By Amanda Glauert
Inspite of turning out to be curiosity within the songs of Hugo Wolf, there's nonetheless an absence of great severe dialogue of the character of his achievements. This e-book deals an in-depth research of his tune, together with special analyses of chosen songs. views from musical research and heritage are introduced jointly to teach how this composer and late-nineteenth-century track have a much more major position in assisting us to appreciate Wagner's musical and aesthetic effect than has but been discovered.
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Extra info for Hugo Wolf and the Wagnerian Inheritance
His songs thus transcend the categories of style and form which had grown up around the Lied through the nineteenth century and offer in their place a radical reformulation, based upon his appreciation of the essential realities of the genre and an uncompromising view of the integrity of musical language. For against expectations of the time, song in Wolf's hands became a primary test of a composer's powers of musical coherence, a test which in its own way matched the scope of music drama and brought song into a whole new area of aesthetic debate and exploration.
9 27 Wolf, Der Corregidor, Act I scene 4 ScfineU. 10 Wolf, Der Corregidor, Act II scene 1 Sehr ruhig. Frasquita Lukas J Jt j > i pp p *n sol-chen A - bend-fei - er-stnn - den, wie fiihl ich m - nig un - ser Gliick! w P P P r Pr v r p ip p p In sol-chen A - bend-fei - er-stnn - den, wie fuhl ich in - nig un - ser Gliick! Sehr ruhig. 11 Wolf, Der Corregidor, Act II scene 1 Ziemlich bewegL 3t Breit. *=m o HMrfc In one sense it is dramatically reassuring that the Corregidor's flights of passion should be so easily resolved; it anticipates how his more violent attempts on Frasquita's virtue in Act II also come to nothing.
4 However, the clearest lead came from Nietzsche, with his claim that integrity was now only possible in what was small - an opinion which must have encouraged Wolf as he developed a more and more pronounced miniaturism in his songs. The title of the opening number of Wolf's last major songbook, the Italian songs Auch kleineDinge konnen uns entzucken (Small things can also enchant us) - certainly reads like a declaration of artistic intent. Many of the Paul Heyse translations of anonymous Italian folk-poems which Wolf chose to set here are notable for their concern with various aspects of 'smallness'.