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Playlist of Hugo Wolf

  • Hugo Wolf String Quartet in D minor


    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 - Im Frühling Fischer-Dieskau, Moore


    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,
    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,
    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)

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  • Hugo Wolf: Italian Serenade


    Francois Leleux, conductor
    Norwegian Chamber Orchestra

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  • Elisabeth Schwarzkopf; Goethe-Lieder; Hugo Wolf


    Elisabeth Schwarzkopf--Soprano
    Gerald Moore--Piano
    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

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  • Barbara Bonney; Verborgenheit; Hugo Wolf


    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano

  • Wolf - Mörike Lieder


    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

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  • Hugo Wolf - Italian Serenade for string quartet


    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.


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

    Original audio:
    (Performance by: Juilliard String Quartet)
    Original sheet music:

  • Hugo Wolf Penthesilea , Symphonic Poem


    Hugo Wolf, Penthesilea (1883-85), Symphonic Poem

    1. Departure of the Amazon for Troy
    2. Penthesilea's Dream of the Feats of Roses
    3. Fights, Passions, Madness, Extinction Combats, Passions, Folie, Destruction

    Staatskapelle Berlin
    Otmar Suitner, conductor

  • Verborgenheit by Hugo Wolf


    The Graduation Recital of Melissa L. Flummerfelt, soprano
    with Lois Richter, Piano

    This Recital was presented as Partial Fulfillment of the Requirements for the Degree Bachelor of Arts in Music, Vocal Performance at Armstrong Atlantic State University.

    Verborgenheit -Seclusion

    Leave, Oh, world, leave me be!
    Tempt me not with gifts of love.
    Let this heart in solitude have
    Your bliss, your pain!

    What I mourn, I know not.
    It is an unknown pain;
    Forever through tears shall I see
    The sun's love-light.

    Often, I am scarcely conscious
    And the bright joys break
    Through the pain, thus pressing
    Delightfully into my breast.

    Leave, Oh, world, leave me be!
    Tempt me not with gifts of love.
    Let this heart in solitude have
    Your bliss, your pain!

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  • Fischer-Dieskau sings Wolf - Goethe Lieder


  • Hugo Wolf - Verschwiegene Liebe


    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: In dem Schatten meiner Locken


    In ihrer neuen Reihe Der ganze Hugo Wolf möchte die Internationale Hugo-Wolf-Akademie im Verlauf der nächsten Jahre nahezu sämtliche Klavierlieder von Hugo Wolf (fast 300 an der Zahl!) zur Aufführung bringen. Der Anfang wurde mit zwei Konzerten am 12. und 13. März 2016 in der Stuttgarter Musikhochschule gemacht.

    Marie Seidler (Mezzosopran) und Marcelo Amaral (Klavier)

  • Hugo Wolf: Epiphanias


    Hugo Wolf: Epiphanias - 1888, (Goethe)
    Antonis Kontogeorgiou, Bariton - Diana Vranussi, Klavier
    Αντώνης Κοντογεωργίου, βαρύτονος - Ντιάνα Βρανούση, πιάνο

    Οι τρεις μάγοι με τ' άστρο τους
    τρώνε, πίνουν, μα δεν πληρώνουν ευχαρίστως.
    Οι τρείς μάγοι που ήρθαν εδώ,
    είναι τρεις κι όχι τέσσερεις.
    Κι αν κοντά στους τρεις υπήρχε και τέταρτος
    τότε θά 'τανε οι τέσσερεις τρεις-Μάγοι.

    -Εγώ ο πρώτος είμαι ο σοφός κι ο ωραίος.
    Στο φως της μέρα θά 'πρεπε να με πρωτοβλέπατε!
    Όμως, αλλί, παρά τις πιπεράτες μου κουβέντες
    κανένα κορίτσι δε θέλει χαρά να μου χαρίσει.

    -Εγώ είμαι ο μελαψός κι ο ψηλός,
    γνωστός στις κοπέλες και για τα τραγούδια μου.
    Και φέρνω χρυσάφι αντί κουβέντες πιπεράτες,
    έτσι που παντού νάμαι καλοδεχούμενος.

    -Τέλος εγώ είμ' ο μαύρος κι ο κοντός,
    που πότε-πότε γλέντι τρελό αποζητώ.
    Ευχαρίστως τρώω, κι όμοια πίνω με χαρά,
    τρώω, πίνω κι ευχαριστώ τους που κερνούν.

    Οι τρείς μάγοι καλοσυνάτοι
    ζητούν τη μάνα με το παιδί.
    Κοντά κάθεται κι ο Ιωσήφ
    και μοσχάρια με γαϊδάρους ξαπλώνουν στο σανό.

    -Φέρνουμε μύρα, φέρνουμε χρυσό,
    και λιβάνισμα που πολύ τ' αγαπούν οι κυρίες.
    Κι έχουμε και κρασί από παλιό βαρέλι
    έτσι που οι τρείς μας να πίνουμε όσο έξη από σας.
    Αλλά επειδή εδώ πέρα βλέπουμε μόνο ωραίους κυρίους και κυρίες
    κι όχι μοσχάρια και γαϊδάρους,
    θα πρέπει να μην είμαστε στο σωστό δρόμο.
    Φεύγουμε λοιπόν και γι αλλού τραβάμε.

  • Hugo Wolf: Ergebung - Batavia Madrigal Singers‪, Dir. Avip Priatna‬


    14. Internationaler Kammerchor-Wettbewerb Marktoberdorf 2015
    1. Wettbewerbsrunde / Gemischte Chöre; 23. Mai 2015, MODEON Marktoberdorf

  • Hugo Wolf - Kennst du das Land - Schwarzkopf


    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,

    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

  • Hugo Wolf - Der Rattenfänger - Fischer-Dieskau


    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 (

    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

  • Hugo Wolf: Ergebung - Gracias Choir‪, Dir. Boris Abalyan‬


    14. Internationaler Kammerchor-Wettbewerb Marktoberdorf 2015
    1. Wettbewerbsrunde / Gemischte Chöre; 23. Mai 2015, MODEON Marktoberdorf

  • Hugo Wolf - Elfenlied


    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).

  • Barbara Bonney; Verschwiegene Liebe; Hugo Wolf


    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano

  • Wolf - Mörike Lieder - Fischer-Dieskau / Moore


    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

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  • Hugo Wolf: Ergebung - University of Oregon Chamber Choir, Dir. Sharon J. Paul


    14. Internationaler Kammerchor-Wettbewerb Marktoberdorf 2015
    Preisträgerkonzert; 26. Mai 2015, MODEON Marktoberdorf

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


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

  • Barbara Bonney; Auch kleine Dinge; Hugo Wolf


    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano

  • Hugo Wolf: Der Corregidor Suite


    Composer: Hugo Wolf (13 March 1860 -- 22 February 1903) was an Austrian composer of Slovene origin, particularly noted for his art songs, or lieder. He brought to this form a concentrated expressive intensity which was unique in late Romantic music, somewhat related to that of the Second Viennese School in concision but utterly unrelated in technique.
    Though he had several bursts of extraordinary productivity, particularly in 1888 and 1889, depression frequently interrupted his creative periods, and his last composition was written in 1898, before he suffered a mental collapse caused by syphilis. (ref: Wikipedia)

    Composition: Suite from the opera Der Corregidor (1895 and revised it in 1897)

    Der Corregidor is a comic opera by Hugo Wolf. The German libretto was written by Rosa Mayreder-Obermayer, based on the short novel El sombrero de tres picos (The three-cornered Hat) by Pedro Antonio de Alarcón.

    Orchestra: L'Orchestre de la Suisse Romande conducted by Horst Stein

    Cover Art: Paintings by Joaquin Sorolla y Bastida
    Ia Alqueria-Valenciana
    Ib Andalusia (artist unknown)
    IIa Square of Valencia
    IIb Casa-de-Huerta,-Valencia-(study)
    IIIa Buñol Street
    IIIb Bridge-of-el-Real, Valencia
    IVa Farmhouse in Valencia
    Ivb Girona Streets (photographer unknown)



    49th Tolosa Choral Contest 2017, Basque Country, Spain.
    This competition is member of the European Grand Prix Association For Choral Singing.

    COLLEGIUM VOCALE HANNOVER from Hannover, Germany.
    Conductor: Florian Lohmann
    RESIGNATION (1881), Hugo Wolf (1860-1903)

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


    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano

  • “Zur Ruh’, zur Ruh’” , Kirsten Flagstad


    Words by Justinus Andreas Christian Kerner
    (Written c. 1853)
    Setting by Hugo Philipp Jacob Wolf
    (Composed c. 1883)

    Kirsten Flagstad, soprano
    Edwin McArthur, piano
    (Recorded November, 1956, Decca Studios, West Hampstead, London)


    “To rest, to rest, ye weary limbs!
    Ye eyelids close down firmly!
    I am alone, gone is the earth;
    it must be night for light to come to me.

    Oh, lead me on, ye inner powers!
    On to the radiance of the deepest nights.
    Away from the realm of earthly pains,
    through night and dreams to the Mother-heart”


    English music critic, Ernest Newman's notes to this song:

    “THE volume of “Lieder nach verschiedenen Dichtern” (Songs from Various Poets) mostly dates from 1886-1897. Of the songs written before 1886 Wolf chose only seven for publication in this collection. “Zur Ruh’, zur Ruh’” is one of these; it dates from 1883. It is one of his most deeply-felt songs. The first four lines are projected in a single melodic and harmonic curve, with the voice touching its lowest point at “Nacht muss es sein”. From “O Führt mich ganz” to “Glanz der tiefsten Nächte” the general effect is of a steadily rising line, in spite of a contrary tug running through it all. The final lines soar aloft, to sink again in resignation with a characteristic Wolfian touch at “Mutterherzen”. The piano postlude, with its long chromatic descent, intensifies this feeling of resignation and consolation in life’s “Mother-heart”.
    When the coffin containing Wolf’s wasted remains was lowered into the grave, his friend Michael Haberlandt, in the course of a brief address, quoted the first part of Kerner’s poem, changing the third and fourth lines into:

    “Du bist allein, fort ist die Erde;
    Nacht muss es sein, dass Licht dir werde!””

  • Barbara Bonney; Italienisches Liederbuch; ; Hugo Wolf


    Barbara Bonney--Soprano
    Geoffrey Parsons--Piano

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


    Dawn Upshaw--Soprano
    Margo Garrett--Piano

  • Der Feuerreiter by Hugo Wolf


    Bob Cole Conservatory of Music, at California State University, Long Beach presents:
    The CSULB Chamber Choir
    Jonathan Talberg - Conductor

  • Hugo Wolf, Elfenlied for soprano, Women’s Choir and Orchestra


    Hugo Wolf, Elfenlied for soprano, Women’s Choir and Orchestra (1891)
    (Text: William Shakespeare)

    Würtembergischer Kammerchor
    Chor der Staatlichen Hochschule für Musik und Darstellende Kunst
    Ensemble Stuttgart
    Dieter Kurz, conductor

    Hugo Philipp Jacob Wolf (13 March 1860 – 22 February 1903) was an Austrian composer of Slovene origin, particularly noted for his art songs, or Lieder. He brought to this form a concentrated expressive intensity which was unique in late Romantic music, somewhat related to that of the Second Viennese School in concision but diverging greatly in technique.

    Though he had several bursts of extraordinary productivity, particularly in 1888 and 1889, depression frequently interrupted his creative periods, and his last composition was written in 1898, before he suffered a mental collapse caused by syphilis.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Hugo Wolf Morgentau


    Morgentau (Aus einem alten Liederbuch)

    Der Frühhauch hat gefächelt
    Hinweg die schwüle Nacht,
    Die Flur holdselig lächelt
    In ihrer Lenzenspracht;
    Mild singt vom dunkeln Baume
    Ein Vöglein in der Früh,
    Es singt noch halb in Traume
    Gar süße Melodie.

    Die Rosenknospe bebet
    Empor ihr Köpfchen bang,
    Denn wundersam durchbebet
    Hat sie der süße Sang;
    Und mehr und mehr enthüllet
    Sich ihrer Blätter Füll',
    Und eine Träne quillet
    Hervor so heimlich still.

    Elisabeth Schwarkopf

  • Hugo Wolf: Italienisches Liederbuch


    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)

  • Accompaniment-Verborgenheit by Hugo Wolf


    Accompaniment by Jae Jang

  • Elisabeth Schwarzkopf; Der Schäfer; Goethe-Lieder; Hugo Wolf


    Elisabeth Schwarzkopf--soprano
    Gerald Moore--piano

  • Hugo Wolf / Kathleen Ferrier, 1949: Norwegian Recital - Verborgenheit - Mörike Lieder


    In this live Norwegian radio broadcast from 1949, thirty-seven year old Kathleen Ferrier (1912-1953) performs Wolf's Verborgenheit. I created this music video from the LP shown above, Kathleen Ferrier - Broadcast Recital From Norway, issued in 1957 on the London label, serial number LL 1670. Ferrier is accompanied by pianist Phyllis Spurr.

    Laß, o Welt, o laß mich sein!
    Locket nicht mit Liebesgaben,
    Laßt dies Herz alleine haben
    Seine Wonne, seine Pein!

    Was ich traure, weiß ich nicht,
    Es ist unbekanntes Wehe;
    Immerdar durch Tränen sehe
    Ich der Sonne liebes Licht.

    Oft bin ich mir kaum bewußt,
    Und die helle Freude zücket
    Durch die Schwere, die mich drücket,
    Wonniglich in meiner Brust.

    Laß, o Welt, o laß mich sein!
    Locket nicht mit Liebesgaben,
    Laßt dies Herz alleine haben
    Seine Wonne, seine Pein!

    Oh, world, let me be!
    Entice me not with gifts of love.
    Let this heart in solitude have
    Your bliss, your pain!

    What I mourn, I know not.
    It is an unknown pain;
    Forever through tears shall I see
    The sun's love-light.

    Often, I am scarcely conscious
    And the bright joys break
    Through the pain, thus pressing
    Delightfully into my breast.

    Oh, world, let me be!
    Entice me not with gifts of love.
    Let this heart in solitude have
    Your bliss, your pain!
    David Hertzberg

  • Ian Bostridge; Auf eines altes Bild; Mörike-Lieder; Hugo Wolf


    Ian Bostridge--Tenor
    Antonio Pappano--Piano

  • “Anakreons Grab” , Herbert Janssen


    Words by Johann Wolfgang von Goethe
    (Written c. 1785)
    Setting by Hugo Philipp Jacob Wolf
    (Composed 4th November, 1888)

    Herbert Janssen, baritone
    Coenraad Valentijn Bos, piano
    (Recorded 29th November, 1932, Beethovensaal, Berlin)


    “Here where roses bloom,
    where vines twine around laurels,
    where the turtle-dove coos,
    where the grasshopper is merry,
    what grave is here which all the gods
    have beautifully planted and adorned with life?
    It is Anacreon’s resting-place!
    The happy poet enjoyed spring, summer and autumn;
    at the last the hills have sheltered him from the winter.”


    English music critic, Ernest Newman's notes to this song:

    “THIS little song (which Wolf orchestrated at a later date) is Wolf at his greatest. Note the delicate suggestion, in the piano part, of trees bending gently over the grave of the old Greek singer of wine, love and beauty, who is said to have died, at eighty-six, through being choked by the stone of a grape. It will be observed that the piano part is virtually identical in the first two lines (as far as “lockt”) and the last two; but the voice part is completely different, as regards melodic outline, accentuation, rhythm and spacing. Particularly lovely points in the song are the profound peace of “Es ist Anakreons Ruh”, and the dying fall of the concluding strain in the piano.”

  • Hugo Wolf: Ergebung - ‪Kammerchor I Vocalisti, Dir. Hans-Joachim Lustig‬


    14. Internationaler Kammerchor-Wettbewerb Marktoberdorf 2015
    1. Wettbewerbsrunde / Gemischte Chöre; 23. Mai 2015, MODEON Marktoberdorf

  • Elisabeth Schwarzkopf; Wiegenlied in Sommer; Lieder für eine Frauenstimme; ; Hugo Wolf


    Elisabeth Schwarzkopf--Soprano
    Gerald Moore--Piano

  • Hugo Wolf


    Quick analysis of Das verlassene Magdlein for MUSC 212 at Marietta College

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


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

  • Christa Ludwig; Verschwiegene Liebe; Eichendorff-Lieder; Hugo Wolf


    Christa Ludwig--Mezzo-soprano
    Erik Werba--Piano

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


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

  • Evelyn Lear; Zitronenfalter im April; Mörike-Lieder; Hugo Wolf


    Evelyn Lear--Soprano
    Erik Werba--Piano

  • Hugo Wolf: Jagerlied - Morike Lieder


    Elisabeth Schwarzkopf - soprano, Geoffrey Parsons - piano

  • Hugo Wolf - Schlafendes Jesuskind - Fischer-Dieskau Moore


    Wolf's setting of a meditative poem written by Morike while contemplating a painting by Francesco Albani. The music on the video is in the original key, Fisher-Dieskau sings it transposed for medium voice. Sometimes the subtitles are too long and a word or two is missing.

    Dietrich Fischer-Dieskau and Gerald Moore.

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


    Elisabeth Schwarzkopf--soprano
    Gerald Moore--piano

  • KINETIC: Hugo Wolf - Italian Serenade


    KINETIC: Hugo Wolf - Italian Serenade

    Performed live by members of KINETIC on May 8, 2016 at MATCH (Midtown Arts & Theater Center, Houston).


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    KINETIC: The Conductorless Ensemble
    Houston's vibrant new force in classical music.

    KINETIC is a conductorless ensemble based in Houston and led by violinist Natalie Lin. For more information, visit

  • Edda Moser; Lieder der Mignon; Hugo Wolf


    Edda Moser--Soprano
    Erik Werba--Piano



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