Lindsay Albert on Boston College’s Liederabend

Derived from the German words for “evening of song,” BC’s Liederabend ensemble performs pieces of lyrical poetry through voice and piano. Dating anywhere between the 15th century and contemporary times, these poems vary greatly, detailing everything from sonnets on the moon to folksongs about “pea people.” The most traditional art songs come out of the German, French, and Italian traditions, but there are art songs in all languages and cultures, especially now that the art form is becoming more inclusive.

The musical compositions are also quite extensive, encompassing musicians of every background. For example, last year’s selections featured works by women and Latin American composers. Plus, the arrangements themselves are also incredibly diverse. Sometimes, the pianist plays sparse chords, allowing a “push and pull” between the piano and vocal lines. Other times, the words seem dependent on the music, embracing the dramatic fusions of song and piano.

Regardless, each piece tells a story through their thoughtful collaboration. That is, after all, what art song does. The medium melds singers, pianists, and poets together, establishing an intimacy onstage that the high-flying “big band” cannot replicate. So unique is this relationship, in fact, that I thought who better to describe this genre’s feeling, storytelling, and artistry than the director herself? So, please allow me to introduce Liederabend’s incredible creative and pianist, Lindsay Albert.

Lindsay, would you mind telling us a bit about the program for anyone unfamiliar?

Absolutely. Liederabend is an art song study program, and art song is specifically a genre of song that’s composed of music derived from a preexisting text. So, it’s not part of a larger story. It’s not an opera. It’s not a musical theater scene or an operata. It’s just a standalone song where the text is very important. 

It’s sort of a subtle art. Some people say that it’s also a dying art, which makes me sad. I don’t think it’s a dying art. It’s just one that sort of flies under the radar. And so, it gives students the opportunity to explore a style of music that they might not otherwise know about. 

There’s a lot of different time periods and pieces that we can cover in different styles. It allows opportunity for advanced, experienced singers, but also opportunities for beginner singers. There’s ultimately a lot of flexibility with the type of songs that we can do. Also, there’s a beautiful diversity of poets and composers. Now we have a rich Latino canon that’s starting to be discovered, for example. It’s just the tip of the iceberg.

And all these amazing women composers that were glossed over and now are getting more attention, rightfully so. Plus, there’s the African American men and women. So, it’s really exciting to unearth this.

I know, from working with you previously, that each piece requires a soloist performing with your playing. So how do you go about choosing the pieces for when you perform? Is that a collaborative process between you and the student? Or do you look into specific styles per someone’s personality, etc., and then choose for them?

Well, the cool thing about art song is that it’s very much an equal playing field for the piano and voice. So, it’s very collaborative, right? 

But coming at it from an educator perspective, I must look at what works best for the singer. So, if somebody is new to art song or new to singing, if they’re not in voice lessons, they’ve never performed before, etc., I usually try to give them English to start with because starting them with German or French is adding a whole other layer of difficulty. And I listen to their voice, you know, and where it sits, what level they’re at, etc. 

Does it want to move? Do they prefer more contemporary? Do they prefer more traditional? Really, based on the singer is how I make my choices for art song. There’s an educational aspect to it, and I have to provide that level of support for the singer.

You mentioned how, with different languages and different levels, it can be quite difficult to learn pieces. So how do you go about teaching them? Do you teach the language first and then the music? Or do you go by notes first? What is the easiest process for you?

Yeah. I mean, it certainly depends on the student, but usually we go over the text first and isolate that, and then we add the rhythmic component in. So, we might speak the text in rhythm, and then we might sing the melody, but without the text. Maybe we’ll just go through it one syllable, on something that feels easy vocally, instead of trying to put all the pieces together right away. If somebody has knowledge of IPA, the International Phonetic Alphabet, that’s also really, really helpful, because that informs whether it’s a schwa or a closed “D”, etc., so that also makes it much easier. But most of our singers don’t come in with knowledge of IPA. However, I’m hoping that by the time they finish working with me they at least know a few things about the phonetic alphabet.

Speaking on IPA, you know a lot more about the, for example, French language than I do. You are absolutely wonderful at speaking it. So, what got you into doing foreign language alongside music? 

Oh, well, thank you. I mean, I was a French major first. That was always my love: French literature. So that was my initial major in college. And then it just so happens that I loved doing music so much that I could never stop. So, I was in a lot of different ensembles, like orchestra and also Chorale. Now I direct a choir, but, when I was younger, I was always in some sort of choir. And when you’re in a choir, usually that’s just something you do. You sing in other languages. 

But for me, the text is what’s so beautiful. I love storytelling. So, whether it’s through theater or classical song, I find the storytelling aspect to be the most interesting part and the most powerful piece. And when there’s the translation part, it’s just so layered and interesting to me because you have the original language and all the shades of meaning and nuance that come through in a French melody or in a German song. It’s going to have a layer that you won’t find in the English language. For example, that word might not translate perfectly. And then you add the piano voice combination, and you have this beautiful illustration of the text, which to me is like perfect harmony.

Liederabend is so different from anything that I’ve ever done in terms of a musical context. So, how did you approach the idea? What brought you to found the group at BC?

Yes, I am the founder, but I can’t take credit for it. Dr. Sandra Hebert was the chair of the chamber music program at Boston College, and she’s the one who called me up and said, “I want to have a song program. I want you to start it. You’re the one to do it.” So, it was Sandy’s idea, and then she brought me in. And I think it’s really exciting that there’s so many people that are pumped to sing art song because, at a conservatory, the singers often don’t want to sing art song. They’re excited to do the opera arias because those are kind of like the big deal numbers, and the art songs are the things that they have to do to get through their juries.

I mean, this isn’t the case for everybody. If you meet a really interesting, smart, layered singer, they’re going to be excited about the art song too. But it has a level of subtlety that a lot of performers aren’t as interested in. They’re often into the really flashy, bright repertoire, lots of color. So, I think it’s amazing that there are students at BC that are genuinely excited about art songs.

Finally, how do you want to get the word out about Liederabend and art song appreciation? I know you mentioned how some think it’s a dying art, so what can we do to make this program known on BC’s campus?

Well, I guess one thing that I’d love to highlight is that there are all different styles of art songs and so, you know, you might think of art sort as sort of a stuffy, breathy sounding voice, right? But, I mean, you [Katie Shepard] did Hagi last semester, right? So that’s something. Hagi is very much a prolific composer who’s writing things that are almost like borderline jazz. There are so many really interesting harmonies. So there really is something for everyone. There’s all different languages, all different styles. So, we can find the perfect song for you depending on what language you like and what style you like. 

It’s also really important for people to know that art song is still very much, you know, being composed. We have composers now writing amazing, rich art song, pairing with wonderful poets to form great collaborations. It’s very much something that’s alive and exciting. And, I mean, it’s remarkable work that the singers are doing to prepare for these concerts. It’s hard, yeah, it’s hard to get up there. And I think that people just don’t realize that it’s happening. I mean, I think when people come to the concert, they usually really enjoy it. It’s just something that they don’t know about. It’s totally new and different. 

So, I don’t know what the best way to get the word out. I think from the students or by promoting it amongst friends would be wonderful. Hopefully that’ll spread the word and get people to come.