Label: Deutsche Grammophon - 447 515-2 GX6 • Format: 6x, CD Limited Edition, Stereo Box-Set • Country: Germany • Genre: Classical • Style: Romantic
He brought to this form a concentrated expressive intensity which was unique in late Romantic musicsomewhat 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 anddepression frequently interrupted his creative periods, and his last composition was written inbefore he suffered a mental collapse caused by syphilis.
From his maternal side, Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder was related to Herbert von Karajan. A child prodigyWolf was taught piano and violin by his father beginning at the age of four, and once in primary school studied piano and music theory with Sebastian Weixler.
Subjects other than music failed to hold his interest; he was dismissed from the first secondary school he attended as being "wholly inadequate," left another over his difficulties in the compulsory Latin studies, and after a falling-out with a professor who commented on his "damned music," quit the last.
From there, he went Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder the Vienna Conservatory much to the disappointment of his father, who had hoped his son would not try to make his living from music. Once again, however, he was dismissed for "breach This Progress Must Yield - Wake / Skagos - The Groan Of Ancient Pines discipline," although the oft-rebellious Wolf would claim he quit in frustration over the school's conservatism.
After eight months with his family, he returned to Vienna to teach music. Though his fiery temperament was not ideally suited to teaching, Wolf's musical gifts, as well as his personal charm, earned him attention and patronage. Support of benefactors allowed him to make a living as a composer, and a daughter of one of his greatest benefactors inspired him to write to Vally "Valentine" Franck, his first love, with whom he was involved for three years.
During their relationship, hints of his mature style would become evident in his Lieder. Wolf was prone to depression and wide mood swings, which would affect him all through his life. When Franck left him just before his 21st birthday, he was despondent.
He returned home, although his family relationships were also strained; his father was still convinced his son was a ne'er-do-well.
His brief and undistinguished tenure as second Kapellmeister at Salzburg only reinforced this opinion: Wolf had neither the temperament, the conducting technique nor the affinity for the decidedly non-Wagnerian repertoire to be successful, and within a year had again returned to Vienna to teach in much the same circumstances as before.
Wagner's death in February was another deeply moving event in the life of the young composer. The song "Zur Ruh, zur Ruh" was composed shortly afterward and is considered to be the best of his early works; it is speculated that it was intended as an elegy for Wagner. Wolf often despaired of his own future in the ensuing years, in a world from which his idol had Honeysuckle Love - The Sweet - Die Großen Erfolge Einer Supergruppe, leaving tremendous footsteps to follow and no guidance on how to do so.
This left him often extremely temperamental, alienating friends and patrons, although his charm helped him retain them more than his actions merited. His songs had meanwhile caught the attention of Franz Lisztwhom he respected greatly, and who like Wolf's previous mentors advised him to pursue larger forms; advice he this time followed with the symphonic tone poem Penthesilea. His activities as a critic began to pick up. He was merciless in his criticism of the inferior works he saw taking over the musical atmosphere of the time;  those of Anton Rubinstein he considered particularly odious.
But he was as fervent in his support of Liszt, Schubert and Chopinwhose genius he recognized. Known as "Wild Wolf" for the intensity and expressive strength of his convictions, his vitriol made him some enemies. He abandoned his activities as a critic in and began composing once more; perhaps not unexpectedly, the first songs he wrote after his compositional hiatus to poems by GoetheJoseph von Eichendorff and Joseph Viktor von Scheffel emphasized themes of strength and resolution under adversity.
Shortly thereafter, he completed the terse, witty one-movement Italian Serenade for string quartet which is regarded as one of the finest examples of his mature instrumental compositional style. Only a week later his father died, leaving him devastated, and he did not compose for the remainder of the year.
After the publication of a dozen of his songs late the preceding year, Wolf once again desired to return to composing, and travelled to the vacation home of the Werners—family friends whom Wolf had known since childhood—in Perchtoldsdorf a short train ride from Viennato escape and compose in solitude.
A short break, and a change of house, this time to the vacation home of more longtime friends, the Ecksteins, and the Eichendorff -Lieder followed, then the 51 Goethe -Liederspilling into After a summer holiday, the Spanisches Liederbuch was begun in October ;  though Spanish-flavoured compositions were in fashion in the day, Wolf sought out poems that had been neglected by other composers.
Wolf himself saw the merit of these compositions immediately, raving to friends that they were Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder Simple Type (Re-mixed Version) - Kiss - Wicked Lester The Final Edition things he had yet composed it was with the aid and urging of several of the more influential of them that the works were initially published.
It was now that the world outside Vienna would recognize Wolf as well. The recognition was not always positive; Brahms 's adherents, still smarting from Wolf's merciless reviews, returned the favor—when they would have anything to do with him at all. Brahms's biographer Max Kalbeck ridiculed Wolf for his immature writing and odd tonalities; another composer refused to share a program with him, while Amalie Maternaa Wagnerian singer, had to cancel her Wolf recital when allegedly faced with the threat of being on the critics' blacklist if she went on.
Only a few more settings, completing the first half of the Italienisches Liederbuchwere composed in before Wolf's mental and physical health once again took a downturn at the end of the year; exhaustion from his prolific past few years combined with the effects of syphilis and his depressive temperament caused him to stop composing for the next several years. Continuing concerts of his works in Austria and Germany spread his growing fame; even Brahms and the critics who had previously reviled Wolf gave favorable reviews.
However, Wolf was consumed with depression, which stopped him from writing—which only left him more depressed. He completed orchestrations of previous works, but new compositions were not forthcoming, and certainly not the opera which he was now fixated on composing, still convinced that success in the larger forms was the mark of compositional greatness. Wolf had scornfully rejected the libretto to Der Corregidor when it was first presented to him inbut his determination to compose an opera blinded him to its faults upon second glance.
The opera was completed in nine months and was initially met with success, but Wolf's musical setting could not compensate for the weakness of the text, and it was doomed to failure; it has not yet been successfully revived. A renewal of creative activity Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder in Wolf's completion of the Italienisches Liederbuch with two dozen songs written in March and Aprilthe composition Nyctophilia - Echo Inspectors - Nyctophilia three Michelangelo Lieder in March, a group of six had been projected and preliminary work during that year on an opera, Manuel Venegas.
Shortly thereafter Wolf slipped into syphilitic insanity, with only occasional spells of wellbeing. He left sixty pages of an unfinished opera, Manuel Venegasinin a desperate attempt to finish before he lost his mind completely; after mid he could make no music at all and once even tried to drown himself, after which he was placed in a Vienna asylum at his own insistence.
Melanie visited him faithfully during his decline until his death on 22 Februarybut her Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder to her husband tortured her and she killed herself in Wolf is buried in the Zentralfriedhof Central Cemetery in Vienna, along with many other notable composers.
Wolf's greatest musical influence was Richard Wagnerwho, in an encounter after Wolf first came to the Vienna Conservatory, encouraged the young composer to persist in composing and to attempt larger-scale works, cementing Wolf's desire to emulate his musical idol.
His antipathy Stolen - Ikon - Everyone Everything Everywhere Ends Johannes Brahms was fueled equally by his devotion to Wagner's musical radicalism and his loathing of Brahms' musical "conservatism".
He is best known by his lieder, his temperament and inclination Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder him to more intimate, subjective and terse musical utterances.
Although he initially believed Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder mastering the larger forms was the hallmark of a great composer a belief his early mentors reinforcedthe smaller scale of the art song proved to provide an ideal creative outlet for his musical expression and came to be regarded as the genre best suited to his peculiar genius.
Wolf's lieder are noted for compressing expansive musical ideas and depth of feeling, fed by his skill at finding the just right musical setting for the poetry that inspired him. Early in his career Wolf modelled his lieder after those of Franz Schubert and Robert Schumannparticularly in the period around his relationship with Vally Franck; in fact, they were good enough imitations to pass off as the real thing, which he once attempted, though his cover was blown too soon.
It is speculated that his choice of lieder texts in the earlier years, largely Improvice - Various - Hardstyle Top 100 Vol. 2 with sin and anguish, were partly influenced by his contraction of syphilis.
His love for Vally, not fully requited, inspired highly chromatic and philosophical lieder that could be regarded as successors to Wagner's Wesendonck Lieder cycle.
Others were as distant from those in mood as possible; lighthearted and humorous. The rarely heard symphonic poem Penthesilea is tempestuous and highly colored as well. Although Wolf admired Liszt, who had encouraged him to complete the work, he felt Liszt's own music too dry and academic and strove for color and passion.
In his later works he relied less on the text to give him his musical framework and more on his pure musical ideas themselves; the later Spanish and Italian songs reflect this move toward " absolute music ".
Wolf wrote hundreds of liederthree operasincidental musicchoral music, as well as some rarely heard orchestral, chamber and piano music. His most famous instrumental piece is the Italian Serenadeoriginally for string quartet and later transcribed for orchestra, which marked the beginning of his mature style.
Wolf was famous for his use of tonality to reinforce meaning. Concentrating on two tonal areas to musically depict ambiguity and conflict in the text became a hallmark of his style, resolving only when appropriate to the meaning of the song. His chosen texts were often full of anguish and inability to find resolution, and thus so too was the tonality wandering, unable to return to the home key. Use of deceptive cadenceschromaticism, dissonanceand chromatic mediants obscure the harmonic destination for as long as the psychological tension is sustained.
His formal structure as well reflected the texts being set, and he wrote almost none of the straightforward strophic songs favoured by Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder contemporaries, instead building the form around the nature of the work.
Individual songs have been included in the recorded repertoire of many singers. In September the Hugo Wolf Society was formed under the aegis of English His Master's Voice records supervised by Walter Legge  for the recording of a substantial proportion of the song repertoire. These were to be issued to subscribers in That Womans Mind - J.C. Heavy - That Womans Mind editions. The Wolf Society recordings were re-released in The accompanying volumes include essays by Hans Jancik, texts of the poems, and translations by Lionel Salter English and Jacques Fournier and others French.
The first project to record every song by Wolf was commenced inthe th anniversary of the composer's birth, by Stone Records and the Oxford Lieder Festival.
This series of live recordings, featuring Prometheus - Hugo Wolf - Dietrich Fischer-Dieskau / Daniel Barenboim - Lieder wide variety of singers and Oxford Lieder Festival 's artistic director Sholto Kynoch at the piano, is expected to run to 11 or 12 discs: to date, 9 discs have been issued.
The series was intended to bring Lieder to a new audience and was held at the initiative of baritone Wolfgang Holzmairwho was joined by a team of Austrian singers and pianists. From Wikipedia, the free encyclopedia. This article needs additional citations for verification.
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