals and students, and expose a bit of the underbelly of the lieder world.  You may find some of the material in this podcast disturbing, there is physical and emotional abuse referenced and described — if you are not in that place today, then maybe skip this episode for now.

Thanks to my partners in conversation for this episode: Roderick Williams, Florian Boesch, Kathleeen Kelly and particularly to Elnora Pertz, my hero. 

Love and light, y’all. 

Related Links: 
Elnora Pertz: https://www.elenorapertz.com/ 
Lied the Way: https://liedtheway.com/ 
Kathleen Kelly: http://www.kathleenkellymusic.com/ 
Roderick Williams: https://www.facebook.com/roderick.williams.baritone/ 
Florian Boesch: https://www.machreich-artists.com/en/artist/florian-boesch 

Music used in this episode: 
Schubert: “Nacht und Träume” D.827  Ann Murray & Graham Johnson

Concept & Narration: Chanda VanderHart iwk.mdw.ac.at/chanda-vanderhart/
Sound and Editing: Bill Lloyd www.linkedin.com/in/bill-lloyd-40…inalSubdomain=uk
Sponsored by the Stabstelle Gleichstellung, Gender Studies und Diversität and the Department of Musicology and Performance Studies (IMI) at the mdw - University of Music and Performing Arts Vienna www.mdw.ac.at/imi/too-many-frocks/

S2E6 Power Plays

This episode touches on a few Big Questions, the biggest of them all being, is art song even relevant today in our current moment? Recent upheavals — paradigm shifting events like a global pandemic, gender based violence in the Middle East, the murder of George Floyd and the ensuing social movement for more racial equality, the rising visibility of the women’s movement, galvanized by the stripping of reproductive rights by the US supreme court and the rise to power of open misogynists like Donald Trump. These have impacted life as we know it - especially for wo men and minorities - in so very many ways. Has it changed in any way how we see the role of art — of art song — in society? We get into the weeds with Florian Boesch, Elaine Chia, Michael Cooper, Markus Hadulla, Martha Guth and Natasha Loges.

Related Links:
Sonya Lifschitz: https://www.sonyalifschitz.com/   
Elaine Chia: https://www.linkedin.com/in/elaine-chia-4364aa1/?originalSubdomain=au 
Natasha Loges: https://twitter.com/i/flow/login?redirect_after_login=%2Fnatashaloges 
Michael Cooper: https://cooperm55.wixsite.com/jmc3
Martha Guth: https://www.marthaguth.com/ 
Florian Boesch: 
https://www.mdw.ac.at/gesangundmusiktheater/?PageId=146
Markus Hadulla: https://www.mdw.ac.at/inst4/?PageId=4169 

Music used in this episode:
Franz Schubert: “Morgengrüss” from Die Schöne Müllerin, Ian Bostridge & Graham Johnson
Pauline Viardot: “Hai lilu”, Cecilia Bartoli & Myung-Whun Chung
Robert Davidson: “Julia Gillard: Not now, not ever (misogyny speech)”: Sonya Lifschitz

Concept & Narration: Chanda VanderHart iwk.mdw.ac.at/chanda-vanderhart/
Sound and Editing: Bill Lloyd www.linkedin.com/in/bill-lloyd-40…inalSubdomain=uk
Sponsored by the Stabstelle Gleichstellung, Gender Studies und Diversität and the Department of Musicology and Performance Studies (IMI) at the mdw - University of Music and Performing Arts Vienna www.mdw.ac.at/imi/too-many-frocks/

S2E7 R Is For Relevance

In this, our penultimate episode of season 2, we talk more about whether Art Song  — as a genre, a product and also as an industry — is actually accessible to everyone and why or why not. We touch on topics ranging from Eurovision, publication, entrepreneur Rosario Marciano and efforts to being made to diversify repertoire, who gets on stage and music history in Europe, the UK, North America and Australia with Lana Bode, Elaine Chia, John Michael Cooper, Jocelyn Freeman, Elvia Puccinelli, Wolfgang Holzmair, Natasha Loges  & Roderick Williams.

Music used in this episode:
-Noel Coward: “I went to a marvelous party” from “Set to Music"
Patricia Routledge & Cowardy Custard (Original London Festival Cast Recording) 972 Sony Music Entertainment
-Deborah Cheetham: Woven Song, Sydney Symphony Orchestra, Live
-Robert Schumann: “Im wunderschönen Monat Mai” from Dichterliebe, Wolfgang Holzmair & Imogen Cooper
-Édith Piaf: “La vie en rose” Clara Montocchio & Chanda VanderHart
-Florence Price: “The Heart of a Woman”, Fleur Barron & Kunal Lahiry

Related Links:
Song Easel: https://www.songeasel.co.uk/#:~:text=SongEasel%20was%20founded%20by%20Jocelyn,charitable%20status%20in%20February%202022. 
Lana Bode: https://www.lanabode.com/ 
Elaine Chia: https://www.linkedin.com/in/elaine-chia-4364aa1/?originalSubdomain=au 
Jocelyn Freeman: https://www.jocelynfreeman.com/ 
Natasha Loges: https://twitter.com/i/flow/login?redirect_after_login=%2Fnatashaloges 
Michael Cooper: https://cooperm55.wixsite.com/jmc3
Roderick Williams: https://twitter.com/RGCWbaritone?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor
Wolfgang Holzmair: http://wolfgangholzmair.com/ 
Elvia Puccinelli: https://music.unt.edu/faculty-and-staff/elvia-puccinelli

Concept & Narration: Chanda VanderHart iwk.mdw.ac.at/chanda-vanderhart/
Sound and Editing: Bill Lloyd www.linkedin.com/in/bill-lloyd-40…inalSubdomain=uk
Sponsored by the Stabstelle Gleichstellung, Gender Studies und Diversität and the Department of Musicology and Performance Studies (IMI) at the mdw - University of Music and Performing Arts Vienna www.mdw.ac.at/imi/too-many-frocks/

S2E8 Emergency Access

In the final episode this season we are thinking about all the little gender games played in Art Song, look at what kinds of gender bending transgressions (if that’s what they are) are considered fine in performance and pick at the invisible rules and underlying anxieties that gatekeep what is seen as unacceptable. In particular we explore men singing “female” songs, talk about how Fach and gender are linked, and converse with emerging and established queer and trans voices in the field to see how their transitions have had to be negotiated in a variety of ways for both opera and song. Shout out to my heros this episode, Roderick Williams, Emma Rothmann, Holden Madagame, Aiden Feltkemp 

Related links: 
Forget me not Projekt: https://www.forgetmenot-projekt.de/ 
Anthology of New Music: Trans & Nonbinary Voices, Vol. 1 https://newmusicshelf.com/product/trans-nonbinary-v1/ 
Aiden Feltkamp: https://www.aidenfeltkamp.com/ 
Emma Rothmann: https://emmarothmann.com/home-page 
Holden Madagame: https://holdenmadagame.com/ 
Roderick Williams: https://de.wikipedia.org/wiki/Roderick_Williams 
Lucia Lucas: https://www.lucialucas.com/ 

Music used in this episodes: 
- Benjamin Britten/ Henry Purcell: “Man is for the woman made” from The Mock Marriage.  Stuart Jackson & Jocelyn Freeman
- Richard Strauss: Octavian “Wie du warst, wie du bist” from Der Rosenkavalier. Elina Garanca, Metropolitan Opera
- Richard Wagner: Mime “Zwangvolle plage!” from Siegfried. Adrian Dwyer, Longborough Festival Opera
- William Bolcolm: “George”, Joan Morris & William Bolcolm
- Thomas Yee: "The Smoke Curls Into the Sky"

Concept & Narration: Chanda VanderHart iwk.mdw.ac.at/chanda-vanderhart/
Sound and Editing: Bill Lloyd www.linkedin.com/in/bill-lloyd-40…inalSubdomain=uk
Sponsored by the Stabstelle Gleichstellung, Gender Studies und Diversität and the Department of Musicology and Performance Studies (IMI) at the mdw - University of Music and Performing Arts Vienna www.mdw.ac.at/imi/too-many-frocks/

S2E9 Queering The Lied

Jeannette Bürde, born Joanna Theckla Milder, was a pianist, composer, singer and pedagogue born in 1797 near Vienna, Austria. At the age of 19 she moved with her sister, Anna Milder (also known as Anna Milder-Hauptmann), who became one of the German-speaking world's more preeminant operatic sopranos, to Berlin, which became her home for the rest of her life. In Berlin, Bürde became a fixture in the salon of Rahel Varnhagen von Ense, and was friendly with Carl Maria von Weber. She published several collections of songs, titled "Lieder und Gesänge" beginning in the 1820s. Her Op. 7, Op. 8 and Op. 9 collections were published in 1850, a year after her husband's passing. Largely ignored by the contemporary press, her life and compositional output was only briefly mentioned in Carl von Ledeburs Tonkünstler-Lexicon Berlins from 1861. Her songs remain long out of print and had yet to be professionally recorded.

As part of her seminar work at the University of Tübingen under Prof. Dr. Christina Richter-Ibáñez, musicologist Flora Völlger was the first to research and publish a scholarly article on Bürde, a lexicon entry, in 2023: Flora Völlger, "Jeannette Bürde", in MUGI. Musikvermittlung und Genderforschung: Lexikon und multimediale Präsentationen, ed. by Beatrix Borchard and Nina Noeske, Hochschule für Musik und Theater Hamburg. Published on 20 September 2023, https://mugi.hfmt-hamburg.de/receive/mugi_person_00000941, last accessed 10 February 2024.

A handful of the songs Völlger collected from archives were then turned over to Dr. Chanda VanderHart at the mdw - University of Music and Performing Arts in Vienna, who selected, organized and directed this recording with Völlger present in the studio.

Grateful thanks to the Hochschule für Musik und Darstellende Kunst Frankfurt am Main (HfMDK) for the funding, and particularly to Prof. Dr. Christina Richter-Ibáñez for the continuous and essential coordination, supervision and administration without with this endeavor would have never been possible.

7 Lieder from Op. 7, Op. 8 and Op. 9 by Jeannette Bürde (1979-1875)

Was Will Die Einsame Thräne op. 9 #3

Was Will Die Einsame Thräne op. 9 #3 by Jeannette Bürde

Heimkehr op. 9 #1

Heimkehr op. 9 #1 by Jeannette Bürde

7 Lieder from Op. 7, Op. 8 and Op. 9 by Jeannette Bürde (1797-1875)

Hektor's Abschied, op. 8

Hektor's Abschied op. 8 by Jeannette Bürde

Die Loreley op. 7 #3

Die Loreley op. 7 #3 by Jeannette Bürde

Das Echo op. 7 #2

Das Echo op. 7 #2 by Jeannette Bürde

Der Elfenritt op. 7 #1

Der Elfenritt op. 7 #1 by Jeannette Bürde

Der Rattenfänger op. 9 #2

Der Rattenfänger op. 9 #2 by Jeannette Bürde

Through­out 2011, Chanda con­tin­ued to col­lab­o­rate with soprano Rebecca Nelsen, for record­ings, mas­ter­classes and a touch­ing per­for­mance at the Vienna Volk­soper fea­tur­ing songs of com­poser Wal­ter Arlen.

Chanda VanderHart

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