New Yorker. 4/29/2019, Vol. 95 Issue 10, p10-10. 1/9p.
WOLF, Hugo, 1860-1903, KATZ, Martin, and BROOKLYN Public Library
The article previews an April 28, 2019 performance of works by composer Hugo Wolf, starring pianist Martin Katz, at the Brooklyn Public Library, and a May 3, 2019 performance at the Brooklyn Historical Society, both in New York City.
COMPOSERS, MUSICAL style, MUSICAL composition, GERMAN songs, CHAMBER music, and BIOGRAPHY
The article presents a profile of the music and life of the late 19th-century Austrian composer Hugo Wolf. Details are given overviewing the prominent features of Wolf's compositional style, highlighting his settings of art songs and chamber operatic works. Discussion is also given commenting on the interpretation and reception of his works in the U.S. classical music world.
Music Analysis. Oct2006, Vol. 25 Issue 3, p289-314. 26p.
MUSIC theorists, MUSIC theory, MUSICAL analysis, and REPETITION in music
The songs of Hugo Wolf continue to intrigue music theorists, not least because of their characteristic fusion of traditional tonal conventions with sophisticated chromatic processes. This article analyses a particularly intricate example: ‘Mühvoll komm ich und beladen’ from the Spanisches Liederbuch. The song projects a complex pattern of tonal relationships that reinforces an obsessive sense of repetition and circularity – issues that are explicit in the song's poetic text. The present reading engages a number of external sources, including the philosophy of Nietzsche, the operatic figure of Kundry and the myth of Sisyphus. These elements provide a series of cultural co-ordinates that together serve to illuminate primary facets of the song's structure, including its formal design and distinctive harmonic syntax. Each of these topics is considered in the service of a larger, overriding purpose: to reveal the ways in which the composer seeks to characterise sin and spiritual torment using techniques of cyclic organisation. [ABSTRACT FROM AUTHOR]
Journal of the Royal Musical Association. 2000, Vol. 125 Issue 2, p271. 16p.
LITERARY form and SONGS
Reflects the nature and genre in Hugo Wolf's setting of Johann Wolfgang von Goethe's Der Sanger. Highlights on the myths surrounding the myths of the early writing of Wolf; Underestimation on the complexity of the Lieder; Disturbance of Romantic conceptions of the luric.
The article discusses the contrasting profiles of the late-Romantic composer Gustav Mahler and Austrian composer Hugo Wolf. It says that the autocratic determination and iron will of Mahler made him a lot of enemies during his stint as Wiener Hofoper director. According to the author, Mahler and Wolf belong to opposing factions of the Brahms-Wagner debate, which led to a polarized Viennese musical scene at the late parts of the nineteenth century and the early parts of the twentieth century. The connections between Wolf and Mahler are also discussed.
Presents the criticism of composer Hugo Wolf to the `Lieder' of composer Johannes Brahms. Criticism for Brahms to appear in `Wiener Salonblatt'; Comment of Wolf to the Lieder to be based on different conceptions; Failure to acknowledge the impact of Lieder.
Fanfare: The Magazine for Serious Record Collectors. Mar/Apr2014, Vol. 37 Issue 4, p191-191. 1/2p.
SUITE (Musical form) and ORCHESTRAL music
The article reviews the recordings of Benjamin Britten's "Seven Sonnets of Michelangelo, op. 22" Hugo Wolf's "Drei Gedichte von Michelangelo" and Dmitri Shostakovich's "Suite, op. 145" performed by John Tomlinson and David Owen Norris.