Soile Isokoski Bo Skovhus Marita Viitasalo HUGO WOLF (1860–1903) · ITALIENISCHES LIEDERBUCH Lyrics by Paul Heyse

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Soile Isokoski Bo Skovhus Marita Viitasalo HUGO WOLF (1860–1903) · ITALIENISCHES LIEDERBUCH Lyrics by Paul Heyse Hugo Wolf Italienisches Liederbuch Soile Isokoski Bo Skovhus Marita Viitasalo HUGO WOLF (1860–1903) · ITALIENISCHES LIEDERBUCH Lyrics by Paul Heyse CD 1 1 1 Auch kleine Dinge.............................................................................................2:13 2 2 Gesegnet sei, durch den die Welt entstund..........................................................1:32 3 3 Gesegnet sei das Grün........................................................................................1:43 4 4 Ihr seid die Allerschönste weit und breit .............................................................1:38 5 5 Man sagt mir, Deine Mutter woll’ es nicht..........................................................1:11 6 6 Heut’ Nacht erhob ich mich um Mitternacht .....................................................2:03 7 7 O wär’ Dein Haus durchsichtig wie ein Glas ......................................................1:37 8 8 Schon streckt’ ich aus im Bett die müden Glieder ...............................................2:07 9 9 Heb’ auf Dein blondes Haupt ............................................................................2:06 10 10 Mein Liebster singt am Haus im Mondenscheine .............................................1:35 11 11 Ein Ständchen Euch zu bringen kam ich her ....................................................1:15 12 12 Nicht länger kann ich singen............................................................................1:24 13 13 Schweig einmal still .........................................................................................0:59 14 14 O wüsstest Du, wie viel ich Deinetwegen .........................................................1:39 15 15 Wer rief Dich denn?.........................................................................................1:10 16 16 Wie soll ich fröhlich sein und lachen gar? .........................................................1:43 17 17 Du denkst mit einem Fädchen mich zu fangen.................................................1:16 18 18 Geselle, woll’n wir uns in Kutten hüllen ...........................................................2:28 19 19 Verschling’ der Abgrund meines Liebsten Hütte ...............................................1:27 20 20 Nun lass uns Frieden schliessen ........................................................................2:09 21 21 Wohl kenn’ ich Euren Stand.............................................................................2:04 22 22 Wenn Du mich mit den Augen streifst .............................................................1:44 23 23 Wenn Du, mein Liebster, steigst zum Himmel auf............................................1:53 [39:09] CD 2 1 24 Was für ein Lied soll Dir gesungen werden? ......................................................2:07 2 25 Wir haben beide lange Zeit geschwiegen...........................................................2:16 3 26 Und steht Ihr früh am Morgen auf vom Bette...................................................3:04 4 27 Ihr jungen Leute, die ihr zieht ins Feld .............................................................1:16 5 28 Dass doch gemalt all Deine Reize wären ...........................................................2:13 6 29 Mir ward gesagt, Du reisest in die Ferne ...........................................................2:02 7 30 Und willst Du Deinen Liebsten sterben sehen ..................................................2:25 8 31 Sterb’ ich, so hüllt in Blumen meine Glieder.....................................................2:50 9 32 Mein Liebster ist so klein .................................................................................1:36 10 33 Benedeit die sel’ge Mutter ................................................................................3:47 11 34 Ich esse nun mein Brot nicht trocken mehr ......................................................1:44 12 35 Der Mond hat eine schwere Klag’ erhoben .......................................................2:00 13 36 Mein Liebster hat zu Tische mich geladen ........................................................0:55 14 37 Ich liess mir sagen und mir ward erzählt ...........................................................2:09 15 38 Wie lange schon war immer mein Verlangen ....................................................2:37 16 39 Wie viele Zeit verlor ich, Dich zu lieben! ..........................................................1:33 17 40 Was soll der Zorn.............................................................................................1:48 18 41 Selig ihr Blinden ..............................................................................................1:47 19 42 Nein, junger Herr............................................................................................0:42 20 43 Hoffärtig seid Ihr, schönes Kind.......................................................................0:44 21 44 Du sagst mir, dass ich keine Fürstin sei .............................................................1:25 22 45 Lass sie nur geh’n .............................................................................................1:37 23 46 Ich hab’ in Penna einen Liebsten wohnen .........................................................0:58 [43:44] Soile Isokoski, soprano · Bo Skovhus, baritone · Marita Viitasalo, piano ODE 998-2D It is inevitable that a creative path as the poems from Spanisches Liederbuch, intense as that chosen by Hugo Wolf translated by Geibel and Heyse, are (1860–1903) would lead to a climactic attributed to Cervantes and Lope de end. Wolf concentrated his composition Vega. What matters, however, is that on the lied, and times of passionate they provided the composer with an creativity, interspersed with times of insight into the quintessential elements absolute despondency eventually – from coquetry to mysticism – of the culminated in Wolf being admitted Spanish soul. Wolf honed these elements to an asylum, where he was to remain into a work comprising forty-four for the final years of his life. Wolf would portraits; a number he had decided on spend an entire year with the work previously. The work was completed in of a single inspiring poet as if seeking six months and was the crowning glory to achieve the impossible and fully of his most euphoric and fruitful period synthesise the poet into his music. of composition. Wer sein holdes Lieb, Such was his working approach to completed on 28th October 1889, was Eichendorff, Goethe and Mörike, and followed seven days later by Die Spröde, it is reasonable to expect that a creative the last work in his year-long Goethe path such as this should have reached period. The first pieces of this period its zenith in the grandiose mythical had been written while Wolf was still and metaphysical visions of Goethe’s composing the final songs from his Ganymed and Mignon, leading the Mörike period, which had spanned eight composer into realms of heavenly light months of rigorous work (from February before a final destructive catharsis. But to October 1888). There is something Wolf never intended merely to engender almost strenuous in the sheer perfect musical emulation of the greatest concentration of intensity epitomised poets. Rather, his aim was to be a poet by the fanatical precision and stringency (or librettist) in his own right. Some of of Wolf’s composition. An Italian book, 4 Italienisches Liederbuch, followed reduced and stripped down to the the Spanish book in autumn 1890, bare essentials – be more beautiful than although this time, the composer did opera. Ironically, it was the pursuit of not restrict the work by predetermining the operatic pipedream that led Wolf length or scope. Wolf seems to have to abandon the Italian book during selected content arbitrarily. The texts Christmas1890, after having completed translated by Heyse are not poems per twenty-two musical portraits between se, but subjects for songs; rispetti or October and December of that year, greetings, Venetian-style velote, and and the composer only returned to miniature portraits. These speak it again in March 1896 following simply of love, with its quarrels and the final, decisive failure of Der reconciliation, and portray a sunny Corregidor. This time, however, and cheerful landscape untainted by the Wolf’s compositional style had changed fear of hell (or of simple jealousy) that altogether. Italienisches Liederbuch characterised the Spanisches Liederbuch. is far more innovative than Spanisches Here, the lovers are small children aged Liederbuch in that the portraits it fourteen or so, and the diminutive presents are naturally shared between musikus who plays his trill at the end two performers: a baritone and of Wie lange schon can hardly be a more a soprano. This enables Wolf to present skilled lover than he is a violinist. and dramatise a typical love story with Italienisches Lierbuch pays tribute to its highs and lows, squabbles and joys. all that is miniature, and the title of the In 1896, Wolf was a man broken by opening song Auch kleine Dinge seems disenchantment and illness and plagued to embody the spirit of the collection by a sense of inner emptiness. Although as a whole that ‘small is beautiful’. Roses, his lieder of 1891 had been characterised pearls, olives and perhaps the lied itself, by a certain coquetry, this gave way to which is small by nature, can – when a bitterness and irritability that can be 5 felt in the music and almost in the very love. The exhausted Wolf then fell silent. expression of the voice. Intermittent A year later, fate permitted
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