Podcast appearances and mentions of Hugo Wolf

The British bass-baritone Norman Bailey (23 March 1933 – 15 September 2021) was one of the premier Wagner singers of his generation, appearing in his signature roles (Hans Sachs, the Dutchman, and Wotan, among others) at the most prestigious festival and with the most distinguished opera companies around the world. He was also celebrated for his Verdi and Strauss portrayals and was an skillful, intuitive, and communicative recitalist. In this refurbished bonus episode, he is heard in operatic scenes by all three of those composers, and additionally as a big-voiced miniaturist in songs by Peter Warlock, Ralph Vaughan Williams, and Hugo Wolf. “Guest stars” in the operatic excerpts (from Walküre, Macbeth, Holländer, Salome, Falstaff, Die Liebe der Danae, and The Mastersingers of Nuremberg) include Galina Vishnevskaya, Margaret Curphey, Carol Neblett, Arlene Saunders, and Montserrat Caballé, conducted by Otto Klemperer, Julius Rudel, Alexander Gibson, Anton Guadagno, Reginald Goodall, and Charles Mackerras. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Was wäre, wenn Gustav Mahler, Richard Strauss oder Hugo Wolf für A-cappella-Chor komponiert hätten? Wenn sie die Möglichkeiten moderner Chortechnik gekannt hätten? Diese Frage stellte sich Clytus Gottwald - und erschuf daraus ein faszinierendes neues Repertoire. Morgen Abend würdigt das SWR Vokalensemble seinen hundertsten Geburtstag mit einem Konzert in der Evangelischen Kirche Gaisburg. Eine musikalische Zeitreise in die Klangwelt des Fin de Siècle - neu gedacht für Chor. Eva Pobeschin über die Transkriptionen von Clytus Gottwald.

These days I find myself in a pensive, troubled state, very much in need of the kind of consolation that only music can provide. A number of years ago, I published a pair of episodes featuring the sublime Margaret Price performing music of mourning and consolation. Today's episode presents an expanded and refurbished version of the second of those episodes, in a program composed entirely of art song, moving through a sequence of emotions surrounding loss. Composers include Johannes Brahms, Giuseppe Verdi, Robert Schumann, Enrique Granados, Franz Schubert, Grace Williams, Sergei Rachmaninov, Felix Mendelssohn, Philip Cannon, Hugo Wolf, Alban Berg, Maurice Ravel, Franz Liszt, Peter Cornelius, and Richard Strauss, and collaborating pianists and conductors include Claudio Abbado, Wolfgang Sawallisch, Cyprien Katsaris, Geoffrey Parsons, and Neville Marriner, as well as frequent collaborators James Lockhart and Thomas Dewey. A thorough traversal of the song repertoire by one of the supreme recitalists of the late 20th Century. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

In February our beloved Elly Ameling turns 92. I cannot think of another classical singer who recorded more Christmas albums over the course of her career. One of the most obscure of these is the 1980 release “Christmas with Elly Ameling,” which was briefly available on LP, but never re-released in any format. I present it to you here complete, albeit reordered. A highlight is her performance of the delightful “Weihnachtslieder” by the German romantic composer Peter Cornelius, accompanied by Dalton Baldwin. Also included are works by Alphons Diepenbrock, Hugo Wolf, Alessandro Scarlatti, Richard Strauss, and Max Reger. That record is supplemented by excerpts from two of her earliest recordings, 1960's “A Christmas Fantasy,” alongside Countermelody favorite Bernard Kruysen; and 1963's “Christmas Music of the Renaissance.” Also included are a Haydn Advent cantata and two traditional Spanish carols 1977's “Christmas Songs from Europe,” arranged by Joaquín Nin; rounded off by two exquisite Bach selections from an even rarer Elly recording, a 1979 festive Christmas concert at the Grote Kerk in Monnickendam. All of these represent Elly Ameling at her charming and exquisite best and are sure to put even the Scroogiest of my listeners in the Christmas spirit. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Last week on July 25th, the music world was saddened by the death of the Cornish baritone Benjamin Luxon at the age of 87. I began collecting recordings of this exceptional artist a few years ago with the intention of producing an episode in his honor at some point. Here is that episode, albeit a posthumous effort now. In an episode I produced in the first few months of Countermelody in 2019, I featured the French baritone Gérard Souzay and called him “a modern troubadour.” There are very few singers of recent years to whom one could accurately apply that appellation, but Ben Luxon is emphatically one of them. Music and words simply flowed out of him, and he sang with equal aplomb in an extraordinary number of different styles: opera, oratorio, art song, Broadway, crossover, and, perhaps most immediately and delectably, folk. In opera alone his range was exceptional, covering key roles in Mozart, Verdi, Tchaikovsky, Wagner, Berg, and Britten, who wrote the title role of his television opera Owen Wingrave expressly for Luxon. In song as well he covered a vast array of repertoires, including Russian, German, and British (including Victorian ballads), including, again, many contemporary composers. Luxon's career hit a snag in the late 1980s, when he first began experiencing hearing loss which eventually resulted in him putting a stop to his singing career. But he hardly retired: moving to the Berkshires, he became actively involved in the artistic life of the region, and founded a theatre troupe, the Sandisfield Players, while continuing to give poetry readings and spoken word performances. The program today attempts to recreate his profound versatility, and range from folk song to pop song; from orchestral song cycles to world premiere creations; art songs by Hugo Wolf, Mussorgsky, George Butterworth, Schubert, and John Ireland; to late career narration and poetry projects. Collaborators include artists such as Benjamin Britten, Bill Crofut, Galina Vishnevskaya, Leonard Bernstein, Robert Tear, Janet Baker, Seiji Ozawa, Ileana Cotrubaș, Jill Gomez, Klaus Tennstedt, Mstislav Rostropovich, and his most frequent recital collaborator, pianist David Willison. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Pianist Claar ter Horst is a renowned expert on German Lieder, with a special focus on the music of Robert Schumann and Hugo Wolf. Her impressive career includes collaborations with legendary German singers like Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf. Who better to delve into the rich tradition of German Lieder than Claar ter Horst?In Part 1, we explore what sets the German singing tradition apart from those of other countries, using France as a point of comparison. Claar shares her experiences working with Fischer-Dieskau and Schwarzkopf, discussing their unique perspectives on music, singing, and their work ethic. She highlights both the similarities and differences between these iconic artists, offering insights into what it was like to collaborate with them. We also dive into Claar's deep passion for the songs of Robert Schumann, a composer whose work she holds dear. Finally, we unpack a profound quote from Claar's website: “In my view, the creative process is essential: working diligently, refining like a diamond, achieving freedom like a bird, listening with all your senses, and, above all, being amazed like a child.”[For Subscribers] Part 2 opens with a fascinating family anecdote: Claar's grandfather attended the premiere of Mahler's 5th Symphony, where conductor Willem Mengelberg asked him to delay the train to allow the Concertgebouw Orchestra to play an encore. What a remarkable family legacy! We then continue our discussion on teaching and learning, with Claar emphasizing her belief that dedication and hard work can help students overcome any lack of innate talent or instinct for phrasing.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Avui hem sentit: "Italianisches Liederbuch" (selecci

Avui hem sentit: "Die Stimme des Kindes"; Serenata italiana; "Goethe Lieder" (selecci

Avui hem sentit: "Goethe Lieder" (selecci

Avui hem sentit: "Lenau Lieder" (selecci

Avui hem sentit: Quartet de corda en re menor. Hugo Wolf (1860-1903)

Der Münchner Pianist und "Musikdurchdringer" Jürgen Plich stellt jeden Dienstag um 20 Uhr große klassische Musik vor. Er teilt seine Hör- und Spielerfahrung und seine persönliche Sicht auf die Meisterwerke. Er spielt selbst besondere, unbekannte Aufnahmen, erklärt, warum die Musik so und nicht anders klingt und hat eine Menge aus dem Leben der Komponisten zu erzählen. Sonntags um 10 Uhr in der Wiederholung.

Völlig  überraschend hat Richard Schmitz einen Eindruck vom gestrigen Liederabend im Konzerthaus geschickt. Konstantin Krimmel sang begleitet von Wolfram Rieger Lieder von Carl Loewe, Hugo Wolf und Franz Schubert. Ein Ereignis!

This week's episode is unusual because 4 musicians are featured, the members of the Euclid Quartet. They are a world-class string quartet celebrating their 25th anniversary with a fantastic album of short pieces, entitled Breve, and we are featuring several pieces from that album as part of this episode. Breve album: https://breve.hearnow.com/ You'll get to know each member of the quartet, which is in residence at Indiana University South Bend: Jameson Cooper, violinist and founding member originally from England; you'll hear about his experiences as a student of Dorothy Delay, and Roland and Almita Vamos. He also talked about the formative years of the quartet and the nuts and bolts of learning repertoire. The other violinist in the quartet is Aviva Hakanoglu, who holds degrees from Harvard, Indiana University and Stony Brook university and was a student of Philip Setzer, and it was really interesting to hear about her experience auditioning for the quartet and her perspectives on community outreach and as an educator. Violist Luis Enrique Vargas is a long-time member of the Euclid quartet, and started his life in music in Venezuela at the age of 14, and spoke about introducing Latin American composers to his colleagues. Finally cellist Justin Goldsmith is the newest member of the quartet. When he was completing his Master's degree at Indiana University he formed the Vera quartet which held residencies at both IU and the Curtis Institute of Music, where he was also a Community Artist Fellow. I was curious to learn more about the many roles the quartet plays in their capacities as performers, educators and collaborators, and to hear them speak about the special joys and challenges of being members of a full-time quartet.   Like all my episodes, you can also watch this on my YouTube channel, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/euclid-quartet Euclid Quartet website: https://www.euclidquartet.com/biography Please support this independant podcast! https://ko-fi.com/leahroseman Did you know that I send out a weekly email newsletter with Sneak Peeks of upcoming guests and lots more? Sign-up here: https://mailchi.mp/ebed4a237788/podcast-newsletter Timestamps:  (00:00) Intro (04:46) Jameson Cooper, getting into chamber music, putting the album Breve together (08:12) Luis Enrique Vargas Latin Amercian composers (10:07) Metro Chabacano by Javier Alvarez (14:05) American Masterpieces grant, diversity of representation in programming, youth outreach (16:50) the career of a string quartet incorporating outreach and education, Rehearsing Philadelphia (21:22) intro to Italian Serenade, Aviva on the challenge of recording (22:29) excerpt from Italian Serenade by Hugo Wolf (23:45) rehearsal process (25:20) Jameson the early years of the Quartet, Aspen (29:58) James Cooper studies with Dorothy DeLay, Roland and Almita Vamos, Masao Kawasaki (33:45) intro to Shostakovich Polka (36:18) Shostakovich Polka (36:16) Aviva audition experience joining the quartet (42:18) Aviva's advice for dealing with nerves (43:40) orchestral auditions and chamber music auditions, Jameson Cooper's experience as a conductor (47:48) please support this series!  (48:27) Luis conducting project, his love of whistling (51:55) Aviva intro to Four, for Tango  (53:22) Four, for Tango by Astor Piazzolla from live performance (58:23) Hugo Kauder (01:00:56) Luis Enrique Vargas how he became a violist  (01:03:15) Justin Goldsmith experience of joining the quartet (01:04:48) Schubert Quartettsatz Jameson Cooper (01:07:28) excerpt from Schubert's Quartettsatz (01:09:00) importance of chamber music in music education (01:12:23) Anna Clyne Fischoff Quarter Days (01:13:54) new audiences and different projects (01:20:11) string quartet life (01:26:26) Aviva Hakanoglu on teaching (01:28:54) the advantages of variety and versality for performers  --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Our guest today, Michael Brofman, was seriously injured during undergraduate school. He tried various teachers and received much medical advice - some of which included chain smoking! That's not a typo. Stay tuned for that outrageous story.Michael came across Taubman Approach expert Robert Durso. Through lessons with Robert Durso, Michael experienced physical healing and a level of artistic freedom that was almost unimaginable during his academic study.  Today's episode is a story of healing and freedom through the Taubman Approach. www.golandskyinsitute.org Pianist Michael Brofman has earned a reputation as one of the finest vocal accompanists of his generation. He has performed over one thousand songs, from Schubert's earliest lieder to premieres of new songs by today's most-recognized composers. He was hailed by the New York Times as an “excellent pianist” and Feast of Music recently praised his “elegant and refined playing… exhibiting excellent touch and clean technique.”  Parterre Box Blog called Mr. Brofman a “master communicator at the piano,” and Voix des Arts praised his “finesse and flexibility.”  Seen and Heard International recently wrote “Brofman got to the core of each song…delving into their emotional depths.”  Opera News stated “Michael Brofman provided exquisite piano accompaniment.”Highlights from Mr. Brofman's 2023-2024 season include performances of Arnold Schoenberg's Das Buch der Hängenden Gärten with Kate Maroney, Poulenc's Tel Jour, Telle Nuit with Michael Kelly, and repeat or premiere performances of works written for him by Daniel Felsenfeld, Libby Larsen, Jessica Meyer, and Reinaldo Moya.  Mr. Brofman also performs works by Benjamin Britten, Johannes Brahms, Michael Djupstrom, Shawn E. Okempolo, Caroline Shaw, Clara Schumann, Anton Webern, Kurt  Weill, and Hugo Wolf.Mr. Brofman has championed new works and has fostered relationships with many living composers, including Katherine Balch, Lembit Beecher, Tom Cipullo, Michael Djupstrom, Daniel Felsenfeld, Herschel Garfein, Mikhail Johnson, Daron Hagen, Jake Heggie, James Kallembach, Libby Larsen, Lowell Liebermann, David Ludwig, James Matheson, Reinaldo Moya, Harold Meltzer, Russell Platt, Kurt Rohde, Glen Roven, Andrew Staniland, Carlos Simon, and Scott Wheeler. In all, he has premiered over 100 songs, many of them dedicated to him. Mr. Brofman is the founder and artistic director of the Brooklyn Art Song Society, an organization dedicated to the vast repertoire of poetry set to music now in its 14th  season. His first CD New Voices on Roven Records includes four world-premiere recordings and was number one on Amazon's new releases for Opera/Vocal and debuted in the top 10 of the Traditional Classical Billboard Chart.  Since then he has recorded world premiere recordings of Kurt Rohde on Albany Records and Herschel Garfein for Acis Records. An eloquent and passionate advocate for art song, Mr. Brofman has been interviewed by Russell Platt for Opera News, for Caught In the Act on Brooklyn Public Television, on the WQXR radio show Soundcheck, on Seattle KING FM 98.1, and for the Linked Music blog. He also hosts his own internet show Song and Wine.  Mr. Brofman has a reputation as a gifted educator and has presented masterclasses at the University of Chicago, Cornell, Ithaca College, the University of Notre Dame and University of South Carolina. Mr. Brofman holds a bachelor of Music from Northwestern University where he studied with James Giles. There he was awarded the Frida A. Pick Award for Piano and featured on Chicago's classical radio station. Mr. Brofman spent several summers at the Aspen Music Festival as a student of Rita Sloan and continues his studies with Robert Durso. He resides in Windsor Terrace, Brooklyn with his wife

Lange rang Bruckner um die Achte. Sein Wunschdirigent Hermann Levi rümpfte die Nase über das Werk. Drei Jahre verbrachte der Komponist mit Überarbeitungen, geplagt von Depressionen. 1892 wird die Uraufführung in Wien mit Hans Richter am Pult schließlich doch noch zum Triumph. Von Christoph Vratz.

This week (inspired by an 10-inch LP in my collection of his songs performed by Anton Dermota and Wilma Lipp, both stalwarts of the Wiener Staatsoper in the 1950s) I present an introduction to the Lieder of Austrian composer Joseph Marx (1882 – 1964). His songs are most frequently compared to Richard Strauss and Hugo Wolf and are distinctly post-Romantic in style and harmony, but they also exhibit traits unique to their composer. As with so many figures from this period in European history, his legacy is shadowed in controversy, which I discuss at length. In the end, I believe it is his contribution as an inspired composer, particularly of song, for which he should be most remembered. Alongside Lipp and Dermota, some of the other singers heard in the episode include Ljuba Welitsch, Irmgard Seefried, Angelika Kirchschlager, Leontyne Price, Lotte Lehmann, Waldemar Kmentt, John Charles Thomas, Florence Easton, and Arleen Augér. Pianists include Marx himself, as well as Erik Werba and Paul Ulanowsky, both of whom studied with him. If you only know one or two of Marx's songs (or if you don't know his work at all), you are in for a glorious surprise! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Memory, psychology, and text painting intersect as we celebrate Hugo Wolf's moving Mignon Lieder with text by Goethe. How do you portray a character's inner world of turmoil and recollection? That's what I'll discuss with two wonderful guests: renowned pianist Martin Katz and mezzo-soprano Dr. Sahoko Timpone. Our featured recording is “Kennst du das Land?” Meet the Artists: Martin Katz Sahoko TimponeNatalie Sherer Check out the original text with English Translation (via LiederNet).

Un día como hoy, 13 de marzo: Nace: 1825: Hans Gude, pintor noruego (f. 1903). 1860: Hugo Wolf, compositor austriaco (f. 1903). 1870: William Glackens, pintor estadounidense (f. 1938). 1941: Mahmud Darwish, poeta y escritor palestino (f. 2008). 1952: Wolfgang Rihm, compositor alemán. Fallece: 1918: César Cui, compositor y crítico ruso, uno de los Cinco (n. 1835). 1996: Krzysztof Kieślowski, cineasta y guionista polaco (n. 1941). Conducido por Joel Almaguer. Una Producción de Sala Prisma Podcast. 2023

Un día como hoy, 22 de febrero. Nace: 1788: Arthur Schopenhauer, filósofo alemán (f. 1860). 1886: Hugo Ball, escritor y poeta dadaísta alemán (f. 1927). 1900: Luis Buñuel, cineasta español (f. 1983). 1972: Rolando Villazón, cantante mexicano. Fallece: 1903: Hugo Wolf, compositor austriaco (n. 1860). 1942: Stefan Zweig, escritor austriaco (n. 1881). 1980: Oskar Kokoschka, artista austríaco (n. 1886). 1987: Andy Warhol, artista estadounidense de pop-art (n. 1928). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Sich ein Leben lang verstanden fühlen, ohne große Erklärungen. Ein Hoch auf die Freundschaft. Diese Musikstücke hast Du in der Folge gehört: Dionne Warwick & Friends - "That's What Friends Are For" // Georges Bizet - Duett aus "Die Perlenfischer" // Hugo Wolf - "Der Freund" // The Beatles - "With A Little Help From My Friends" // Denniece Williams - "That's What Friends Are For" // Wenn Du eine Idee oder einen Wunsch hast, zu welchem Thema Philipp unbedingt eine Playlist zusammenzimmern muss, dann schreib ihm ebenso eine Mail: playlist@ndr.de.

Vuelve un clásico a Conocimientos Musicales. Sabemos que estas historias os encantan, o al menos nos encantan a nosotros y por eso seguimos contándolas en nuestros programas. Esta es la historia de Hans Rott, un músico austriaco contemporáneo a Mahler, Hugo Wolf, Bruckner y Brahms cuya relación con cada uno de estos personajes nos permite descubrir una parte de una biografía apasionante. Hans nació, en unas circunstancias particulares, en un suburbio de Viena, y fue compañero de estudios de Mahler y Wolf. Su muerte a los 25 años terminó fulminantemente una carrera llamada a lo más alto, pero la influencia que tuvo sobre sus antiguos colegas es, como poco, brutal. En este programa, os hablaremos de Hans Rott, un genial compositor olvidado por casi todo el mundo musical pero no por ello menos importante. Os prometemos que, tras este podcast, no volveréis a escuchar la Primera Sinfonía de Mahler de la misma forma.

Joseph Karl Benedikt Freiherr von Eichendorff (Castillo de Lubowitz, Alta Silesia, 10 de marzo de 1788 - Neisse, 26 de noviembre de 1857) fue un poeta y novelista alemán. Muchos de sus poemas fueron adaptados por compositores de la talla de Robert Schumann, Felix Mendelssohn-Bartholdy, Johannes Brahms, Hugo Wolf, Richard Strauss, Friedrich Nietzsche, Hans Pfitzner o Alexander von Zemlinsky.

Joseph Karl Benedikt Freiherr von Eichendorff (Castillo de Lubowitz, Alta Silesia, 10 de marzo de 1788 - Neisse, 26 de noviembre de 1857) fue un poeta y novelista alemán. Muchos de sus poemas fueron adaptados por compositores de la talla de Robert Schumann, Felix Mendelssohn-Bartholdy, Johannes Brahms, Hugo Wolf, Richard Strauss, Friedrich Nietzsche, Hans Pfitzner o Alexander von Zemlinsky.

Es sind hauptsächlich Klavierlieder, die wir mit dem Namen Hugo Wolf verbinden. Dabei hatte Wolf ein anderes Feld, auf dem er sich viel lieber bewiesen hätte: die Oper. Was ihm freilich nicht recht gelungen ist. An diesem Scheitern ist Wolf schließlich auch zerbrochen. Vor allem war es aber auch eine Krankheit, die ihn in den Wahnsinn getrieben hat...

DescriptionAnton Bruckner was extremely critical of his own work and often reworked his compositions. One such perplexity was his Symphony No. 0. Or was it? Take a minute to get the scoop!Check out Bruckner's Symphony in D minor℅ Frankfurt Radio Symphony | Paavo Järvi (YouTube) Fun FactUnlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed extreme humility before other musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his life in a way that gives a straightforward context for his music. Hans von Bülow described him as "half genius, half simpleton". Bruckner was critical of his own work and often reworked his compositions.About Steven, HostSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more. Member of the Canadian League Of Composers.You can FOLLOW ME on Instagram.

Edward Leonard conducts the Chamber Orchestra of Pittsburgh with Jennifer Roig Francoli playing Vivaldi's Four Seasons plus Grieg and Hugo Wolf's Italian Serenade at Rodef Shalom's Levy Hall Saturday June 4th at 7pm. Executive Director Andrew Swenson joins Jennifer and Maestro Leonard to talk with Jim Cunningham about her teachers Josef Gingold and Nathan Milstein and introduce her new cd with music by Bach, Enesco, and Fritz Kreisler.

durée : 00:57:50 - Disques de légende du mardi 31 mai 2022 - Aujourd'hui dans Disques de légende, nous écoutons Italienisches Liederbuch (Le livre des lieder italiens) du compositeur Hugo Wolf, par Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau et Gerald Moore. Un disque EMI de 1969.

This week's episode is a musical celebration of all things spring. As in all episodes of this sort, it features a wide range of singers in performances recorded over the course of many decades, all singing about the delights (and sometimes the heartbreak) of spring. Artists include Carmen McRae, Beniamino Gigli, Elisabeth Söderström, Helen Morgan, Leontyne Price, Judy Collins, Eartha Kitt, Emma Calvé, Eileen Farrell, Kaye Ballard, Gérard Souzay, Patricia Neway, and Edith Piaf, among many others, singing songs of Tommy Wolf, Fran Landesman, Georges Auric, Hugo Wolf, Lerner and Loewe, Dietrich Buxtehude, Alec Wilder, and Paolo Tosti. A vernal feast for the ears! The Countermelody podcast is devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Mit Mitte 20 schreibt Grieg sein berühmtes Klavierkonzert. Frisch verheiratet und gerade Vater geworden sprüht das Werk vor Euphorie und fasziniert mit seinem Mix aus deutscher Romantik und norwegischer Folklore. (Autor: Michael Lohse) Von Michael Lohse.

It's time for my third annual Christmas show! Can you believe that Countermelody has been around that long already? This year I am reviving last year's theme, Christmas-themed art songs, but with all-new material this time around as sung by some of my very favorite singers, including Elly Ameling, Teresa Berganza, Norman Bailey, Irmgard Seefried, Lois Marshall, Benjamin Luxon, Jennie Tourel, Jorma Hynninen, Janet Baker, Peter Schreier, Sarah Walker, and many, many more. It's an absolutely chock-full episode which focuses upon seasonal songs by Hugo Wolf, Joaquín Nin, Richard Strauss, Peter Warlock, Paul Hindemith, Peter Cornelius, Joaquín Rodrigo, and Maurice Ravel, among others. Attention is devoted to many of the characters in the original Christmas story: the Virgin Mary, the Shepherds, the Magi, and the Baby Jesus himself, while also not neglecting songs that address the less joyous aspects of the holiday season. I guarantee that your spirits will be uplifted, however, when Lotte Lehmann “drops in” to recite two of the poems from Rainer Maria Rilke's Marienleben cycle. In addition, the episode begins with a tribute to Justino Díaz, who this past week received a Kennedy Center Honor. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.  

a cura di Vic White - la perfetta fusione di parole e musica: Hugo Wolf e i suoi poeti

a cura di Vic White - la perfetta fusione di parole e musica: Hugo Wolf e i suoi poeti

In ihrem neuen Programm nehmen Thilo Dahlmann (Bassbariton) und Doriana Tchakarova (Klavier) das Publikum mit auf eine Wanderung: durch reale und imaginäre Landschaften, durch persönliche Lebensgeschichten und musikalische Epochen. Wir hören von Elfen, Geistern und Göttern und machen außerdem einen musikalischen Ausflug nach England. Hugo Wolf, Franz Schubert, Ralph Vaughan Williams und Carl Loewe sind die Komponisten des Liederabends.

Death has had a busy month in the music world, especially this past week, when we lost the great British Heldenbariton Norman Bailey and the delectable Hollywood star Jane Powell. This past week was also the memorial service for the soprano Carmen Balthrop, who died of pancreatic cancer on September 5. My original intent was to devote the episode to Norman Bailey, but when Jane (with whom I had a personal relationship, having been her late husband Dick Moore's personal assistant from 2009-2012) also died, I realized I had to do an omnibus episode of sorts. I begin with several selections each from both of the recently departed divas and then plunge headlong into an appreciation of the voice, technique and artistry of the great Norman Bailey, featuring him in opera excerpts not just by Wagner, in whose music he excelled, but also by Verdi, Richard Strauss, and Michael Tippett. He is also featured in recordings from the 1970s of songs by Schumann, Brahms, Hugo Wolf, and Peter Warlock. The episode concludes with a tribute to Maria Callas on the 44th anniversary of her death on September 16, 1977. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

Die Mezzosopranistin Anna Lucia Richter ist am 19. Juli im ARD-Radiofestival zu erleben – in einem Mitschnitt vom Festival Heidelberger Frühling. „In dem Garten meiner Seele“ lautete der Titel des Konzerts, bei dem sie Lieder von Gustav Mahler, Johannes Brahms, Henri Marteau und Hugo Wolf sang und vom Schumann Quartett begleitet wurde. Doris Blaich hat mit Anna Lucia Richter über das Programm des Konzerts gesprochen.

durée : 00:58:33 - Le van Beethoven du vendredi 18 juin 2021 - par : Aurélie Moreau - réalisé par : Vivian Lecuivre

Kaks saksa ooperistaari, sopran Diana Damrau ja tenor Joonas Kaufmann on koos pianist Helmut Deutschiga salvestanud albumi Hugo Wolfi harvaesitatavast Itaalia lauluraamatust. 31. mail on Diana Damrau juubelisünnipäev.

On today’s date in 1887, readers of the Wiener Salonblatt, a fashionable Viennese weekly artspaper, could enjoy the latest critical skirmish in the Brahms-Wagner wars. At the close of the 19th century, traditionalist partisans of the Symphonies, Sonatas, and String Quartets of Johannes Brahms rallied around the conservative Viennese music critic, Eduard Hanslick. In the opposing camp were equally passionate admirers of the music dramas of Richard Wagner and the symphonic tone poems of Frans Liszt, works this camp defined as “the music of the future.” The April 17, 1887 edition of the Wiener Salonblatt contained a review of a chamber music program presented by the Rosé Quartet, Vienna’s premiere chamber ensemble in those days. Here’s what the critic had to say: “What was provided on this occasion was not to our taste: Brahms–no small dose of sleeping powder for weak nerves. Such programming reeks of lethal intent and should really be forbidden by the police!” That review was penned by Hugo Wolf, these days more famous as a composer than as a music critic, and regarded one of the greatest song composers of the 19th century after Schubert, Schumann—and Brahms!

Dear listeners, it is Easter Sunday. While we are strictly non-sectarian at Countermelody, I did want to offer a program of spring favorites to welcome in the earth’s rebirth. (I also had to scramble to create a “filler” episode due to having lost two days of work this week after receiving my first jab on Wednesday.) Hence today’s offering: a Blumenstrauss of songs celebrating the beloved season of spring. I decided to limit today’s selections exclusively to song, omitting opera, operetta, and oratorio, but somewhat arbitrarily including songs from musicals amidst the classical and pop offerings. Even so, what a lineup of stars today: everyone from Mabel Mercer to Jan DeGaetani, from Hans Hotter to Dionne Warwick, from Georgia Brown to Roberta Alexander, from Kirsten Flagstad to Gordon MacRae. We hear composers ranging from Alec Wilder to Franz Schubert, from Milton Babbitt to Burt Bacharach, and from Hugo Wolf to Tom Lehrer. May these songs and songsters help us to welcome in the long-awaited spring! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

In Psychosen finden Künstler und Musiker zu größter Kreativität. Davon zeugen zahlreiche Schicksale wie etwa von Robert Schumann, Friedrich Smetana oder Hugo Wolf, die das Ende ihres Lebens in psychiatrischen Einrichtungen verbrachten. BR-KLASSIK-Autor Florian Heurich hat sich gefragt, ob das wahnsinnige Genie nur ein Klischee der Romantik ist oder ob es wirklich einen Zusammenhang zwischen einer psychischen Störung und kompositorischer Kreativität gibt.

Un día como hoy, 13 de marzo: Nace: 1825: Hans Gude, pintor noruego (f. 1903). 1860: Hugo Wolf, compositor austriaco (f. 1903). 1870: William Glackens, pintor estadounidense (f. 1938). 1941: Mahmud Darwish, poeta y escritor palestino (f. 2008). 1952: Wolfgang Rihm, compositor alemán. Fallece: 1918: César Cui, compositor y crítico ruso, uno de los Cinco (n. 1835). 1996: Krzysztof Kieślowski, cineasta y guionista polaco (n. 1941). Una Producción de Sala Prisma Podcast. 2021

Il 13 marzo 1860 nasce a Windischgrätz (oggi Slovenj Gradec) Hugo Wolf. Alessandro Macchia lo racconta a WikiMusic

Un día como hoy, 22 de febrero. Nace: 1788: Arthur Schopenhauer, filósofo alemán (f. 1860). 1886: Hugo Ball, escritor y poeta dadaísta alemán (f. 1927). 1900: Luis Buñuel, cineasta español (f. 1983). 1972: Rolando Villazón, cantante mexicano. Fallece: 1903: Hugo Wolf, compositor austriaco (n. 1860). 1942: Stefan Zweig, escritor austriaco (n. 1881). 1980: Oskar Kokoschka, artista austríaco (n. 1886). 1987: Andy Warhol, artista estadounidense de pop-art (n. 1928). Una producción de Sala Prisma Podcast. 2021

En clave de Dios (CXXXVI): 'Maese Pérez el organista' (Bécquer). Selección de obras religiosas de Navidad Último programa del año en el que leemos varios fragmentos de la leyenda sevillana 'Maese Pérez el organista' de Gustavo Adolfo Bécquer, terminando así las conmemoraciones por el 150 aniversario del fallecimiento del escritor romántico español. En torno a esta narración, escuchamos una selección de obras religiosas relacionadas con la Navidad pertenecientes a autores anónimos (Canto de la Sibila), Mateo Flecha el Viejo, Sebastián Durón, Michael Praetorius, Marc Antoine Charpentier y Hugo Wolf.

In preparation for the upcoming holiday, this week I offer a cross-section of art songs and arrangements of folk songs, not only from Germany, which is the epicenter of the Christmas Lied, but also France, Norway, the United States, Finland, England, and Spain The performers, recorded between 1927 and 2010, include Ernestine Schumann-Heink, Régine Crespin, Hermann Prey, Claudia Muzio, Elly Ameling, Marian Anderson, Ian Partridge, Karl Erb, Wolfgang Anheisser, Jan DeGaetani, Jorma Hynninen, Bernarda Fink, Olaf Bär, Susan Dunn, Kathleen Ferrier, and Bernard Kruysen, among many others, in songs by composers including, in part, Johannes Brahms, Joaquín Nin, Hugo Wolf, Peter Warlock, Claude Debussy, Charles Ives, and Paul Hindemith. The episode features several performances by my teacher, the esteemed accompanist John Wustman, who on Christmas Day celebrates his 90th birthday. Links to my 2019 Christmas episodes: Episode 13: Christmas with the Tenors (including everyone from Fritz Wunderlich to Georges Thill to Roland Hayes): www:countermelodypodcast.com/episode-13-christmas-with-the-tenors Episode 14: Christmas Potpourri (including my choices for the six most depressing pop Christmas songs ever!):  www.countermelodypodcast.com/episode-14-christmas-potpourri-ii-hard-try Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available, including a new extra episode further exploring today’s topic.

Kalm met Klassiek is jouw dagelijkse klassieke rustpunt. Na een paar dagen focussen op de ademhaling, ga je vandaag gewoon even lekker luisteren en ontspannen. En niet naar zomaar iemand: zanger Thomas Hampson laat je het mooie lied ‘Anakreons Grab' van de Oostenrijkse componist Hugo Wolf horen. Om bij weg te dromen.

durée : 00:24:56 - Humperdinck "Hansel et Gretel" - par : Anne-Charlotte Rémond - A travers son adaptation en opéra du fameux conte des Frères Grimm, Engelbert Humperdinck réunit Richard Strauss, Hugo Wolf et Richard Wagner. - réalisé par : Philippe Petit

Trotz enorm erschwerter Bedingungen für die Organisatoren der Hugo-Wolf-Akademie Stuttgart konnten am 4. Oktober in der Stuttgarter Musikhochschule die Preisträger des 12. internationalen Wettbewerbs für Liedkunst gekürt werden. Wir haben das Finale mitverfolgt und mit Beteiligten gesprochen.

Avec Martine Dumont Mergeay, La Libre Belgique Claude Jottrand, Forumopera.com Gaetan Naulleau, Musicologue Rendez-vous sur le blog de la Table d'écoute

For the first of my Black History Month episodes back in February, I did a program featuring the extraordinary artist Muriel Smith, who in 1943, while still a student at the Curtis Institute in Philadelphia, created the title role in Oscar Hammerstein II’s Carmen Jones, which used George Bizet’s opera as the springboard for a hybrid musical featuring an all-Black cast. After several other Broadway appearances (including in a revival of Marc Blitzstein’s The Cradle Will Rock, Muriel Smith moved to London, where she was featured in the “exotic” roles in the London premieres Rodgers and Hammerstein’s South Pacific and The King and I. For several years she was the toast of London, appearing on records, on radio, on television, and in concert, as well as singing Bizet’s gypsy in performances of Carmen at Covent Garden in 1957. Most of the currently extant examples of Smith’s singing are of popular music, which she performed with her unique blend of bel canto precision and pinpoint interpretive accuracy. I have recently gotten my hands on numerous rare 78s of Smith’s mid-1950’s pop records, as well as her 1953 EP, I’m in the Mood for Love, all of which are featured on this episode. I also share examples of her famous turns in musicals, capped with a rare recording of her singing Hugo Wolf’s “Nimmersatte Liebe.” Two excerpts from her 1955 Songs of Christmas 45 render this episode a veritable Christmas in July celebration! Musical guest stars include, among others, Marc Blitzstein, Georges Auric, Harvey Fuqua, Auyar Hosseini, Franz Waxman, Luther Saxon, Martin and Blane, Julian Bream, and the extraordinary Angela Morley. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.

Few singers have more affected my life in a more fundamental way than the great Janet Baker. This episode seeks to pay humble tribute to that exceptional artist. I have sought long and hard to find repertoire and performances that my listeners might not have heard before. While this is not an exhaustive survey (methinks a second JB episode is lurking around the corner), I do touch on many of the cornerstones of her repertoire, including Ralph Vaughan Williams, Franz Schubert, Johannes Brahms, Johann Sebastian Bach, George Frideric Handel, Christoph Willibald Gluck, Gabriel Fauré, Dominick Argento, and Gustav Mahler. I also feature composers less often associated with her, including Edvard Grieg, Pyotr Il’yich Tchaikovsky, Hugo Wolf, and Peter Aston. Her musical collaborators represented in the episode include Martin Isepp, Paul Hamburger, Josef Krips, Rafael Kubelik, Colin Davis, Geoffrey Parsons, Anthony Lewis, and Michael Tilson Thomas, among others. I present to you The High Priestess of Song. (I also pay passing tribute to the Swedish mezzo-soprano Kerstin Meyer, who died this past week at the age of 92, and Dusty Springfield, whose 81st birthday we celebrated posthumously this week.) Countermelody is a podcast devoted to the glories of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your support at whatever level you can afford.

Muusikateadlane Tiia Järg sirvib oma märkmeid kultuuriloost.

Življenjsko zgodbo Huga Wolfa lahko primerjamo z življenjsko zgodbo Wolfganga Amadeusa Mozarta. Oba sta se rodila v glasbenih družinah, pri obeh je imel odločilno vlogo pri vzgoji in na njuni glasbeni poti oče, oba sta imela popoln posluh in sta nastopala že kot otroka. Žal je usoda hotela, da sta imela tudi podobno tragično življenjsko zgodbo – oba sta umrla v revščini, bolna in brez ugleda, ki bi si ga brez dvoma zaslužila že za življenja. Danes sta oba simbola mest, v katerih sta se rodila – Salzburga in Slovenj Gradca. Rojstno hišo slovenskega Mozarta Huga Wolfa je v oddaji Sledi časa ob 160. obletnici slovenskega skladatelja obiskal Jure K. Čokl.

Muusikateadlane Tiia Järg sirvib oma märkmeid kultuuriloost.

durée : 00:24:56 - Humperdinck "Hansel et Gretel" - par : Anne-Charlotte Rémond - A la découverte d'un magnifique opéra pour les enfants inspiré du conte des frères Grimm. Une oeuvre charmante et fantastique à souhait qui réunit Engelbert Humperdinck, Richard Strauss, Hugo Wolf ou encore Richard Wagner. - réalisé par : Philippe Petit

V soboto zvečer je bila slavnostna akademija v Slovenj Gradcu ob 160 letnici skladatelja Huga Wolfa, slavnostni govornik je bil muzikolog Matjaž Barbo. S celovečercem Sladki rekviem se v ljubljanskem Cankarjevem domu drevi začenja 14. Festival gorniškega filma. Letošnjo 250-letnico rojstva nemškega skladatelja Ludviga van Beethovna bo počastil tudi 68. Ljubljana festival.

For her latest Signum Classics album, ‘The Divine Muse', the soprano Mary Bevan has chosen a programme of Franz Schubert and Hugo Wolf, and at its heart, Joseph Haydn's scena Arianna a Naxos. She explores the project with James Jolly.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Angel Voice". The Marsh Chapel Choir sings “Schlafendes Jesukind" by Hugo Wolf and "Ding dong! merrily on high" arr. by Mack Wilberg along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Angel Voice". The Marsh Chapel Choir sings “Schlafendes Jesukind" by Hugo Wolf and "Ding dong! merrily on high" arr. by Mack Wilberg along with service music and hymns.

Kaks saksa ooperistaari, sopran Diana Damrau ja tenor Joonas Kaufmann on koos pianist Helmut Deutschiga salvestanud albumi Hugo Wolfi harvaesitatavast Itaalia lauluraamatust. (Erato 2018)

Kaks saksa ooperistaari, sopran Diana Damrau ja tenor Joonas Kaufmann on koos pianist Helmut Deutschiga salvestanud albumi Hugo Wolfi harvaesitatavast Itaalia lauluraamatust. (Erato 2018)

durée : 01:58:54 - Relax ! du vendredi 27 septembre 2019 - par : Lionel Esparza - Au programme Jordi Savall, le pianiste Andrew Tyson et son nouveau disque, et enfin l'enregistrement légendaire d'un concert d'Elisabeth Schwarzkopf et Wilhelm Furtwängler dans des lieder d'Hugo Wolf... - réalisé par : Antoine Courtin

Concierto/Viernes Temáticos: Clichés musicales: visiones de España (VII). El espíritu del pueblo: Spanisches Liederbuch. José Álvarez Junco. El interés de la Alemania decimonónica por España fue, sobre todo, literario: el teatro áureo y la poesía popular representaban un modelo de libertad para los autores del Romanticismo. En 1852, Emanuel Geibel y Paul Heyse tradujeron una colección de poesías españolas y portuguesas que publicaron con el título de Spanisches Liederbuch. Estos textos llamaron la atención de diversos compositores, pero fue Hugo Wolf quien, de manera más sistemática, se sintió inspirado por estas poesías, hasta el extremo de escribir 44 Lieder basados en ellas. Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Es ist der längste Liederzyklus der Musikgeschichte: das italienische Liederbuch von Hugo Wolf, entstanden in den 1890er Jahren. Eineinhalb Stunden dauert eine Aufführung aller 46 Klavierlieder, die meist von einer Sängerin und einem Sänger gesungen werden. Diana Damrau und Jonas Kaufmann sind mit diesen Liedern schon mehrfach live zu hören gewesen. Jetzt ist der Zyklus beim Label Erato auch auf CD erschienen, am Klavier begleitet von Helmut Deutsch.

Si parla di Donatoni a Rondò (e si ascolta uno stralcio di "Hot"). Intervista a Carlo Galante in occasione dei suoi "Racconti di Pioggia e di Luna" (EMA Vinci Contemporanea). Recensioni di "Italienisches Liederbuch" di Hugo Wolf (Damrau, Kaufmann, Deutsch) Warner Classics & Erato e "Adagietto" di Misha Maisky (Deutsche Grammophon).

Si parla di Donatoni a Rondò (e si ascolta uno stralcio di "Hot"). Intervista a Carlo Galante in occasione dei suoi "Racconti di Pioggia e di Luna" (EMA Vinci Contemporanea). Recensioni di "Italienisches Liederbuch" di Hugo Wolf (Damrau, Kaufmann, Deutsch) Warner Classics & Erato e "Adagietto" di Misha Maisky (Deutsche Grammophon).

Laura will be joined an expert panel to discuss the book and its themes; Dr Benjamin Walton (Jesus, Cambridge), Professor Kate McLoughlin (Harris Manchester, Oxford). Chaired by Professor Philip R. Bullock (Wadham, Oxford). In New York and London during World War I, the performance of lieder -German art songs- was roundly prohibited, representing as they did the music and language of the enemy. But as German musicians returned to the transatlantic circuit in the 1920s, so too did the songs of Franz Schubert, Hugo Wolf, and Richard Strauss. Lieder were encountered in a variety of venues and media-at luxury hotels and on ocean liners, in vaudeville productions and at Carnegie Hall, and on gramophone recordings, radio broadcasts, and films. Laura Tunbridge explores the renewed vitality of this refugee musical form between the world wars, offering a fresh perspective on a period that was pervaded by anxieties of displacement. Through richly varied case studies, Singing in the Age of Anxiety traces how lieder were circulated, presented, and consumed in metropolitan contexts, shedding new light on how music facilitated unlikely crossings of nationalist and internationalist ideologies during the interwar period. Laura Tunbridge is Professor of Music and Henfrey Fellow and Tutor, St Catherine's College, at the University of Oxford. Editor of the Journal of the Royal Musical Association from 2013-2018, in 2017 she was elected to the Directorium of the International Musicological Society. Laura’s research has concentrated on German Romanticism, with a particular interest in reception through criticism, performance, and composition. Among her publications are the books Schumann’s Late Style (Cambridge, 2007) and The Song Cycle (Cambridge, 2010). Laura will be joined an expert panel to discuss the book and its themes; Dr Benjamin Walton (Jesus, Cambridge), Professor Kate McLoughlin (Harris Manchester, Oxford). Chaired by Professor Philip R. Bullock (Wadham, Oxford)

With Music by: Wolfgang Amadeus Mozart, Iannis Xenakis, Hugo Wolf, Georg Friedrich Händel, Felix Mendelssohn Bartholdy, Carl Michael Ziehrer, Johann Strauss (Sohn), Josef Strauss

Mit Musik von: Wolfgang Amadeus Mozart, Iannis Xenakis, Hugo Wolf, Georg Friedrich Händel, Felix Mendelssohn Bartholdy, Carl Michael Ziehrer, Johann Strauss (Sohn), Josef Strauss

KINETIC performs works by Hugo Wolf, Grażyna Bacewicz, and a world premiere by Tommy Dougherty.

durée : 00:58:43 - Le Quatuor Zaïde - par : Jean-Baptiste Urbain - **[Quatuor Zaïde](http://quatuorzaide.com/) :** Charlotte Juillard, violon Leslie Boulin Raulet, violon Sarah Chenaf, alto Juliette Salmona, violoncelle {% image 7066568f-057e-4005-8006-c7cfcc50ad2e %} ## Programme musical **César Franck** _Quatuor à cordes en ré majeur I. Poco lento – Allegro II. Scherzo III. Larghetto IV. Finale_ {% embed dailymotion k6wCQXqquzxytmpetTh %} {% embed dailymotion k4gguqAHdldttSpeu0A %} {% embed dailymotion k2gAvmby42eAJ4peuR1 %} {% embed dailymotion k2ewXL9iHfgg43pevU8 %} **Hugo Wolf** _Sérénade italienne en sol majeur_ **_Enregistré en public le lundi 23 octobre au Studio 106 de la Maison de la Radio_** - réalisé par : Laurent Lefrançois

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 29/11/2016, séptima de la 2.ª temporada, dedicada al organista y compositor vienés Hans Rott, el padre olvidado de la nueva sinfonía. Compañero de estudios de Hugo Wolf y Gustav Mahler, representa el eslabón perdido entre Bruckner y Mahler. Su música fue rechazada hasta provocarle una enfermedad mental que hizo que muriera de tuberculosis en un manicomio con apenas 25 años.

Sección del programa de Rpa "La radio es mía" que demuestra que la modernidad es algo que viene de antiguo. Emisión del 29/11/2016, séptima de la 2.ª temporada, dedicada al organista y compositor vienés Hans Rott, el padre olvidado de la nueva sinfonía. Compañero de estudios de Hugo Wolf y Gustav Mahler, representa el eslabón perdido entre Bruckner y Mahler. Su música fue rechazada hasta provocarle una enfermedad mental que hizo que muriera de tuberculosis en un manicomio con apenas 25 años.

"Ich bin Direktor der Hofoper geworden!" - ruft Hugo Wolf lautstark. Austicken würde man das wohl heute nennen, was dem Komponisten am 18. September 1897 widerfährt. An diesem Tag erfährt Hugo Wolf, dass der richtige Direktor der Wiener Hofoper seinen neusten Opernversuch "Manuel Venegas" nicht auf die Bühne bringen will - und endet daraufhin in einer Irrenanstalt.

con Alessandro Solbiati

con Alessandro Solbiati

con Alessandro Solbiati

con Alessandro Solbiati

Lieder von Ludwig van Beethoven, Hanns Eisler, Hugo Wolf, Sergej Rachmaninow, Charles Ives, Franz Schubert, Wolfgang Rihm, Gustav Mahler u.a. | Anna Prohaska (Sopran) | Eric Schneider (Klavier)

1. Elizabeth Schwarzkopf sings Hugo Wolf (1962)  Acc. Felix de Nobel  Morgentau, Das Voeglein, Mausfallen-Spruchlein, Wer rief dich denn,  Nun las uns Frieden schliesen, Die Zigeunerin 2. Theresa Berganza Spanish Songs  (1962)  Acc. Felix Lavilla:        Granados: La Maja Dolorosa (numero uno), El tra la la y el punteado,            La Maja Dolorosa,(numero tres), El Majo Discreto         Rodrigo:   Copillas de Belen         Halffter:   Ay, que linda hermosa                                    DIOS MIO!!!!!!!!!!!!            

“Art taken to its subtlest peak.” – The London Times on Schwarzkopf’s interpretation of the songs of Hugo Wolf. Great Interpreters:  Elisabeth Schwarzkopf Broadcast “live” on Fine Music Radio on 27 July 2007. Also available on iTunes: Dame Elisabeth Schwarzkopf … Continue reading→

Works for voice, piano, and string quartet performed by Jeanine De Bique, soprano; Warren Jones, piano; and the Borromeo String Quartet.Wolf: Six SongsBeethoven: String Quartet No. 3 in D Major, Op. 18, No. 3Some composers distinguish themselves in a single genre: Hugo Wolf, for example, whose brilliant lieder are like mini-monodramas, containing a whole world of feeling in less than two minutes of music. We’ll start with a selection of six of Wolf’s songs. But our main order of business on this podcast is a composer who can’t be bound by one signature form: Beethoven. Though published as number three in his first set of string quartets, the D Major quartet was in fact the first string quartet Beethoven wrote. Beethoven had waited about eight years from the time he arrived on the scene in Vienna before trying his hand at string quartets; some have postulated that this may well have been due to the shadow that his own teacher at the time, Haydn, cast over the form. When Beethoven finally published the set of six quartets from which this piece hails, he did it right. These quartets aren’t yet the work of a revolutionary, but they demonstrate Beethoven’s complete command of the form, and they clearly positioned him as one of its greatest living proponents. It was an important turning point: in 1802, Haydn fell sick. Though he battled his illness for several more years, he wouldn’t live to complete another quartet. The quartet, it seemed, had a new king.

Hugo Wolf, Benjamin Britten and Richard Rodney Bennett - the 2011 Gramophone Classical Music Awards, solo vocal

Curt Carlsson letar guldkorn från förr i Sveriges Radios arkiv. Idag, Hugo Wolf och Italiensk serenad med solisten Bertil Appelbom, viola, Radioorkestern och dirigenten Sten Frykberg från en konsert den 6 oktober 1959. Mer information om programmet på http://www.sverigesradio.se/p2/p2arkiv.

Hugo Wolf hat als Liedkomponist nach dem II. Weltkrieg eine Renaissance erlebt. Dabei lag ihm die Oper noch viel mehr am Herzen.

Music 271: 4/2/07II: The post-Romantic Period and the turn towards the 20th century: the generation of 1860:• Hard to differentiate the Nationalistic composition and composer• Beginnings of another break: divide between composers born before and after 1860:• Hugo Wolf, Gustav Mahler, Eduard MacDowell, Claude Debussy, Horatio Parker, Richard Strauss, Jean Sibelius, Amy Cheney Beach, Scott Joplin: all born in the decade of 1860• Mahler, Debussy, and Joplin were all prophetic• Strauss: Symphonic poems, Opera, Art songs• Mahler - Schoenberg - Weber (evolution)• Ragtime was first form of New Orleans JazzIII: Gustav Mahler (1860-1911): A: Biographical Sketch1. Polka mit einem Trauermarsch als Einleitung (Polka with a funeral march as introduction): Composed at age 5: Composed after the subsequent deaths of 2 of Mahler’s brothers• Born in Czech Republic (Bohemia)• Dysfunctional family• Direct and indirect references to death (Mahler 1 as an example)• 1880’s found Mahler in Vienna Conservatory• Mentors were 4 individuals: Beethoven (Romantic), Schopenhauer - philosopher, R. Wagner, Nietzsche - argued that 2 aspects of human existence: rational and emotional• Melodies proceed from words, as do tonal centers and other elements in the music (Mahler 2: C minor-Eb Major: Death - Resurrection)• Culmination of philosophical beliefs and musical practices that cover the entire 19th century Germanic domainB: His place in music history: C: Place of song in Mahler’s music:• 9 symphonies - 4 include vocal soloists (2,3,4,8)• Many art songs for voice and piano, which were orchestrated later• Kindertotenlieder: Songs on the Deaths of Children (1901-1904): Full Orchestra setting but used like a chamber group

Regine Crespin sings lieder by Hugo Wolf and melodies by Hector Berlioz, Claude Debussy, Darius Milhaud, Francis Poulenc and Manuel Rosenthal. John Wustman, piano. Hunter College, New York City, November 11, 1967.

Mon, 1 Jan 1973 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2533/ http://epub.ub.uni-muenchen.de/2533/1/2533.pdf Wolf, H.; Scheer, Hugo Wolf, H. und Scheer, Hugo (1973): Stereochemistry and chiroptic properties of pheophorbides and related compounds. In: Annals of the New York Academy of Sciences, Vol. 206: pp. 549-567.

Mon, 1 Jan 1973 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2500/ http://epub.ub.uni-muenchen.de/2500/1/06.pdf Wolf, H.; Scheer, Hugo Wolf, H. und Scheer, Hugo (1973): Photochemische Hydrierung von Phäoporphyrinen. 7,8-cis Phäophorbide. In: Liebigs Annalen der Chemie, Vol. 1973: pp. 1710-1740. Biologie

Sat, 1 Jan 1972 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2498/ http://epub.ub.uni-muenchen.de/2498/1/05.pdf Wolf, H.; Scheer, Hugo Wolf, H. und Scheer, Hugo (1972): Unnatürlich konfigurierte Phaephorbide. Photochemische Darstellung von 7,8-cis-mesopyro-methylphaeophorbide a. In: Tetrahedron Letters, Vol. 28: pp. 1115-1118. Biologie

Sat, 1 Jan 1972 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2497/ http://epub.ub.uni-muenchen.de/2497/1/004.pdf Wolf, H.; Scheer, Hugo Wolf, H. und Scheer, Hugo (1972): Unnatürlich konfigurierte Phaeophorbide. Absolute Konfiguration diastereomeren 10-methoxy-7,8-cis mesomethylphaeophorbid a. In: Tetrahedron Letters, Vol. 12: pp. 1111-1114. Biologie

Sat, 1 Jan 1972 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2496/ http://epub.ub.uni-muenchen.de/2496/1/003.pdf Wolf, H.; Scheer, Hugo Wolf, H. und Scheer, Hugo (1972): Stereochemische Untersuchungen an C-10-disubstituierten C-9-Hydroxy-phäophorbiden der a-Reihe. In: Tetrahedron Letters, Vol. 28: pp. 5839-5856.

Fri, 1 Jan 1971 12:00:00 +0100 http://epub.ub.uni-muenchen.de/2495/ http://epub.ub.uni-muenchen.de/2495/1/01.pdf Wolf, H.; Scheer, Hugo Wolf, H. und Scheer, Hugo (1971): Bestimmung der absoluten Konfiguration diastereomerer 9-Desoxo-9-hydroxy-methylphaephorbide der a Reihe. In: Liebig's Annalen der Chemie, Vol. 745: pp. 87-98.