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Hugo Philipp Jacob Wolf (13 March 1860 – 22 February 1903) 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.
Apr 16, 2024 · Hugo Wolf was a composer who brought the 19th-century German lied, or art song, to its highest point of development. Wolf studied at the Vienna Conservatory (1875–77) but had a moody and irascible temperament and was expelled from the conservatory following his outspoken criticism of his masters.
- The Editors of Encyclopaedia Britannica
Hugo Wolf. 1860 - 1903. Hugo Filipp Jakob Wolf was born on 13 March 1860, the fourth of six surviving children, in Windischgraz, Styria, then part of the Austrian Empire. He was taught the piano and violin by his father at an early age and continued to study piano at the local primary school.
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A series of essays by Susan Youens on the life and songs of composer Hugo Wolf, who merged Schubertian formal containment with a post-Wagnerian harmonic language. The first essay focuses on the themes of spring, love, and death in his songs, such as Er ist's to words by Eduard Mörike and Zitronenfalter im April.
Sep 28, 2011 · In his brief compositional maturity, Wolf made complicated use of Lied traditions in order to forge a style in which late Romanticism's extensions of tonality were applied to nuanced, multivalent interpretations of older poetry.
- Susan Youens
- 2004
Wolf seized on the opening analogy, “Night is like a quiet ocean,” to create waves of his signature harmonies—one notes the Lisztian enharmony for thoughts (flats) or dreams (sharps); we note as well the typical “verklingendes” piano postlude, in which the last lapping waves die away ppp.
Hugo Wolf (13 March 1860 – 22 February 1903) was an Austrian composer of Slovene origin, 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 utterly unrelated in technique.
