Wolf Lieder
View record and artist detailsRecord and Artist Details
Composer or Director: Hugo (Filipp Jakob) Wolf
Label: Chandos
Magazine Review Date: 10/1989
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ABRD1366
Tracks:
| Composition | Artist Credit |
|---|---|
| Mörike Lieder, Movement: Erstes Liebeslied eines Mädchens |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Er ist's |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Das verlassene Mägdlein |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Begegnung |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: An eine Aeolsharfe |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Im Frühling |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Agnes |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Der Gärtner |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Gebet |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Heimweh |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon I (Heiss mich nicht reden) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon II (Nur wer die Sehnsucht kennt) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon III (So lasst mich scheinen) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Philine |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon (Kennst du das Land) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Epiphanias |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Die Spröde |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Die Bekehrte |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Hoch beglückt in deiner Liebe |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
Composer or Director: Hugo (Filipp Jakob) Wolf
Label: Chandos
Magazine Review Date: 10/1989
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: CHAN8726
Tracks:
| Composition | Artist Credit |
|---|---|
| Mörike Lieder, Movement: Erstes Liebeslied eines Mädchens |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Er ist's |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Das verlassene Mägdlein |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Begegnung |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: An eine Aeolsharfe |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Im Frühling |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Agnes |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Der Gärtner |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Gebet |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Heimweh |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon I (Heiss mich nicht reden) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon II (Nur wer die Sehnsucht kennt) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon III (So lasst mich scheinen) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Philine |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon (Kennst du das Land) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Epiphanias |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Die Spröde |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Die Bekehrte |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Hoch beglückt in deiner Liebe |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
Composer or Director: Hugo (Filipp Jakob) Wolf
Label: Chandos
Magazine Review Date: 10/1989
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ABTD1366
Tracks:
| Composition | Artist Credit |
|---|---|
| Mörike Lieder, Movement: Erstes Liebeslied eines Mädchens |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Er ist's |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Das verlassene Mägdlein |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Begegnung |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: An eine Aeolsharfe |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Im Frühling |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Agnes |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Der Gärtner |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Gebet |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Heimweh |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon I (Heiss mich nicht reden) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon II (Nur wer die Sehnsucht kennt) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon III (So lasst mich scheinen) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Philine |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Mignon (Kennst du das Land) |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Epiphanias |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Die Spröde |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Die Bekehrte |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Goethe Lieder, Movement: Hoch beglückt in deiner Liebe |
Hugo (Filipp Jakob) Wolf, Composer
Felicity Lott, Soprano Geoffrey Parsons, Piano Hugo (Filipp Jakob) Wolf, Composer |
Author: hfinch
Felicity Lott's most recent Wigmore Hall recital showed her to be ever more relaxed and ever more sharply focused as a Lieder singer; indeed, there is a simplicity and keenness of detail there which can sometimes be lacking at the moment in her stage performances. Recording, too, encourages the same concentration, and in Wolf, in particular she meets her match. In this selection of Morike and Goethe settings, something of that same absorption and deep assimilation which characterized Wolf's encounter with the poets is recreated in Lott's performances.
For An eine Aolsharfe Lotte's warm-breathed legato and long vowels stretch luxuriously in the spacious acoustic of The Maltings, Snape, and, with Geoffrey Parsons at his most supple-fingered and sentient, this is an auspicious start. There seems to be increasingly more substance, both emotional and vocal, in the voice's high crescendos (''Fruhling, ja du bist's!'' peals out thrillingly); yet, when it comes to content's middle way, advocated by Morike the Swabian pastor, Lott is there too, with not a trace of selfconsdousness to mar the simplicity and even tread of Cebet.
For Erstes Liebeslied, and Swabia's other face Lott finds both wit and raciness. She refuses though, to burden Agnes with any emotional overload: where the limping chromatic starkness of the accompaniment says it all, she trims her vibrato to vestigial level, just as she drains all colour from Heimweh, the distracted wandering of its verse so faithfully recreated in Wolf's music.
For Goethe, still more concentrated, and still more probing in imaginative projection, Lott shows herself equal to the task. Her smiling, leisured Epiphanias is neither too studied not too coy: this is truly the vision of a child, down to her nicely calculated whoop of delight at the tall, brown King.
There is a distinctive, seldom detected strangeness and distance in the refrain of her Die Bekehrte: Lott seems to beckon forward the unspoken subtext between the second and third stanzas, just as she instinctively tunes her voice to the uncanny world of Mignon.
Here she gives Goethe's waif considerable stature. In the first song in particular finding a sense of determination, totally without self-pity, which restores an often neglected dimension to this character. Only inKennst du das Land? does this meditative, self-contained persona seem slightly inadequate: a little weakness in the low register contributes to a loss of emotional resonance uncharacteristic of the recital as a whole.'
For An eine Aolsharfe Lotte's warm-breathed legato and long vowels stretch luxuriously in the spacious acoustic of The Maltings, Snape, and, with Geoffrey Parsons at his most supple-fingered and sentient, this is an auspicious start. There seems to be increasingly more substance, both emotional and vocal, in the voice's high crescendos (''Fruhling, ja du bist's!'' peals out thrillingly); yet, when it comes to content's middle way, advocated by Morike the Swabian pastor, Lott is there too, with not a trace of selfconsdousness to mar the simplicity and even tread of Cebet.
For Erstes Liebeslied, and Swabia's other face Lott finds both wit and raciness. She refuses though, to burden Agnes with any emotional overload: where the limping chromatic starkness of the accompaniment says it all, she trims her vibrato to vestigial level, just as she drains all colour from Heimweh, the distracted wandering of its verse so faithfully recreated in Wolf's music.
For Goethe, still more concentrated, and still more probing in imaginative projection, Lott shows herself equal to the task. Her smiling, leisured Epiphanias is neither too studied not too coy: this is truly the vision of a child, down to her nicely calculated whoop of delight at the tall, brown King.
There is a distinctive, seldom detected strangeness and distance in the refrain of her Die Bekehrte: Lott seems to beckon forward the unspoken subtext between the second and third stanzas, just as she instinctively tunes her voice to the uncanny world of Mignon.
Here she gives Goethe's waif considerable stature. In the first song in particular finding a sense of determination, totally without self-pity, which restores an often neglected dimension to this character. Only in
Wolf Lieder
Wolf Lieder
Wolf Lieder
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