 |
|
|
|
|
|
|
|
|
|
|
|
|
 |
|
|
|
|
|
 |
|
|
|
|
|
 |
|
|
|
|
Wolf's music for String Quartet
The Quartet remains relatively unknown. Described by Burnett James as "a fervent, passionately romantic work with the first two movements conceived and executed on the largest possible scale", it got off to a bad start with the players Wolf had hoped would première it. Piqued (as many of their contemporaries were) by an attacking critical review by Wolf in the Viennese press, the Rosé Quartet not only refused to play it, but bluntly told the composer that he could collect his manuscript from the door-keeper of the opera house. The Quartet was composed over quite some time - the first movement of 1878 was written just after Wolf had contracted syphilis, and shows clear Beethoven influences; two years later he wrote the second, slow movement, in which Wagner is invoked in a symbol of redemption. The first two movements are vast - between them there's over half an hour of music - whereas the latter two movements together are shorter than either of the first, though the intensity and vigour of the first two is maintained throughout. Very few recordings exist of this Quartet - unlike the Italian Serenade, which appears in the repertoire of a number of performers - and I'm delighted that Peter Harrison managed to pull this excellent recording out of the hat. He noted that the original LP appeared to have been recorded in perhaps five separate sessions, one for each of the movements of the Quartet, plus another for the Serenade, and one of his restoration goals was to reduce the occasionally pronounced sonic differences between each recording so as to produce a satisfying whole. We have issued this as an 'XR' recording - in this instance, detailed analysis and XR equalisation information was collected by Andrew Rose at Pristine Audio and passed on to Peter to serve as the basis of his final re-equalisation of the recording. We think the end results were worth the extra effort!
The Music of Hugo Wolf notes from Wikipedia Wolf's greatest musical influence was Richard Wagner, who, 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. Wolf went so far as to emulate Wagner's vegetarianism as well, but this lasted only 18 months. His antipathy to Johannes Brahms was fueled partly by his devotion to Wagner, and partially by misunderstanding and clash of personality, rather than any ill-will on Brahms' part. His true fame is his lieder; Wolf's temperament and abilities led him to more private and personal forms. Though he initially believed that mastering the larger forms was the hallmark of a great composer (a belief that his early mentors reinforced), the smaller scale of the art song provided an excellent basis upon which to develop basic compositional skills and later came to be his greatest strength. Wolf's lieder are noted for compressing expansive musical ideas and depth of feeling; his skill at interpreting and depicting texts musically is suited to the form. Though Wolf himself was obsessed with the idea that to compose only short forms was to be second-rate, his organization of poem settings into complete dramatic cycles, finding connections between texts not explicitly intended by the poet, as well as his conceptions of individual songs as dramatic works in miniature, mark him as a talented dramatist despite having written only one not particularly successful opera. Early in his career Wolf modeled his Lieder after those of Franz Schubert and Robert Schumann, particularly in the period around his relationship with 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 dealing with sin and anguish, were partly influenced by his contraction of syphilis. His love for Franck, not fully requited, bore the intellectual children of the Wesendonck lieder: impassioned settings of works by Nikolaus Lenau. The others were as distant from those in mood as possible; lighthearted and humorous. Penthesilea, too, is tempestuous and highly colored; though Wolf admired Liszt, who has encouraged him to complete the work, he felt Liszt's music too dry and academic, and strove for color and passion. 1888 marked a turning point in his style as well as his career, with the Mörike, Eichendorff, and Goethe sets drawing him away from Schubertiana and into "Wölferl's own howl". Mörike in particular drew out and complemented Wolf's musical gifts, the variety of subjects suiting Wolf's tailoring of music to text, his dark sense of humor matching Wolf's own, his insight and imagery demanding a wider variety of compositional techniques and command of text painting to portray. 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 Lieder, three operas, incidental music, choral music, as well as some rarely-heard orchestral, chamber and piano music. His most famous instrumental piece is the Italian Serenade (1887), originally 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 resolve, and thus so too was the tonality wandering, unable to return to the home key. Use of deceptive cadences, chromaticism, dissonance, and 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 his contemporaries, instead building the form around the nature of the work.
From Wikipedia, the free encyclopedia
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
