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Viennese composer Hugo Wolf produced one of the most important song collections of the nineteenth century when he set to music fifty-three poems by the great German poet Eduard Mörike. Susan Youens reappraises this singular collaboration to shed new light on the sophisticated interplay between poetry and music in the songs. Wolf is customarily described as 'the Poet's Composer', someone who revered poetry and served it faithfully in his music. Yet, as Youens reveals, this cliché overlooks the rich terrain in which his songs are often at cross purposes with his chosen poetry. Although Wolf did much to draw the world's attention to the neglected Swabian poet, his musical interpretation of the poetry was also influenced by his own life, psychology and experiences. This book examines selected Mörike songs in detail, demonstrating that the poems and music each have their own distinctive stories which at times intersect but also diverge.
This unique volume contains, in parallel translation, a thousand of the most frequently performed Lieder, both piano-accompanied and orchestral. Composers are arranged alphabetically, with their songs appearing under poet in chronological order of composition - thus allowing the reader to engage in depth with a particular poet and at the same time to follow the composer's development. Richard Stokes, whose work in this field is already widely acclaimed, provides illuminating short essays on each of the fifty composers' approach to Lieder composition, as well as well as notes on all the poets who inspired the songs.The volume is notable for the accuracy and elegance of its translations, and for its fidelity to the German verse: every care has been taken to print the words of the sung text, while adhering to the versification and punctuation of the original poem.Beethoven, Schubert and Schumann, Goethe, Heine and Schiller are among the highlights of a book which illuminates one of the great musical traditions and will be an indispensable handbook for every music lover.
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
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.
A study into the poet Heinrich Heine's impact on nineteenth-century song.
While on a journey to Prague with his wife for the opening night of Don Giovanni, Mozart is caught picking an orange on the grounds of a stately home. But when the resident family finds out who they are dealing with, they are delighted to be in the presence of the celebrated composer and invite him to their daughter's wedding. This vivid and imaginative depiction captures both the humorous and the more pensive side of the genius composer.
Youens addresses the different aspects of the Winterreise: its cultural milieu, the genesis of both the poetry and the music, Schubert's transformation of poetic cycle into music, the philosophical dimension of the work, and its musical structure.
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div