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.
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]
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.
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.