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Though its mainstream repertoire encompasses works intended for a number of different voice types, many listeners almost reflexively associate lieder performance with the baritone voice. The prominent achievements of twentieth-century artists such as Dietrich Fischer-Dieskau, for some listeners the touchstone, and his predecessors Gerhard Husch, Friedrich Schorr and Hans Hotter--not to mention such non-native exponents as Charles Panzera and Gerard Souzay--have reinforced this impression. This association remains vital, as exemplified by a spate of activity from German, Austrian, North American and British practitioners of the form.
The meaning and underlying ...