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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.
The Complete Songs of Hugo Wolf by Richard Stokes Pdf
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.
This is a love story. It tells of an extraordinary epistolary relationship between Hugo Wolf, one of the greatest masters of the German art song, whose dedication to the poetic spirit of his music was equaled only by Franz Schubert and Robert Schumann, and Melanie Köchert, the wife of a prominent Viennese jeweler with whom Wolf shared a lifelong emotional, spiritual, and artistic bond. Wolf's letters to Köchert--he wrote 245 between 1887 and 1899--were composed during a period of almost unprecedented cultural upheaval in Europe, in the shadow of Vienna during the era of Freud, Mahler, and Klimt. They reveal Wolf at his most optimistic, celebrating his concert successes and the solitude he believed was so precious to his ability to compose. They follow Wolf through times of overwhelming despair, when his musical failures left him profoundly alienated, overcome, as he revealed to Köchert, "by a feeling of unspeakable emptiness and desolation." And they follow Wolf as he struggled to compose the 250 astounding art songs that are his creative legacy, and his almost simultaneous descent into madness. Hugo Wolf: Letters to Melanie Köchert, sensitively translated by Wolf scholar and interpreter Louise McClelland Urban, is a literary and musical even of the highest order
Neurological Disorders in Famous Artists by Julien Bogousslavsky,M. G. Hennerici,H. Baezner,C. Bassetti Pdf
The third part of Neurological Disorders in Famous Artists presents painters, musicians, and writers who had to fight against an acute or chronic neurological disease. Sometimes this fight was without success (e.g. Shostakovich, Schumann, Wolf, Pascal), but often a dynamic and paradoxical creativity of the clinical disorder was integrated into their artistic production (e.g. Klee, Ramuz). Occasionally, some even wrote the first report of a medical condition they observed in themselves, like Stendhal who made a detailed report of aphasic transient ischemic attacks before dying of stroke shortly thereafter. In rarer instances, a neurological disease was inaccurately attributed to an artist in order to explain certain features of his work (de Chirico, Schiele). Some chapters in this publication focus on neurological conditions reported in artistic work, including descriptions by Shakespeare and Dumas. Bringing new light to both artists and neurological conditions, this book serves as a valuable and entertaining read for neurologists, psychiatrists, physicians, and anybody interested in arts, literature and music.
Analyses of Nineteenth- and Twentieth-Century Music, 1940-2000 by D. J. Hoek Pdf
This new volume incorporates all entries from the previous editions by Arthur Wenk, expanding to cover writings drawn from periodicals, theses, dissertations, books, and Festschriften from 1940 to 2000. Over 9,000 references to analyses of works by over 1,000 composers of the nineteenth and twentieth centuries are included.
With a foreword by the legendary accompanist, Gerald Moore, Eric Sams' study (Faber 1961, revised 1983) is a notable landmark in the establishment of Wolf as one of the supreme masters of German song. Comprehensively revised and enlarged in 1983, the main subject matter remains the 242 published songs that Wolf wrote for voice and piano, though the Ibsen songs for voice and orchestra are also discussed. English translations are provided and the backgrounds to the original poems by Morike, Eichendorff and Goethe, as well as the Italian and Spanish sources from which the songbooks were drawn, are fully explored. Each song is dated, its keys identified and vocal range determined. 'This is the most important book in the English language on the songs of Hugo Wolf since Ernest Newman proclaimed the composer's genius in 1907 . . . To the English-speaking student this work is a treasure to which he will find himself returning again and again: it is indispensable to those of us anxious to gain a deeper knowledge of Wolf.' Gerald Moore
Carol Kimball's comprehensive survey of art song literature has been the principal one-volume American source on the topic. Now back in print after an absence of several years this newly revised edition includes biographies and discussions of the work of
The ancient Greek myth of Prometheus, the primordial Titan who defied the Olympian gods by stealing fire from the heavens as a gift for humanity, enjoyed unprecedented popularity during the Romantic era. An international coterie of writers such as Goethe, Monti, Byron, the Shelleys, Sainte-H?ne, Coleridge, Browning, and Bridges engaged with the legend, while composers such as Beethoven, Reichardt, Schubert, Wolf, Liszt, Hal?, Saint-Sa?, Holm? Faur?Parry, Goldmark, and Bargiel based works of diverse genres on the fable. Romantic authors and composers developed a unique perspective on the myth, emphasizing its themes of rebellion, punishment for transgression and creative autonomy, in great contrast to artists of the preceding era, who more characteristically ignored the tribulations of Prometheus and depicted him as the animator of a na?, Arcadian mankind who, when awakened from their spiritual dormancy, expressed astonishment at the wonders of nature and paid homage to the Titan as a new god. Paul Bertagnolli charts the progress of the myth during the nineteenth century, as it articulates an extraordinary variety of issues pertaining to culture, society, aesthetics, and philosophy. Drawing on archival research, dance history, sketch studies, literary theory, linear analysis, topos theory, and reception history, individual chapters demonstrate that the legend served as a vehicle to express opinions on subjects as diverse as aristocratic patronage, movements of the body on the public stage, rebellion against political and religious authority, outright atheism, humanitarianism of the German Enlightenment, interest in the music of Greek antiquity, industrialization, nationalism inflamed by war, populism, and the aesthetics of musical form. Composers often resorted to varied and unorthodox musical techniques in order to reflect such remarkable subjects: Beethoven outraged critics by implying a key other than the tonic at the outset of the overture to
This is an exploratopn of rhythm and meter in the 19th-century German Lied, including songs for voice and piano by Fanny Hensel née Mendelssohn, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf. The Lied, as a genre, is characterised especially by the fusion of poetry and music.