“Play your broken music to my broken song?” Contemporary Implications of Performing Schubert Lieder in English Translation by Lara Jane Dodds-Eden A thesis submitted in conformity with the requirements for the degree of Doctorate of Musical Arts Faculty of Music University of Toronto © Copyright by Lara Dodds-Eden 2021 “Play your broken music to my broken song?” Contemporary Implications of Performing Schubert Lieder in English Translation Lara Dodds-Eden Doctorate of Musical Arts Faculty of Music, University of Toronto 2021 Abstract This study uses the songs of Franz Schubert as a foundational example to consider the contemporary implications of performing Lieder in English translation. Over the last 150 years such translations have been written, published, performed, and rationalized in a variety of ways. However, their “validity” is now broadly dismissed in both pedagogical and performance contexts. This begs the question: how did performance in the original language become an essential aspect of Lieder performance across the English-speaking world? In probing this question, my objective is to reimagine the possible role of such a translational approach in mediating, or even repairing something that is currently “broken” in Anglophone encounters with Lieder. To fulfil this objective, an initial discussion of ontologies of Lieder attempts to examine singing translations alongside other approaches that extend, transform or otherwise challenge the traditional boundaries of the genre, and the ways that these approaches aim to satisfy less dominant notions of “authenticity”. This is followed by an examination of the historical and contemporary debate and attempts to establish adequate translational methodologies amongst a range of aesthetic, nationalistic, and theoretical issues. In addition to this engagement with public documents (including translations, paratextual materials, articles and reviews), I have solicited ii the views of a range of contemporary stakeholders on the implications of the practice and assembled a collection of thirty-three distinct singing translations of “Der Leiermann”, the final song of Schubert’s 1828 song cycle, Winterreise (D911, op. 89). This collection serves to demonstrate a plurality of translational approaches, the inevitable subjectivity of the translational role, the impossibility of a “definitive” translation, and new avenues of expression engendered by that lack of definition. In considering “the English Lied”, this study has two aims: to provide insight into the complicated relationship we have with language and meaning in this repertoire, and to prompt a reconsideration of singing in translation: one that does not limit itself to concepts of fidelity and failure, but rather opens itself to the creative possibilities of interacting with the repertoire in this way. iii Acknowledgments In approaching the completion of this DMA I have been very aware of how many wonderful people have carried me here, offering indispensable scholarly, musical and personal guidance along the way. Without Prof. Lydia Wong I would never have come to Toronto. Her advocacy throughout my studies, belief in and encouragement of my piano playing and guidance in musical and other ways changed the course of my life and I am very grateful. Dr. Jeff Packman has remained patient and encouraging throughout this process. Supervising this project, reading, editing, challenging and coaxing this performer into scholarship has been an Everest, I know. Prof. Steven Philcox has mentored me with contagious enthusiasm, fine listening and encouragement to explore, and Dr. Hilary Apfelstadt always kept a sparkly eye on me, brought structure and calm to my routine and a new appreciation for process. Dr. Lindsay Jones joined my team this last year and has been essential to the project’s delivery whilst Eva Burke took time out of her other translation activities to help me converse with Helmut Deutsch. There were many people who shared their time and energy to respond to my queries for this project, and a number have generously consented to sharing their views in this dissertation. Thank you to the many translators who have dared attempt to make their case. I also wish to thank the many colleagues and friends I made at University of Toronto, and the donors of the scholarships and awards received to help fund my education, including Mr. James iv Norcop, Dr. Doris and Dr. Sam Lau, Mr. Garth & Mrs. Marjorie Beckett, Joseph S Stauffer Foundation, Prof. Lydia Wong, Ms. Che Anne Loewen, the estate of Alice Matheson and Ms. Delia Moog. Those who joined me in my three recitals, thank you for your gifts: Ilana Zarankin, Robin Dann, Sheila Jaffé, Alex Samaras, Danika Lorén, Keith Hamm, Julie Hereish, Macmillan Singers, Dr. Hilary Apfelstadt, Helen Becqué and Charles Sy. The many colleagues and friends who know what this has been, but in particular those who have seen the process virtually from the start: Catherine, Stacie, Alex, Helen, Naomi. My Mum made me believe all things are possible. My Dad supported these studies and he and his wife Iris have been unstinting in their belief that I could get it done. My sisters Katie and Claire and their families have been great cheerleaders. Eva and Jonathan and their family have been incredibly supportive. Ezra has been a true collaborative partner, and Noa appeared like a song in the middle of it all. v For all who stand in the cold unseen and unheard. vi Table of Contents Abstract ........................................................................................................................................... ii Acknowledgments .......................................................................................................................... iv Table of Contents .......................................................................................................................... vii Introduction ................................................................................................................................ 1 A Collaborative Pianist’s Story .................................................................................................. 1 Dominant Translation Strategies in Lied Performance .............................................................. 5 Singing the Lied in Translation ................................................................................................ 13 Broken Music? ......................................................................................................................... 21 Purpose of the Study ................................................................................................................ 25 Methodology and Research Materials ...................................................................................... 28 Qualitative Research ......................................................................................................... 29 Assembling the Translation Collection ............................................................................. 30 Chapter Outline ................................................................................................................. 32 My Contribution ....................................................................................................................... 37 Ontologies of the Lied and Notions of Authenticity ................................................................ 39 Why sing?................................................................................................................................. 40 The Lied in Context .................................................................................................................. 42 The Lied Displaced .................................................................................................................. 45 Ontologies of the Lied .............................................................................................................. 47 The Desire for Objectivity ....................................................................................................... 51 Making Room for Subjectivity ................................................................................................. 54 Multiple Authenticities ............................................................................................................. 61 Debates around “the English Lied ” ......................................................................................... 67 vii Lost in Translation ................................................................................................................... 68 “Hacks and Versifiers” ............................................................................................................. 80 Approaching Translation .......................................................................................................... 85 Found in Translation ................................................................................................................ 89 Singing, Playing, Listening, Translating ................................................................................ 102 Die Leierleute – The Hurdy-Gurdy People ............................................................................ 104 “Der Leiermann” .................................................................................................................... 108 Identifying the Collection .....................................................................................................