COMPOSERS, MUSICAL style, MUSICAL composition, GERMAN songs, CHAMBER music, and BIOGRAPHY
Abstract
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.
Features the life and works of Austrian music composer Hugo Wolf. Impetus to the interest of Wolf in music; Citations of the compositions of Wolf; Contributions of Wolf to the Austrian opera.
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.
American Record Guide. Jan/Feb2005, Vol. 68 Issue 1, p255-256. 2p.
Subjects
SOUND recordings, SOLO cantatas, OPERAS, and REVIEWS
Abstract
Reviews a music recording of several opera arias featuring compositions by Robert Schumann and Hugo Wolf performed by soprano Elisabeth Grümmer. "Figaro"; "Cosi"; "Queen of Spades."
New York Times. 7/10/2011, Vol. 160 Issue 55462, p19. 0p.
Subjects
BRUCKNER, Anton, 1824-1896, SYMPHONY, MUSICOLOGY, VON Bulow, Hans, HANSLICK, Eduard, 1825-1904, WOLF, Hugo, 1860-1903, and BRAUNSTEIN, Joseph
Abstract
POSTERITY has not always treated Anton Bruckner kindly. The popular image of this composer as an unwitting visionary -- ''half genius, half klutz,'' as the conductor Hans von Bulow once said -- developed early on. During Bruckner's lifetime conservative critics recoiled from his music. Eduard Hanslick called him the ''gentlest and most peaceable of men who becomes an anarchist during the act of composition.'' These dismissals were vigorously countered at the time by critics like Hugo Wolf and, a generation later, by music theorists like Ernst Kurth and August Halm, who argued that the line of musical mastery stemming from Bach and Beethoven found its rightful culmination in symphonies by Bruckner (1824-96). And in Nazi Germany, Bruckner was manipulatively promoted as a herald of the new Reich. [ABSTRACT FROM AUTHOR]
New York Times. 11/29/2003, Vol. 153 Issue 52682, pB18-B18. 1/5p. 1 Black and White Photograph.
Subjects
CONCERTS and WOLF, Hugo, 1860-1903
Abstract
Features two concerts highlighting the music of Austrian composer, Hugo Wolf. Performance of Bo Skovhus and Andreas Haefliger at the Zankell Hall; Performance of Wolfgang Holzmair and Imogen Cooper at Weill Recital Hall.
New York Times. 4/7/2007, Vol. 156 Issue 53907, pB13-B13. 1/7p.
Subjects
CONCERTS -- Reviews, WOLF, Hugo, 1860-1903, HOLZMAIR, Wolfgang, PHILIPS, Susanna, HASELBOCK, Hermine, NEW York (N.Y.), and NEW York (State)
Abstract
The article reviews a concert of songs composed by Hugo Wolf and performed by Wolfgang Holzmair, Susanna Philips and Hermine Haselböck, at Weill Recital Hall, New York City on April 5, 2007.
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