Wolf is often regarded as a 'Wagnerian' composer, and it is true that he took full advantage of the possibilities opened up by the extended chromatic language of Tristan und Isolde. But to regard him as a small-scale Wagner - with the piano acting as a substitute for the orchestra - is to ignore the sheer range of his output in terms of both its musical language and expressive capabilities. No set of songs shows this more than the Italian Songbook, in which the brief songs few of which are more than one or two pages long in the manuscript range from the rumbustious 'Ich hab in Penna' to the tragic, from the raptly beautiful 'Sterb' ich' or 'Benedit die sel'ge Mutter' to the slyly mischievous 'Wie lange schon' and each of which presents a perfect miniature masterpiece.
Heut' Nacht erhob ich mich
Unlike many composers, Wolf had little interest in setting minor poems and invariably confined himself to poetry which he regarded as great in its own right: "Today it is no longer possible to set music to a bad text," he told his friend Henrich Werner. However trivial it was, Schubert made something important out of it. But today one must stick to the poet. Nor, unlike Brahms or the Mahler of the Knaben Wunderhorn settings, was he usually interested in folk texts or folk songs.
The Italian Songbook and the earlier Spanish Songbook are, therefore, unusual in that here, for the only time in his life, he turned to collections that consisted in the main of anonymous folk texts, albeit folk texts that had been translated - or, more accurately, paraphrased - in such a way as to remove all the 'rough edges'. Based on Paul Heyse's translations of Italian folk poems, the Italian Songbook was written in two bursts between and , the setting of twenty two of the poems in being followed by a long period during which Wolf suffered from a three-year creative silence , and then worked on his one completed opera Der Corregidor.
The romance is interrupted by the disapproving of their respective families Man sagt mir, deine Mutter woll es nicht.
- Life in Mexico?
- Julia Kleiter - Heut’ nacht erhob ich mich - Listen on Deezer.
- Administration of Heavy Construction Equipment: v. 1.
- Stretching onto the Threshold of Possibilities.
Finally she gets mad at him and, with a vigour reminiscent of the Queen of the Night Wer rief dich denn? With a beautiful high-pitched acme, as we are familiar with, Damrau avenges herself by making her suitor believe that she loves someone else I am in love, but not with you. The delightful lyrics of this tune, sung gently by the tenor, convince the woman How could we struggle until death?
Kings and princes restore peace, would it be refused only to lovers? Princes and soldiers conclude peace, Why would lovers fail?
Irmgard Seefried * Wolf
Even if the two singers have long since left adolescence, their stage engagement is such that we do believe we see two pure and innocent beings, carried away by a love of youth that becomes a matter of life or death Wenn du, mein Liebster, steigst zum Himmel auf. But a new separation is needed Mir ward gesagt, from the reisest in die Ferne , emphasised by the dissonances created by the contrast between the rising line of the singing part and the descending one of the piano.
But Kaufmann hears her, and expresses his disapproval, even if without resenting her. Thanks to their flawless technique, the two singers play along with each other, and in a casual manner, they have fun and share their cheerfulness.