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The Complete Songs of Hugo Wolf gathers together for the first time every poem Wolf set to music. Alongside the original German texts are translations by leading Lieder expert Richard Stokes, who also provides illuminating commentary. The 36 poets set by Wolf are each given their own chapter: a brief essay on the poet is followed by a note on Wolf's connection with the writer, extracts from letters that throw light on the Songs and convey his mood at the time of composition, and the texts and translations. Short biographies of all Wolf's correspondents flesh out the extraordinary life of this genius. This will be an indispensable volume for all lovers of Lieder.
The tragic story of an erratic genius's life and a survey of some of his works, including his art songs and operas. "Very interesting and very stimulating." — The New York Times.
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A groundbreaking look at one of the great song composers of the late Romantic period In the virtual cottage industry of works on fin de siècle Vienna, Hugo Wolf (1860–1903) has been somewhat neglected, perhaps because he was the master of a small genre—the late Romantic lied—and never truly made his mark in the larger forms that command greater public attention. But in the realm of song, he is among the greatest inheritors of Schubert and Schumann, one who was both a traditionalist and a modernist. When the Viennese critic Eduard Hanslick disapprovingly dubbed Wolf “the Richard Wagner of the lied,” he was paying oblique homage to Wolf’s genius as a song composer in the most mode...
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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 1999 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 his one completed opera Der Corregidor. This opens up 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 wide musical and artistic significance.
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