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n. pl. lie·der (lē′dər)
A German art song for solo voice and piano.

[German Lied, from Middle High German liet, from Old High German liod.]


A German song style (lied = song), especially as used by Romantic composers.
References in periodicals archive ?
In an extensive three-part study, differences and similarities of vibrato rate, and the presence/degree of singer's formant between lieder and opera performances were studied.
She traces changes in the music and the poetry in new additions to the Lieder repertoire through the early 20th century to the achievements of Anton Weburn some 20 years later.
Baritone David Stout characterises the much earlier Lieder eines fahrenden Gesellen wonderfully, despite an opening which sounds languorous rather than world-worn.
The second section of the book contains essays on specific structural patterns in poetry and the ways that lieder composers musically responded to them.
Whilst the genre has arguably been born with Schubert, the "source of nearly every Lied stream that flows through the nineteenth century and into the twentieth" (Miller, 1999) the term German Lieder nowadays includes all Art Songs written in the German language from the late 18th century (e.
In her summative preface, Youens proposes that Heine became linked with radical musical innovation (xix) and that Heine Lieder offer "a key to music history" (xxiii).
31, a barefoot Measha Brueggergosman gave a powerfully projected yet sensitive account of Richard Strauss's Vier Letzte Lieder.
OPERA QUEENS are not in short supply, but gay men who love Lieder seem to be few and far between.
The chapter on Liszt's lieder makes a strong case for viewing the composer as a "missing link" between Schumann and Mahler in the history of the German lied.
harmony Patricia Shires sings in the English song, 18 and over, class songstress Sally Mitchell takes part in the German lieder class
Although those three composers do figure centrally (along with the less expected names of Pfitzner and Reger), the book's greatest contribution is to reveal a wealth of far less familiar material: not only the Lieder of now obscure contemporaries of familiar composers but also the critical judgements, performance traditions and concert life that contributed to the culture of the Lied.