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.
Reviews the audio recording of Hugo Wolf's vignettes in `Italian Song Book.' Dawn Upshaw's economical lyricism; Baritone Olaf Bar's performance; Arrangement of 46 songs; Translations and succinct notes by Richard Wigmore.
Liederen, Songs, German - History and criticism, Vertonung, and Lyrik
Composer Hugo Wolf produced one of the most important song collections of the 19th century when he set to music 53 poems by the German poet Eduard Morike. This text reappraises Wolf's work, examining the interplay of poetry and music.
The article presents extensions to the featured articles found within the July 2012 issue. A profile of the singer Arleen Auger is given in response to Russell Platt's article of Hugo Wolf. Discussion of the art song "The Turtle Dove," by Ralph Vaughan Williams, is mentioned in response to Hilary Finch's article on English songs. The album "Songs & Proverbs of William Blake," by Gerald Finley, is cited in response to Fred Cohn's profile of the singer.
MUSIC -- Printed Music -- General, BIOGRAPHY & AUTOBIOGRAPHY -- Composers & Musicians, Influence (Literary, artistic, etc.), Liederen, Receptie, Rezeption, and Biografie
Includes bibliographical references (pages 157-159) and index In spite of growing interest in the songs of Hugo Wolf, there is still a lack of serious critical discussion of the nature of his achievements, in particular his relationship to Richard Wagner. Wolf has been regarded as a composer who followed the style and aesthetics of Wagnerian music drama without question, while writing in a genre often seen as less challenging than the symphony or opera. This book re-examines the evidence concerning Wolf's responses to Wagner and Wagnerism, and suggests ways in which he voiced his criticism through song and through his one completed opera, Der Corregidor. This opens up new insights into the kind of impact Wagner had on those following in his wake, and into the complexity and subtlety of the late nineteenth-century Lied. From this perspective, Wolf emerges as a persuasive and articulate figure, of wider musical and artistic significance than has yet been recognised Introduction -- 'Music of the future'?: The nature of the Wagnerian inheritance -- 'Wagner of the Lied'?: Wolf as critic of Wagner and Wagnerism -- Small things can also enchant us: Wolf's challenge to nineteenthcentury views of song -- 'Poetry the man, music the woman'? Wolf's reworking in his Morike songs of Wagner's aesthetics of words and music -- The integrity of musical language: questions of form and meaning in Wolf's Goethe songs -- The Wolfian perspective: comparisons with the songs of Strauss and Mahler
Songs, German -- History and criticism, MUSIC -- Printed Music -- General, Mörike-Lieder (Wolf, Hugo), Musical settings, Songs, German, and Songs, German -- History and criticism
Includes bibliographical references (pages 190-198) and index 'Göttlicher Mörike!': an introduction to Eduard Mörike and Hugo Wolf -- Peregrina revisited: songs of love and madness -- Agnes's songs: the fictional misfortunes and musical fortunes of a nineteenth-century madwoman -- Sung desire: from Biedermeier erotica to fin-de-siècle lied -- Doubters and believers: case-studies in the geistliche Lieder