International Journal of the Arts in Society; 2011, Vol. 5 Issue 5, p117-128, 12p, 1 Illustration, 2 Diagrams, 1 Chart
Subjects
WOMEN in music and 19TH century music
Abstract
Throughout the 19th century, the idealized German maiden was molded in the vein of Goethe's Gretchen and praised for her innocence. Literature and art emphasized her purity and lack of artifice by associating her with elements of nature, such as flowers. Literary critics, and to some extent art historians, have acknowledged the societal significance of these types of female figures, noting that such characters modeled behavior that the 19th century extolled as the embodiment of German womanhood. By contrast, musicologists have been slow to explore the societal implications of this character. This paper begins to explore how similar gentle, submissive maidens were portrayed in lieder, beginning with the early 19th century songs of Friedrich Heinrich Himmel. Later songs, including those by Schumann and Brahms portrayed similar maidens, and in some cases these works resembled Himmel's in that they drew on elements of folk music to emphasize the girls' innocence and grace. In the last decades of the century, new images of cosmopolitan young women began to appear in literature and the visual arts. Lieder were also influenced by this transformation and more sexually experienced female characters are vividly portrayed in the music of Hugo Wolf. [ABSTRACT FROM AUTHOR]
New Yorker; 4/29/2019, Vol. 95 Issue 10, p10-10, 1/9p
Subjects
WOLF, Hugo, 1860-1903, KATZ, Martin, and BROOKLYN Public Library
Abstract
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.
Journal of Music Theory; Fall2007, Vol. 51 Issue 2, p187-210, 24p
Subjects
MUSICA ficta, CHROMATICISM (Music theory), MUSICAL intervals & scales, SONGS, MUSICAL analysis, MUSIC theory, and HERMENEUTICS
Abstract
This article analyzes Hugo Wolf's Auf eine Christblume I and II in relation to Robert Bailey's concept of the "double-tonic complex." These songs project an intricate pairing of D and F# tonalities that often result in various hexatonic relationships. My interpretation associates the D/F# complex with the central poetic subject: the Christmas rose. The article introduces Wolf's setting, reevaluates Bailey's idea, and offers an in-depth hermeneutic analysis of the two songs. [ABSTRACT FROM AUTHOR]
Music Analysis; Oct2006, Vol. 25 Issue 3, p289-314, 26p
Subjects
MUSIC theorists, MUSIC theory, MUSICAL analysis, and REPETITION in music
Abstract
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
Subjects
LITERARY form and SONGS
Abstract
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.
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.
WOLF, Hugo, 1860-1903, COMPOSERS, HUGO Wolf (Book), WALKER, Frank, BIOGRAPHIES, PHOTOGRAPHS, and BOOKS reading
Abstract
The article presents the author's comments on Australian composer Hugo Wolf. Recently Frank Walker has written his biography titled "Hugo Wolf." The book nevertheless tells readers about Wolf's personality and behavior, his functioning as an artist, his terrible end and about the devotion and loyalty of some of the people he became involved with. The contents of the book are epitomized in three extraordinary photographs. One is the photograph of Frau Melanie Köchert, the woman who encouraged and consoled Wolf. The other two pictures show Wolf in 1889 when he was twenty-nine and at the point when Wolf produced his art works.
CONFERENCES & conventions and THEATER -- Congresses
Abstract
Information about several papers discussed at the conference "Adapting Byron" held at the Byron Center, University of Manchester, England from December 4-5, 2008 is presented. Topics include various adaptations of George Gordon Byron's "Hebrew Melodies," intertextual resonance of his life and works, and influence of his work on music, theatre, dance, and fine arts. The conference featured several speakers including Robert Schumann, Hugo Wolf and Charles Ives.
New Republic; 11/10/62, Vol. 147 Issue 19, p28-29, 2p, 1 Black and White Photograph
Subjects
POPULAR music & classical music
Abstract
Reviews several music recordings. Performance of Hugo Wolf's songs in his album "Auf dem gruenen Balkon," by Elena Gerhardt; Recording of Robert Schumann's "Der Nussbaum," done by Rita Streich; George Friderick Handel's "Concerti Grossi Op. 6," recorded by Horst-Tanu Margraf.
New Republic; 11/14/34, Vol. 81 Issue 1041, p18-19, 2p
Subjects
PHONOGRAPH, MUSICIANS, TONE color (Music theory), MUSICAL instruments, and VIOLINISTS
Abstract
Comments on the release of various notable phonograph recordings in the U.S. Details on the realizations of the works of different artists in the country; Efforts of Gramophone Co. to record the songs of Austrian composer Hugo Wolf; Assessment on the tone qualities of the instruments; Description on the music of Ludwig van Beethoven; Appreciation of the author on the excellent performance of violinist Joseph Szigeti on the Johann Sebastian Bach's Sonata in A minor; Origin of commercial recordings.
Gay & Lesbian Review Worldwide; Sep/Oct2006, Vol. 13 Issue 5, p29-31, 3p, 1 Black and White Photograph
Subjects
MUSICAL composition, GERMAN songs, SONGS, LYRIC poetry, GERMAN art, NONVERBAL communication, and PIANO
Abstract
The article discusses the erotic connotations of "Lieder," the german word meaning "songs." The word is most often associated with the Romantic German Art song. Beethoven and Mozart were the earliest composers of Lieder, although the genre was only fully developed by Franz Schubert, Robert Schuman, Johannes Brahms, Hugo Wolf and Richard Strauss among others. In Lieder, the words are as important as the music, and the piano and vocal contributions to the piece are equally important. Accomplished lieder singers use very few gestures, as the combination of the imagery of the words, music, piano accompaniment, and the vocal quality must be sufficient to convey the meaning and emotion. The author also refers to a subgenre of lieder where male love plays a part.
Stock, Karl F., Heilinger, Rudolf, and Stock, Marylène
Mitteilungen der Vereinigung Österreichischer Bibliothekarinnen und Bibliothekare; 2010, Vol. 63 Issue 1/2, p7-15, 9p
Subjects
BIBLIOGRAPHICAL periodicals, AUSTRIANS, BIBLIOGRAPHICAL literature, BIOGRAPHIES, BIOGRAPHIES of poets, BIBLIOGRAPHY (Documentation) -- Methodology, and HISTORY
Abstract
The article discusses the conclusion to a series of biographical indexes of famous Austrians that the journal has published since 1962. Topics discussed include the biographies of Austrians, such as the poet Hermynia Zur Mühlen, the poet Stefan Zweig, and the composer Hugo Wolf, how the information for the biographies was compiled through a bibliography project, and how the profiles were organized according to the region these Austrians lived in as well as their occupations.
MUSICAL instruments -- Brazil, BERIMBAU, WALTZ, MUSICAL groups, and ORCHESTRA
Abstract
Hugo Wolf's song of Mignon, "Kennst du das Land," one of his good ones, is sung by Kerstin Thorborg with eloquence and beauty of voice, except for an occasional shrillness in a forced and constricted high note. The delightful art of Elsie Houston, with its delicate phrasing and little cries and glissandos, is to be heard in a volume of Brazilian songs--mostly enjoyable folk-songs, and one composed piece, Ovalle's "Berimbau," which the author find less interesting. Reiner's superb performance of Johann Strauss's "Wiener Blut" Waltz with the Pittsburgh Symphony is well recorded but hasn't the beauty of sound of the Ormandy-Philadelphia Orchestra performance on the recent Victor record.
Hugo Wolf music records gain by the work of Paul Ulanofsky at the piano. One should listen to the mediocre playing on Lotte's Lehmanns' previous records, listen to the lifeless accompaniments, faintly recorded, on Elisabeth Schumann's records, and can realize that there is too little appreciation by singers and recording managers of the fact that the musical thought of a song of Schubert, of Schumann, of Hugo Wolf is carried by the piano as well as the voice, that the song, in other words, is an integration of the vocal and piano parts, that this integration must be achieved in the performance, and that it can be achieved only by two good musicians-in short, that the piano part must be well played and clearly heard.
COMPOSERS, WOLF, Hugo, 1860-1903, HUGO Wolf (Book), 50 Songs by Hugo Wolf (Book), BIBLIOGRAPHY (Documentation), and MUSIC in literature
Abstract
The article focuses on two books on composer Hugo Wolf. The books are "Hugo Wolf," by Ernest Newman and "Fifty Songs by Hugo Wolf," edited by Ernest Newman. When Hugo Wolf died, in 1907, a few of his 232 songs were sung by amateurs in Vienna and the cities of Germany, but to the world at large his name was unknown. The bibliography compiled by Newman for the volume of fifty songs edited by him includes twenty six books and essays in German. The real significance of Wolf's songs lies in this, that they illustrate the reaction in favor of poetry which set in with composer Richard Wagner's operatic reforms.
New Republic; 7/18/60, Vol. 143 Issue 3, p21-21, 1p
Subjects
SOUND recordings, SONGWRITING, ARTISTS, and MUSICAL performance
Abstract
Presents information on several music recordings. Features of songwriting of Hugo Wolf, depicted in his album "Spanish Song Book;" Assessment of songs of Franz Schubert; Analysis of music performances of artists like Karl Richter, Ludwig van Beethoven, etc.
COMPLETE Songs, The (Music), WOLF, Hugo, 1860-1903, BRANDON, Sarah-Jane, STEINBERGER, Birgid, and HUNTLEY, Anna
Abstract
The article reviews two music releases composed by Hugo Wolf, namely "The Complete Songs," Vol. 5, performed by various artists, including Sarah-Jane Brandon and "The Complete Songs," Vol. 6, performed by various artists, including Birgid Steinberger and Anna Huntley.
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