Wolf Lieder Recital
View record and artist detailsRecord and Artist Details
Composer or Director: Hugo (Filipp Jakob) Wolf
Label: Salzburg Festival Edition
Magazine Review Date: 2/1996
Media Format: CD or Download
Media Runtime: 62
Mastering:
Mono
ADD
Catalogue Number: 565749-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Mörike Lieder, Movement: Der Genesene an die Hoffnung |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Elfenlied |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Storchenbotschaft |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Der Knabe und das Immlein |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Nimmersatte Liebe |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Lebe wohl |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Mörike Lieder, Movement: Selbstgeständis |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Wer rief dich denn? |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Nun lass uns Frieden schliessen |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Nein, junger Herr |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Ich esse nun mein Brot |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Du sagst mir |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: O wär' dein Haus durchsichtig |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Schweig einmal still |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Verschling' der Abgrund |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Italienisches Liederbuch, 'Italian Songbook', Movement: Ich hab' in Penna |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Herr, was trägt der Boden hier (trans Heyse) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Trau' nicht der Liebe (trans Heyse) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Bedeckt mich mit Blumen (trans Geibel) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Klinge, klinge, mein Pandero (wds. A. de Ameida, tl) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: In dem Schatten meiner Locken (trans Heyse) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Mögen alle bösen Zungen (trans Geibel) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Sie blasen zum Abmarsch (trans Heyse) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Spanisches Liederbuch, 'Spanish Songbook', Movement: Geh' Geliebter (trans Geibel) |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Eichendorff Lieder, Movement: Die Zigeunerin |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
| Eichendorff Lieder, Movement: Nachtzauber |
Hugo (Filipp Jakob) Wolf, Composer
Elisabeth Schwarzkopf, Soprano Gerald Moore, Piano Hugo (Filipp Jakob) Wolf, Composer |
Author:
The programme opens with a song of which Schwarzkopf made two studio recordings, both of them remaining unpublished. It is also one of the loveliest and most deeply felt: Der Genesene an die Hoffnung, an ode to Hope on recovering from illness, selected by Wolf to come first in his published book of Morike settings. It makes an unforgettable impression here, the sombre ‘hooded’ voice turning quickly to sweetness, then rising in radiant triumph to the end of the verse. Its prayer for forgiveness is heartfelt; the gentle tone of “Mondenhelle” is a moonlit enchantment; and the final phrases compel such emotion in their beauty that ever so slightly and for a split second the filament of sound is endangered. That last detail is one which, in the studio, would have been corrected by another ‘take’, yet I cannot think that anyone hearing this would prefer it to be other than it is.
Most of the items are taken from the Salzburg recital of 1957. It is fascinating to hear how versatile the voice was at that time. In the Italian Songbook selection,O war’ dein Haus durchsichtig wie ein Glas has the lightness and transparency of earlier years, while Du sagst mir, das ich keine Furstin sei (which follows) has strong, defiant low notes, more characteristic of Schwarzkopf’s voice in the 1960s. As for the seven songs from the Morike and Spanish collections which date from the 1963 recital, I very much doubt whether they are identifiable by the sound of the voice. If anything, I find it more youthful: Herr, was tragt der Boden hier (Spanish Songbook), particularly, has quite a notable element of quick vibrato, youthful in itself whether in the tenderness of the penitent questioner’s voice or the compassion of the Saviour’s.
In the quality of recorded sound, the 1963 songs give virtually unalloyed pleasure, whereas about the rest I am not happy at all. A hardness, even an impurity of tone, enters repeatedly – and this was something that never in my experience (which goes from 1948 to 1979) was a feature of Schwarzkopf’s voice. Comparisons with other recordings tell, without exception, the same tale. CompareWer rief dich denn? (which has an element of hardness in the song itself) with the Italian Songbook recording of 1967 (EMI, 12/90): there the tone is its natural self, while on the other disc it is reproduced with a harshness alien to its true quality. Compare Geh, Geliebte (a wonderfully ‘realized’ performance here) with the sound of the DG recording (1966-7; 3/89) of the Spanish Songbook, where the voice has a far truer bloom and warmth. Die Zigeunerin (Eichendorff) can be heard on a Columbia recording from 1965 (EMI, 12/90) or in the 1967 recital at Ascona, recorded ‘unofficially’, on Ermitage: both of those are convincing, authentic Schwarzkopf, without the metallic, overbright edge in the sound on this present CD. If it were not for that, the disc could be recommended as warmly as all the other recitals in which Schwarzkopf sang to the distinguished accompaniment of Gerald Moore. As it is, I would play it selectively, adjusting the controls as ruthlessly as is necessary to correct any distortion of the voice as we already know it, whether from life or from other records such as those mentioned above.
'
Most of the items are taken from the Salzburg recital of 1957. It is fascinating to hear how versatile the voice was at that time. In the Italian Songbook selection,
In the quality of recorded sound, the 1963 songs give virtually unalloyed pleasure, whereas about the rest I am not happy at all. A hardness, even an impurity of tone, enters repeatedly – and this was something that never in my experience (which goes from 1948 to 1979) was a feature of Schwarzkopf’s voice. Comparisons with other recordings tell, without exception, the same tale. Compare
'
Wolf Lieder Recital
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