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Playlist of Hugo Wolf

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  • Hugo Wolf - Im Frühling Fischer-Dieskau, Moore

    4:41

    A song of great longing, Im Frühling (In Spring) is yet another of the perceptive combinings of poetic expression and superb music that marked Hugo Wolf's best work. At a duration of approximately four and a half minutes, it is longer than many of Wolf's keenly observed vignettes; its length is dictated by the detail of Eduard Mörike's poem and by the lingering scale of its utterance. It is, in the words of Wolf annotator Eric Sams, a masterpiece. Mörike's reputation as one of Germany's greatest lyric poets is corroborated by the text. The speaker lies on a hill in the springtime; observing nature around him, he asks his imagined love where she lives, that he might live with her. Yet, his heart understands that she, like the zephyr, has no home. When will his heart, open in longing and hope, be stilled? The poet's vision invokes the cloud, the river, the sun's golden kiss. His dazzled eyes close as if in sleep, while his ears hear only the buzz of a bee. His thoughts wander, flitting from happiness to lament. What memories are being formed in this reverie? Memories of days now past, memories too interior for words. Although Frank Walker placed this song among those of Wolf beholden to folk music, it seems too finely wrought for such categorization. The accompaniment begins its constant modulation in the very first measures. The sinuous melody and the equally flowing accompaniment often seem to be pursuing their own individual course, but this merely reinforces the deep, yet dreamy ruminations of the text. Little rapturous gestures cause the music to rise hopefully, while others, 'ihr habt kein Haus' fall away, returning the listener to the wondering of the opening phrases. When the singer tells of his eyes closing, a brief interlude for accompaniment only gently affirms the effect of peaceful thoughts roaming as if of their own volition. Before it ends, the interlude gathers itself together and moves back to conscious thought. The singer enters, once more focused on his yet unfulfilled yearning. What memories? Thoughts of the Alte unnennbare Tage!. The gravity underlying this final phrase has lingered barely beneath the surface all along, unstated but keenly felt. ~ All Music Guide



    Im Frühling

    Hier lieg' ich auf dem Frühlingshügel;
    die Wolke wird mein Flügel,
    ein Vogel fliegt mir voraus.
    Ach, sag' mir, all einzige Liebe,
    wo du bleibst, daß ich bei dir bliebe!
    Doch du und die Lüfte, ihr habt kein Haus.

    Der Sonnenblume gleich steht mein Gemüte offen,
    sehnend,
    sich dehnend
    in Lieben und Hoffen.
    Frühling, was bist du gewillt?
    Wann werd' ich gestillt?

    Die Wolke seh' ich wandeln und den Fluß,
    es dringt der Sonne goldner Kuß
    mir tief bis in's Geblüt hinein;
    die Augen, wunderbar berauschet,
    tun, als schliefen sie ein,
    nur noch das Ohr dem Ton der Biene lauschet.

    Ich denke Diess und denke Das,
    ich sehne mich, und weiß nicht recht, nach was:
    halb ist es Lust, halb ist es Klage:
    mein Herz, o sage,
    was webst du für Erinnerung
    in golden grüner Zweige Dämmerung?
    --Alte unnennbare Tage!

    Eduard Mörike (1804-1875)



    In Spring

    Here I lie on the spring hill:
    the clouds become my wings,
    a bird flies before me.
    O tell me, one and only love,
    where you are that I may be near you!
    But you and the breezes have no home.

    Like the sunflower, my soul stands open,
    yearning,
    stretching itself
    in love and hope.
    Spring, what do you wish of me?
    When will I be at peace?

    I see the cloud strolling by, and the river,
    the golden kiss of the sun
    penetrates deep into my blood;
    my eyes, wonderfully enchanted,
    close, as if they would sleep,
    only my ear still listens to the hum of the bee.

    I think of this and that,
    I yearn, and know not quite after what:
    half is joy, half is complaint:
    my heart, o speak,
    what memories do you weave
    under twilights golden-green branches?
    --Past inexpressible days!

    Translation by FiDiTanzer528


    Dietrich Fischer-Dieskau (baritone)
    Gerald Moore (piano)

  • x
  • Wolf - Mörike Lieder

    24:31

    Hugo Wolf (1860-1903) - Mörike Lieder

    Ian Bostridge, tenor
    Antonio Pappano, piano

    0:00 Der Genesene an die Hoffnung
    4:14 Der Knabe und das Immlein
    7:15 Begegnung
    8:35 Verborgenheit
    11:31 Im Frühling
    15:59 Auf einer Wanderung
    19:11 Auf ein altes Bild
    21:37 Gebet

  • x
  • Elisabeth Schwarzkopf; Goethe-Lieder; Hugo Wolf

    42:43

    Elisabeth Schwarzkopf--Soprano
    Gerald Moore--Piano
    1956-1958
    Mignon I 0:01
    Mignon II 4:03
    Mignon III 6:22
    Kennst du das Land 10:35
    Philine 17:32
    Epiphanias 20:53
    St Nepomuks Vorabend 25.34
    Der Schäfer 28:35
    Die Spröde 30:58
    Die Bekehrte 33:01
    Frühling übers Jahr 35:52
    Hockbegglückt in deiner Liebe 37:53

  • Hugo Wolf - Italian Serenade for string quartet

    6:39

    The Italian Serenade is a piece of music written by Hugo Wolf in 1887. It was originally written for string quartet and named simply Serenade in G major. By April 1890, he was referring to it in his letters as Italian Serenade. In 1892, he arranged it for string orchestra. It is one of his few works other than Lieder.

    The work was written between 2 and 4 May 1887. One of its inspirations was his concurrent work on setting various poems by Joseph Eichendorff to music, and the first of them Der Soldat I has a theme that is similar to that of the Serenade. That poem's subject is similar to that of Eichendorff's novella Aus dem Leben eines Taugenichts (From the Life of a Ne'er-Do-Well), and it may be that Wolf was as much influenced by this work as he was by the poem. The novella includes a section about an Italian serenade played by a small orchestra. The hero of the novella is a young violinist who leaves home to seek his fortune further afield, and this could well have been something that Wolf could relate to.

    It was originally planned as part of a work in three movements. However, Wolf later abandoned this plan in favor of a self-contained, one-movement work. His father died only a week after he wrote the Italian Serenade, and he wrote no more music for the remainder of 1887.

    When Wolf orchestrated the work in 1892, he was intending it as the first movement of a four-movement suite. He did sketch a slow movement in G minor, but never finished it. In his letters, he mentions another movement that he claimed to have completed, but that score has never come to light, only 45 measures of sketches being extant. In 1897, he sketched a few pages of a Tarantella to complete the suite, but he was committed to an insane asylum before he could finish it. In summary, all that remains of the projected suite is the Italian Serenade. Throughout his time in the asylum, where he remained for the rest of his life, he planned to complete the suite, but this never eventuated. Wolf died in February 1903.

    The Italian Serenade is quite short, taking only about 7 minutes, and has a lilting and varied theme, played over a pizzicato figure. The main theme is said to have been based on an old Italian melody played on an obsolete form of oboe called the piffero. Its lively and optimistic manner is an evocation of the Italianate spirit, realised through melodic richness. Robert W. Gutman has written that The essence of the delicious Italian Serenade is its antithesis of romantic sentiment and mocking wit.

    Its first performance was in Vienna in January 1904, eleven months after Wolf's death. Both the original string quartet version and the orchestral version were played at the premiere.

    The Italian Serenade has been recorded many times; it is a favourite encore piece for string quartets, and it has been arranged by other hands for combinations of instruments such as a wind quintet and solo viola and orchestra.

    (Wikipedia)

    Please take note that the audio AND sheet music ARE NOT mine.

    Original audio:
    (Performance by: Juilliard String Quartet)
    Original sheet music: imslp.org/wiki/Italian_Serenade_(Wolf%2C_Hugo)

  • x
  • Wolf - Mörike Lieder - Fischer-Dieskau / Moore

    1:54:46

    Hugo Wolf

    Mörike Lieder

    Dietrich Fischer-Dieskau
    Gerald Moore
    Studio recording, Berlin, 14-18.IX.1957

    Gesang Weylas 0:00
    Lied eines Verliebten 2:00
    Zur Warnung 3:45
    Der Tambour 7:07
    Auftrag 9:45
    Bei einer Trauung 11:06
    Selbstgeständnis 13:27
    Abschied 14:43
    Der Genesene an die Hoffnung 17:30
    In der Frühe 21:35
    Fussreise 24:01
    Gebet 26:39
    Im Frühling 29:03
    Karwoche 33:35
    Auf einer Wanderung 37:02
    Denk es, o Seele ! 40:49
    Die Geister am Mummelsee 43:09
    Begegnung 46:33
    Zitronenfalter im April 48:03
    Der Gärtner 49:47
    Nimmersatte Liebe 51:14
    Heimweh 53:22
    Der Jäger 56:04
    Storchenbotschaft 59:10
    Jägerlied 1:03:06
    An die Geliebte 1:04:09
    Peregrina I 1:07:49
    Peregrina II 1:09:44
    Auf ein altes Bild 1:12:40
    Schlafendes Jesuskind 1:15:03
    An den Schlaf 1:18:44
    Verborgenheit 1:21:09
    Seufzer 1:24:06
    Wo find' ich Trost 1:26:26
    Neue Liebe 1:31:17
    Auf eine Christblume I 1:34:21
    Auf eine Christblume II 1:39:39
    Lebe wohl 1:41:20
    Um Mitternacht 1:43:53
    Der Feuerreiter 1:47:16
    Der König bei der Krönung 1:52:18

  • Hugo Wolf - Kennst du das Land - Schwarzkopf

    6:46

    Goethe's Kennst du das Land? from his Wilhelm Meister attracted the interest of many composers before Wolf attempted his setting. Beethoven, Schubert, Schumann, and Liszt each wrote songs to the original German text and, in French translation, the poem formed the fulcrum for Ambroise Thomas' opera Mignon, heard there as Connais-tu le pays? Mignon ('Kennst du das Land?') is a visionary poem, a story related by the child Mignon as she recalls her Italian homeland after having suffered forced removal to Germany by a group of ruffians. After enduring a life of abuse and being forced to sing, dance, and entertain, she tells her story to Wilhelm Meister, now her protector. Goethe's strophic form is kept intact, although Wolf's complex harmonies and achingly beautiful and evocative melodies are exquisitely elaborate. While some critics have urged consideration of Schubert's setting as a worthy one, the mysterious intensity of Goethe's verse is nowhere to be found there. Though Mignon is a child, she is a child who has experienced much and it is with an adult's imagination and comprehension that she conjures the vision of her longed-for home. The singer must at all costs avoid sounding prosaic. A broad panoply of colors must be summoned and the singer and pianist must voice the music as if in a trance. The piano part, no less than the vocal line, is superbly conceived. The opening measures for piano, then for piano and voice, are portentous and calm through often-wide intervals. Dahin, Mignon cries longingly. The second verse increases in urgency as the child recalls the pillared dwelling of her earlier life. The third verse begins in dark tones, conjuring mountains where waters plummet from sheer precipices. The music rises to a terrifying climax, tremolando chords thundering in the piano as the singer summons all available volume in the upper middle register. A final cry of Dahin! Dahin comes from Mignon's lips before she quietly pleads, Let us go there. Having addressed Wilhelm Meister as love and protector, she finally calls him father. The question is begged: was this a recollection — or a dream?

    Erik Erikson, AllMusic.com



    Kennst du das Land

    Kennst du das Land, wo die Zitronen blühn,
    Im dunkeln Laub die Gold-Orangen glühn,
    Ein sanfter Wind vom blauen Himmel weht,
    Die Myrte still und hoch der Lorbeer steht?
    Kennst du es wohl?
    Dahin! dahin
    Möcht ich mit dir, o mein Geliebter, ziehn.

    Kennst du das Haus? Auf Säulen ruht sein Dach.
    Es glänzt der Saal, es schimmert das Gemach,
    Und Marmorbilder stehn und sehn mich an:
    Was hat man dir, du armes Kind, getan?
    Kennst du es wohl?
    Dahin! dahin
    Möcht ich mit dir, o mein Beschützer, ziehn.

    Kennst du den Berg und seinen Wolkensteg?
    Das Maultier sucht im Nebel seinen Weg;
    In Höhlen wohnt der Drachen alte Brut;
    Es stürzt der Fels und über ihn die Flut!
    Kennst du ihn wohl?
    Dahin! dahin
    Geht unser Weg! O Vater, laß uns ziehn!

    Johann Wolfgang von Goethe (1749-1832), from Wilhelm Meister



    Do you know the land where the lemon trees bloom,
    Among dark leaves the golden oranges gleam,
    A gentle wind blows from blue skies,
    The myrtle stands quietly and high the laurel?
    Do you know it well?
    There, there
    May I go with you, O my beloved.

    Do you know the house? On pillars rests its roof,
    The hall shines, the chamber glistens,
    And images of marble stand and look at me:
    What have they done to you, my poor child?
    Do you know it well?
    There, there
    May I go with you, O my protector.

    Do you know the mountain and its cloudy path?
    The muletier seeks his way through the mist;
    In caverns dwell the ancient brood of dragons;
    The rocks plunge and over it the torrent.
    Do you know it well?
    There, there
    Lies our way! O father, let us go.

    Translation by FiDiTanzer528


    Elisabeth Schwarzkopf (soprano)
    Gerald Moore (piano)
    Live Recital, Salzburg 1958

  • x
  • Hugo Wolf - Der Rattenfänger - Fischer-Dieskau

    2:35

    If Mozart's Papagano had been a rat catcher and not a bird catcher, he would have been Schubert's Der Rattenfänger (The Rat catcher) (D. 255). Composed in August 1815 to a three-verse poem by Goethe based on the legend of the Pied-Piper of Hamlin, Schubert's rat catcher is a character out of a Singspiel, a jolly fellow who sings his major-keyed melody in a strophic setting of no special depth, but a great deal of charm. Unfortunately for Schubert's rat catcher, Hugo Wolf set the same text in 1889 and his seductive and even diabolical rat catcher is one of the few cases where Wolf clearly outclasses Schubert.

    James Leonard (allmusic.com)



    Der Rattenfänger

    Ich bin der wohlbekannte Sänger,
    Der vielgereiste Rattenfänger,
    Den diese altberühmte Stadt
    Gewiß besonders nötig hat.
    Und wären's Ratten noch so viele,
    Und wären Wiesel mit im Spiele,
    Von allen säubr' ich diesen Ort,
    Sie müssen miteinander fort.

    Dann ist der gut gelaunte Sänger
    Mitunter auch ein Kinderfänger,
    Der selbst die wildesten bezwingt,
    Wenn er die goldnen Märchen singt.
    Und wären Knaben noch so trutzig,
    Und wären Mädchen noch so stutzig,
    In meine Saiten greif ich ein,
    Sie müssen alle hinterdrein.

    Dann ist der vielgewandte Sänger
    Gelegentlich ein Mädchenfänger;
    In keinem Städtchen langt er an,
    Wo er's nicht mancher angetan.
    Und wären Mädchen noch so blöde,
    Und wären Weiber noch so spröde,
    Doch allen wird so liebebang
    Bei Zaubersaiten und Gesang.

    Johann Wolfgang von Goethe (1749-1832)



    The rat-catcher

    I am the well-known singer,
    the widely-travelled rat-catcher,
    of whom this old, famous city
    certainly has an especial need.
    And even if the rats are very numerous,
    and even if there are weasels in the picture,
    of each and every one I'll clear this place;
    they must all go away.

    Then also, this well-disposed singer
    is from time to time a child-catcher,
    who can capture even the wildest
    when he sings golden fairy tales.
    And even if the boys are defiant,
    and even if the girls are startled,
    I pluck my strings
    and each and every one must follow.

    Then also, this many-skilled singer
    occasionally is a maiden-catcher;
    in no town does he stay
    where he does not bewitch many.
    And even if the maidens are shy,
    and even if the women are prim,
    each and every one becomes lovestruck
    from his magical strings and songs.

    Translation by Emily Ezust



    Dietrich Fischer-Dieskau (baritone)
    Gerald Moore (piano)




    James Leonard allmusic.com

  • Diana Damrau; Lebe wohl; Mörike-Lieder; Hugo Wolf

    2:29

    Diana Damrau--Soprano
    Stephan Matthias Lademann--Piano
    Salzburger Festspiele
    LIVE; 2005

  • Barbara Bonney; Verborgenheit; Hugo Wolf

    3:05

    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano
    1990

  • x
  • Diana Damrau; Er ists; Mörike-Lieder; Hugo Wolf

    1:36

    Diana Damrau--Soprano
    Stephan Matthias Lademann--Piano
    Salzburger Festspiele
    LIVE; 2005

  • Hugo Wolf Gebet - Wolfgang Holzmair, Iván Fischer & Budapest Festival Orchestra

    4:19

    Hugo Wolf's Gebet performed by Iván Fischer (conductor), Wolfgang Holzmair (baritone) and the Budapest Festival Orchestra at the Budapest Mahlerfest in September, 2011, in the Palace of Arts

  • Dawn Upshaw; Die Bekehrte; Goethe-Lieder; Hugo Wolf

    3:16

    Dawn Upshaw--Soprano
    Margo Garrett--Piano
    1988

  • Barbara Bonney; Er ists; Mörike-Lieder; Hugo Wolf

    1:31

    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano
    1989

  • Barbara Bonney; Italienisches Liederbuch; ; Hugo Wolf

    37:44

    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano
    1992

  • Diana Damrau, Jonas Kaufmann, Helmut Deutsch - Medley from Italienisches Liederbuch

    4:39

    Live from the Philharmonie Essen in Germany, Diana Damrau, Jonas Kaufmann, and pianist Helmut Deutsch bring the songs – and the love stories – of Hugo Wolf’s Italienisches Liederbuch (Italian Songbook) to theatrical life. Listen to the full album:

    The singers, both Bavarians and two of today’s reigning opera stars, are also consummate interpreters of song and relish the special challenges of the more intimate genre.

    00:25 - Du sagst mir, dass ich keine Fürstin sei
    01:45 - Lass sie nur geh’n
    03:19 - Ich hab in Penna einen Liebsten wohnen

    ___________

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    Discover our unique collection of live performances, studio sessions and films featuring Maria Callas, Jacqueline du Pré, Nigel Kennedy, Mstislav Rostropovich, Yehudi Menuhin, Itzhak Perlman, Herbert von Karajan, Berliner Philharmoniker and more.

    Along with its sister label Erato, Warner Classics continues this tradition with today's most in-demand classical artists, such as Philippe Jaroussky, Joyce DiDonato, Diana Damrau, Emmanuel Pahud, Alexandre Tharaud, Sir Antonio Pappano, Christina Pluhar and Renaud Capuçon.

    Enjoy this ever-expanding library of official performance videos and exclusive interviews from the classical greats. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more.

  • PROMETHEUS by Hugo Wolf

    5:31

    This is incredible.

  • Diana Damrau; Der Knabe und das Immlein; Mörike-Lieder; Hugo Wolf

    3:12

    Diana Damrau--Soprano
    Stephan Matthias Lademann--Piano
    Salzburger Festspiele
    LIVE; 2005

  • Dame Felicity Lott; Die Bekehrte; Goethe-Lieder; Hugo Wolf

    3:24

    Dame Felicity Lott--Soprano
    Geoffrey Parsons--Piano
    1988

  • Ensemble OPUS Hugo Wolf : Italienisches Liederbuch

    1:28:05

    앙상블오푸스, 후고 볼프 이탈리아 가곡집 전곡
    (편곡: 랄프 고토니, 한국초연)
    Ensemble OPUS _ Hugo Wolf Italienisches Liederbuch
    (Arranged by Ralf Gothoni, Korea premiere)
    2016.10.05

  • Dietrich Fischer-Dieskau; Er ists; Mörike-Lieder; Hugo Wolf

    1:23

    Dietrich Fischer-Dieskau--Baritone
    Daniel Barenboim--Piano
    1974

  • x
  • Barbara Bonney; Das verlassene Mägdlein; Mörike-Lieder; Hugo Wolf

    3:57

    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano
    1989

  • Julia Kleiter; Verborgenheit; Mörike-Lieder; Hugo Wolf

    2:50

    Julia Kleiter--Soprano
    Michael Gees--Piano
    2013

  • Dame Felicity Lott; Der Gärtner; Mörike-Lieder; Hugo Wolf

    1:33

    Dame Felicity Lott--Soprano
    Geoffrey Parsons--Piano
    1988

  • Elisabeth Schwarzkopf; Mausfallensprüchlein; Lieder für eine Frauenstimme; Hugo Wolf

    1:16

    Elisabeth Schwarzkopf--Soprano
    Gerald Moore--Piano
    1951

  • Hugo Wolf String Quartet in D minor

    43:24

    String Quartet in D minor
    by Hugo Wolf
    1. Grave - Leidenschaftlich bewegt
    2. Scherzo - Resolut
    3. Langsam
    4. Sehr lebhaft
    Quaertetto Prometeo:
    Giulio Rovighi, Aldo Campagnari, violin
    Massimo Piva, viola-Francesco Dillon, cello

  • Hugo Wolf: Italian Serenade

    7:25

    Francois Leleux, conductor
    Norwegian Chamber Orchestra

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  • Wolf - Mignon Lieder

    16:39

    Hugo Wolf (1860-1903) - Mignon Lieder

    Arleen Auger, soprano

    Irwin Gage, piano

    Original:

    Mignon I 00:09
    Mignon II 03:15
    Mignon III 05:53
    Mignon: Kennst du das Land? 10:08

  • Dietrich Fischer-Dieskau; Verborgenheit; Mörike-Lieder; Hugo Wolf

    3:01

    Dietrich Fischer-Dieskau--Baritone
    Daniel Barenboim--Piano
    1974

  • Hugo Wolf - Elfenlied

    2:06

    Elfenlied (German fairy song) is the conventional title of a 1780 poem by Goethe, and of a later (c. 1830) poem by Eduard Mörike (and of their various respective adaptations to music).

    Hugo Wolf also composed a separate choral piece called Elfenlied, in this case an adaptation from words in Shakespeare's A Midsummer Night's Dream (the fairy song from act 2, scene 5, Bunte Schlangen, zweigezüngt/ You spotted Snakes with double tongue).

  • Diana Damrau, Jonas Kaufmann & Helmut Deutsch discuss Hugo Wolfs Italienisches Liederbuch

    5:26

    It's as if you're opening a box of jewels: each one is beautiful in itself, but so different from the others. Listen to Diana Damrau, Jonas Kaufmann, and Helmut Deutsch perform Italienisches Liederbuch (Italian Songbook):

    In February 2018, they gave a series of 12 recitals in six countries around Europe of Hugo Wolf’s Italienisches Liederbuch, a collection written in the 1890s to texts adapted from Italian poems. The programme was recorded live for this album in the Alfried Krupp Saal of the Philharmonie in the German city of Essen.

    ________

    Warner Classics
    ► Website:

    Subscribe to our:
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    ► Facebook:
    ► Instagram:
    ► Twitter:
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    Listen to us on:
    ► Spotify:
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    Warner Classics is the home of classical music, featuring iconic high audio quality recordings from the greatest classical legends, opera stars and orchestras of the last century.

    Discover our unique collection of live performances, studio sessions and films featuring Maria Callas, Jacqueline du Pré, Nigel Kennedy, Mstislav Rostropovich, Yehudi Menuhin, Itzhak Perlman, Herbert von Karajan, Berliner Philharmoniker and more.

    Along with its sister label Erato, Warner Classics continues this tradition with today's most in-demand classical artists, such as Philippe Jaroussky, Joyce DiDonato, Diana Damrau, Emmanuel Pahud, Alexandre Tharaud, Sir Antonio Pappano, Christina Pluhar and Renaud Capuçon.

    Enjoy this ever-expanding library of official performance videos and exclusive interviews from the classical greats. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more.

  • Dietrich Fischer-Dieskau; Italienisches Liederbuch; Hugo Wolf

    42:07

    Dietrich Fischer-Dieskau--Baritone
    Jörg Demus--Piano
    1958

  • Ian Bostridge; Ganymed; Goethe-Lieder; Hugo Wolf

    5:26

    Ian Bostridge--Tenor
    Antonio Pappano--Piano
    2006

  • Fischer-Dieskau sings Wolf - Goethe Lieder

    9:49

  • Hugo Wolf - Verschwiegene Liebe Fischer-Dieskau/Moore

    2:22

    A request from a dear friend. A very special song by Hugo Wolf (1860-1903) to a poem by Joseph von Eichendorff (1788-1857).



    Verschwiegene Liebe

    Über Wipfel und Saaten
    In den Glanz hinein -
    Wer mag sie erraten,
    Wer holte sie ein?
    Gedanken sich wiegen,
    Die Nacht ist verschwiegen,
    Gedanken sind frei.

    Errät es nur eine,
    Wer an sie gedacht
    Beim Rauschen der Haine,
    Wenn niemand mehr wacht
    Als die Wolken, die fliegen -
    Mein Lieb ist verschwiegen
    Und schön wie die Nacht.




    Over treetops and cornfields
    and into the splendor -
    who may guess at them,
    who could overtake them?
    Thoughts float away;
    night keeps her secrets,
    Thoughts are free.

    If only she could guess
    who has been thinking of her
    by the rustling of the grove,
    when no one was awake
    save the clouds flying past -
    my love keeps its secret
    and is beautiful as the night.



    Dietrich Fischer-Dieskau (baritone)
    Gerald Moore (piano)

  • Hugo Wolf: Gebet - André Morsch , 23.03.2017

    2:35

    Lied der Woche 11 b:
    Mit dem Lied der Woche veröffentlichen wir jede Woche ein neues Lied aus unserer Reihe Der ganze Hugo Wolf auf unseren Plattformen (Youtube, Facebook) sowie auf unserer Webseite Ergänzt wird der musikalisch-visuelle Genuss um Informationen rund um dieses Lied von Hugo Wolf, sodass hier nach und nach eine umfassende und informative Mediathek der Lieder unseres Namenspatrons entsteht. Wir wünschen viel Freude damit!

    Weitere Informationen:

    Das Video entstand im Rahmen der Reihe Der ganze Hugo Wolf am 23. März 2017 im Weißen Saal, Neues Schloss Stuttgart (Der ganze Hugo Wolf IV)

    LIEDTEXT
    Herr! schicke, was du willt,
    Ein Liebes oder Leides;
    Ich bin vergnügt, dass beides
    Aus deinen Händen quillt.
    Wollest mit Freuden
    Und wollest mit Leiden
    Mich nicht überschütten!
    Doch in der Mitten

    Liegt holdes Bescheiden.

    TEXTDICHTER: Eduard Mörike (1804–1875)

    KOMPOSITIONSJAHR: 1888

    INFOTEXT von Susan Youens (deutsche Übersetzung: Sharon & Harald Krebs):
    Obwohl der große Dichter Eduard Mörike von seiner Familie zum evangelischen Predigeramt bestimmt wurde, war sein Herz nie wirklich bei der Sache: in seinen Briefen an Freunde schrieb er: »ich bin ein geschorener Geist mit Predigen« und »ich kann und kann eben nicht predigen und wenn Du mich auf die Folter spannst« (seine Predigten sind sämtlich verschollen). Selbst sein Gottesglaube war ein schwankender, ambivalenter. Es ist deshalb ironisch, dass sein Gebet, angesichts des damaligen Bedarfs nach frommen Liedern, bei den Komponisten des 19. Jahrhunderts so beliebt war (es gibt mehr als 130 Vertonungen). Ist das Gedicht doch ein Streit in Versen mit der lutherischen Lehre; es beginnt mit Folgebereitschaft, schließt aber mit einer unangebrachten Behauptung des menschlichen Willens: in der zweiten Strophe
    nimmt das Ich zurück, was es in der ersten Strophe zu Gott sagte, und bittet um »holdes Bescheiden« – um Vermeidung des äußersten Entzückens oder Leidens. Wolf kleidet die erste Strophe – das orthodoxe Gebet – in Musik, die religiöse Konventionen evoziert; er bewegt sich auf einem schmalen Grat zwischen den Anzeichen der echten Pietät und der Süßlichkeit, der religiöse Musik oft anheim fiel. Aber dem sakralen, orgelhaften Choralvorspiel in der Klavier-Einleitung und den Blockakkorden mit barocken Vorhalten verziert (das aber auch Andeutungen an Zweifel enthält), folgt in der zweiten Strophe, indem das lyrische Ich sich von der Dogmatik befreit, eine chopineske Eleganz und eine Andeutung an Tanz. Das herrliche Nachspiel endet mit einem Amen-artigen Plagalschluss, der jedoch die Musik selbst zur Religion erhöht: eine schönere Geistlichkeit wird durch die Kunst erreicht.

    The great poet Eduard Mörike was destined by his family to become a Lutheran pastor, but his heart was never truly in it: in letters to friends, he wrote, “I am a shorn spirit with preaching” and “I simply cannot preach, even if you strapped me to the rack” (none of his sermons survive). Even his belief in God was a wavering, ambivalent thing. It is therefore ironic that his Gebet has been so popular with nineteenth-century composers (over 130 settings), given the market for devotional songs. But it is a versified quarrel with Lutheran doctrine, beginning with compliance, but ending with an unacceptable assertion of human will: the speaker takes back in stanza 2 what he has just said to God in stanza 1 and begs for “holdes Bescheiden,” neither extremes of rapture nor extremities of pain. Wolf garbs the first stanza---the orthodox prayer---in music evocative of religious convention, and he walks a fine line between indices of sincere piety and the syrupiness to which devotional music was prone. But the sacred “organ” chorale prelude in the piano introduction and the block-chordal writing dressed up with Baroque suspensions (but with hints of doubt built in) are succeeded in the second stanza by Chopinesque elegance and a hint of dancing as the persona breaks free from dogma. The exquisite postlude ends with an “Amen” cadence, but this one makes music itself the religion: a more beautiful spirituality is achieved in art.

  • Dietrich Fischer-Dieskau & Sviatoslav Richter: Der Feuerreiter of Hugo Wolf

    4:03

    Here is a video of these two great artists rehearsing for the Touraine Festival in 1967.

    Here is a link to these artists performing eight Mörike Lieder from a 1973 recital in Budapest:

  • Hugo Wolf : Penthesilea, symphonic poem after Heinrich von Kleist

    25:10

    I. Aufbruch der Amazonen Nach Troja
    II. Der Traum der Penthesilea Vom Rosenfest
    III. Kämpfe, Leidenschaften, Wahnsinn, Vernichtung.
    Performed by the Stuttgart Radio Symphony Orchestra conducted by Dietrich Fischer-Dieskau.

  • Christa Ludwig; Gesang Weylas; Mörike-Lieder; Hugo Wolf

    1:47

    Christa Ludwig--Mezzo-soprano
    Gerald Moore--Piano
    1957

  • Wolf - Gebet - Fischer-Dieskau / Moore

    2:25

    Hugo Wolf

    Gebet (Eduard Mörike)

    Dietrich Fischer-Dieskau
    Gerald Moore
    Studio recording, Berlin, 14-18.IX.1957


    Herr, schicke was du willt,
    Ein Liebes oder Leides;
    Ich bin vergnügt, daß beides
    Aus Deinen Händen quillt.

    Wollest mit Freuden
    Und wollest mit Leiden
    Mich nicht überschütten!
    Doch in der Mitten,
    Liegt holdes Bescheiden.

  • Hugo Wolf: In Dem Schatten Meiner Locken

    2:32

    - Fernanda Ohara, Soprano & Fabio Costa, Piano

    Part of a Lied+Strauss Recital, on June, 2011, at the Fundação de Educação Artística, Belo Horizonte, MG, Brazil

    Produced by Rede Minas de Televisão
    Audio recording supervision and edition: Fabio Costa
    ----------------------

    In dem Schatten meiner Locken
    Schlief mir mein Geliebter ein.
    Weck ich ihn nun auf? - Ach nein!

    Sorglich strählt ich meine krausen
    Locken täglich in der Frühe,
    Doch umsonst ist meine Mühe,
    weil die Winde sie zerzausen.
    Lockenschatten, Windessausen
    Schläferten den Liebsten ein.
    Weck ich ihn nun auf? - Ach nein!

    Hören muß ich, wie ihn gräme,
    Daß er schmachtet schon so lange,
    Daß ihm Leben geb' und nehme
    Diese meine braune Wange,
    Und er nennt mich eine Schlange,
    Und doch schlief er bei mir ein.
    Weck ich ihn nun auf? - Ach nein!

  • Ian Bostridge; An den Schlaf; Mörike-Lieder; Hugo Wolf

    2:57

    Ian Bostridge--Tenor
    Antonio Pappano--Piano
    2005

  • Hugo Wolf: Elfenlied - Morike Lieder

    2:05

    Elisabeth Schwarzkopf - soprano, Geoffrey Parsons - piano

    Lyrics (german):
    Bei Nacht im Dorf der Wächter rief: Elfe!
    Ein ganz kleines Elfchen im Walde schlief
    wohl um die Elfe!
    Und meint, es rief ihm aus dem Tal
    bei seinem Namen die Nachtigall,
    oder Silpelit hätt' ihm gerufen.

    Reibt sich der Elf' die Augen aus,
    begibt sich vor sein Schneckenhaus
    und ist als wie ein trunken Mann,
    sein Schläflein war nicht voll getan,
    und humpelt also tippe tapp
    durch's Haselholz in's Tal hinab,
    schlupft an der Mauer hin so dicht,
    da sitzt der Glühwurm Licht an Licht.

    Was sind das helle Fensterlein?
    Da drin wird eine Hochzeit sein:
    die Kleinen sitzen bei'm Mahle,
    und treiben's in dem Saale.
    Da guck' ich wohl ein wenig 'nein!«

    Pfui, stößt den Kopf an harten Stein!
    Elfe, gelt, du hast genug?
    Gukuk!

    (English)
    At night in the village the watchman cried Elf!(english meaning elf like a fairy or sprite)
    A very small elf was asleep in the wood -
    just around the eleven! - [1]
    And he thinks that the nightingale
    must have called him by name from the valley,
    or Silpelit might have sent for him. [2]

    So the elf rubs his eyes,
    comes out of his snail-shell house,
    and is like a drunken man,
    his nap was not finished;
    and he hobbles down, tip tap,
    through the hazel wood into the valley,
    slips right up to the wall;
    there sits the glow-worm, light on light.

    What are those bright windows?
    There must be a wedding inside;
    the little people are sitting at the feast,
    and fooling around in the ballroom.
    So I'll just take a peep in!

    Shame! he hits his head on hard stone!
    Well, elf, had enough, have you?
    Cuckoo! Cuckoo!

  • Hugo Wolf: Resignation - molto cantabile , Lucerne, Switzerland

    3:30

    12th International Chamber Choir Competition Marktoberdorf, Germany, June 10-15, 2011; Live recording; This is a service of Choral Festival Network Concert St. Andreas Nesselwang a June 12

  • Hugo Wolf: Italienisches Liederbuch

    1:19:26

    Helen Donath, Sopran (begleitet von ihrem Ehemann Klaus Donath am Klavier), und Siegfried Lorenz, Bariton (begleitet von Cord Garben am Klavier) singen das Italienische Liederbuch von Hugo Wolf
    (Schleswig Holstein Musikfestival 1988)

  • Kathleen Ferrier; Auf ein altes Bild; Mörike-Lieder; Hugo Wolf

    3:24

    Kathleen Ferrier--Contralto
    Phyllis Spurr--Piano
    1949

  • Dietrich Fischer-Dieskau; Das Ständchen; Eichendorff-Lieder; Hugo Wolf

    2:41

    Dietrich Fischer-Dieskau--Baritone
    Gerald Moore--Piano
    1959

  • Schlafendes Jesuskind

    3:04

    NRW feiert Advent, Weihnachtskonzert vom 14.12.2013

  • Elisabeth Schwarzkopf; Ganymed; Goethe-Lieder; Hugo Wolf

    5:11

    Elisabeth Schwarzkopf--Soprano
    Gerald Moore--Piano
    1957

  • Dame Felicity Lott; Agnes; Mörike-Lieder; Hugo Wolf

    3:44

    Dame Felicity Lott--Soprano
    Geoffrey Parsons--Piano
    1988

  • Hugo Wolf - An eine Äolsharfe Fischer-Dieskau, Barenboim

    7:01

    The strains of the Aeolian harp and the woodthrush are the truest and loftiest preachers that I know left on this earth. --- Henry David Thoreau


    An aeolian harp, or wind harp, consists of a wooden or metal frame holding several strings with varying lengths. The wind blows through and the strings vibrate. Mörike makes several references to wind harps in his letters.

    The boy in Mörike's poem is his younger brother August, who died suddenly of a stroke in 1824, aged 17. There were wind harps on the Emichsburg near which August was buried.

    The poem conveys a haunting picture of love and mourning.


    An eine Äolsharfe

    Angelehnt an die Efeuwand
    Dieser alten Terrasse,
    Du, einer luftgebor'nen Muse
    Geheimnisvolles Saitenspiel,
    Fang' an,
    Fange wieder an
    Deine melodische Klage!

    Ihr kommet, Winde, fern herüber,
    Ach! von des Knaben,
    Der mir so lieb war,
    Frisch grünendem Hügel.
    Und Frühlingsblüten unterweges streifend,
    Übersättigt mit Wohlgerüchen,
    Wie süß, bedrängt ihr dies Herz!
    Und säuselt her in die Saiten,
    Angezogen von wohllautender Wehmut,
    Wachsend im Zug meiner Sehnsucht,
    Und hinsterbend wieder.

    Aber auf einmal,
    Wieder Wind heftiger herstößt,
    Ein holder Schrei der Harfe
    Wiederholt, mir zu süßem Erschrecken
    Meiner Seele plötzliche Regung,
    Und hier, die volle Rose streut, geschüttelt,
    All ihre Blätter vor meine Füße!

    Eduard Mörike (1804-1875)



    To an Aeolian Harp

    Leaning up against the ivy wall
    Of this old terrace,
    You, muse born of air,
    Mysterious instrument,
    Begin,
    And again begin,
    Your melodious lament!

    Winds, you come from far away,
    Ah! from the boy
    That I loved so well,
    From his fresh green hill.
    And sweeping over spring blossoms as you pass,
    Drenched with fragrance,
    How sweetly you press at my heart!
    And whisper here among the strings,
    Drawn by harmonious melancholy,
    Rising in the pull of my longing,
    And dying away again.

    But all at once,
    As the wind heaves a heavier sigh,
    A tender cry from the harp
    Repeats, sweetly surprising me,
    The sudden stirring of my soul,
    And here, the full rose shakes and scatters
    All its petals at my feet!



    Dietrich Fischer-Dieskau (baritone)
    Daniel Barenboim (piano)

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