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Hugo Philipp Jacob Wolf (13 March 1860 – 22 February 1903)[1] was an Austrian composer, 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. Please support my channel: Goethe-Lieder (written from 1875, publ. 1889), 51 songs to texts by Goethe. Hugo Wolf arranged several for voice and orchestra in 1890. (December) Harfenspieler I. (no. 1) Sehr getragen, schwermutig (0:00) Harfenspieler II. (no. 2) Langsam, aber nicht zu schleppend (3:20) Harfenspieler III (no. 3) Langsam und mit tief klagenden Ausdruck (5:36) Benjamin Appl, baritone and the Jenaer Philharmonie conducted by Simon Gaudenz 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. His antipathy to Johannes Brahms was fueled equally by his devotion to Wagner's musical radicalism and his loathing of Brahms' musical “conservatism“. Early in his career Wolf modelled his lieder after those of Franz Schubert and Robert Schumann, particularly 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 dealing with sin and anguish, were partly influenced by his contracting 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, based on the tragedy by Heinrich von Kleist, 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. The year 1888 marked a turning point in his style as well as his career, with the Mörike, Eichendorff and Goethe sets drawing him away from Schubert's simpler, more diatonic lyricism 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 resolution, 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.
