Hugo Wolf and the Wagnerian Inheritance by Amanda Glauert

By Amanda Glauert

Regardless of transforming into curiosity within the songs of Hugo Wolf, there's nonetheless an absence of significant serious dialogue of the character of his achievements. This booklet deals an in-depth examine of his tune, together with specific analyses of chosen songs. views from musical research and historical past are introduced jointly to teach how this composer and late-nineteenth-century music have a much more major position in supporting us to appreciate Wagner's musical and aesthetic effect than has but been learned.

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This notion of balance is an apt one; however, Niemann falls short of recognising that Wolf's formal conservatism, his concern with closure, was in fact his means of innovation. So much of the debate about Lieder in the later nineteenth century was concerned with marking out an opposition between Small things can also enchant us folk-like ideals for the genre - as manifested in closed strophic or ternary forms and clearly defined melodies - and freer dramatic styles as influenced by Wagnerian music drama.

But now the song-material has been stretched to its furthest point in Act III scenes 3 and 4, there is a greater sense of meaning in the patterns which follow. They reflect the assurance that comes from Lukas's discovery of an answer to the Corregidor's threats, in the person of his wife Mercedes. Her music, while being in some ways part of the 'game' observed by Repela, also marks its limit, the textural and harmonic extreme which pulls the material back to resolution and containment. Mercedes's motif performs this function most clearly at the end of the opera where she leads in the final chorus of simple thanksgiving, all agreeing that thanks to her the various 'adventures' surrounding her husband have ended without harm.

Thus far from shying away from the mainstream of musical ideas as some have thought, Wolf continued to place himself at the centre, eventually revealing song as a most fertile battleground for a critic of Wagner like himself. 31 Chapter three Small things can also enchant us - Wolf's challenge to nineteenthcentury views of song On the evidence of Wolf's life there are many signs that he struggled with the image of himself as a specialist song-writer, sensing the limitations this placed on him in the eyes of the public.

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