DESCRIPTION: Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.Leksi Wins: Baddd polish ;
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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to Wie man sich von einem gebrochenen Herzen erholt twenty-first. Hyperion offers both CDs, and downloads in a number of formats.
The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The song microscope an instrument yet to be invented by science but long at the disposal of Wolf enthusiasts shows that the amalgam of music and poetry which is the Italienisches Liederbuch is a volatile substance teeming with frantic activity, unguessed-at by the many, invisible and inaudible to the uninformed ear and eye, and yet hugely colourful when viewed through the right lens and heard through the right amplifier.
Multitudinous protons and neutrons jostle within even the simplest of song texts, and Wolf at the height of his powers, Einsteinian fashion, knew how to harness the secret power of these atoms of poetry to create a music of explosive power — music which belies its modest dimensions.
The intense human activity of an Italian village is mirrored by a parade of the tiniest and most subtle musical devices and inflections seemingly with lives of their own, and with the sophistication and the inevitability of living organisms.
And as a result of the composer entering into the spirit of these words in the most profound way, there is in this combination of music and poetry a timelessness which places the work far beyond the realms of nineteenth-century song and Italian pastiche. The work is about patterns of life — ever changing, and yet ever the same. We hear what is going on beneath the surface to such an extent that we do not stop to ask whether these rispetti are contemporary with Cosimo de Medici, Vittorio Emmanuele or Mussolini.
The composer himself is the conductor, for he left the performers more than enough detailed instructions to remain firmly in charge. Of the cast of three, the pianist is rooted firmly to the spot, hopefully in front of a better instrument than could ever be found in an Italian village, and the other two alternate in song without ever combining their voices in duet. Only once, or possibly twice, does the composer permit them to address each other directly.
And yet if we use our ears and listen to our hearts we have to declare that here is a triumph of the lied over the operatic form sacred to the real Italians. This is only one of the delicious paradoxes of a work, so small and yet so large, so complex yet so simple, which is one of the enduring masterpieces of the civilized world. Wolf never heard both parts of his Italienisches Liederbuch together, although a letter of October to Dr Strecker in Mainz shows that a complete performance of the work — at a time when only twenty songs existed — was planned.
This has been encouraged by the publication of a Wolf handbook by Edition Peters in which various running orders are suggested, and by the late Erik Werba who also concocted and published a number of different sequences, some of which have been recorded. The enjoyable thing about this is that the work can seem subtly different each time, but there are also a number of dangers. Greater stylistic differences and much more time separate these two books than separate the two books of Winterreise.
The second Italian set has a different mood and certainly a different style of piano accompaniment. As the work is usually given with an interval, it seems only wise to allow those twenty minutes to stand for the five-year gap between the two groups of songs.
This seemed a good idea at the time, but I am now convinced that the composer knew exactly what he was doing when he made his own order for publication.
For each of the two books Wolf chooses a wonderful motto song, and for each of them a high-spirited virtuoso finish. Throughout there are subtle juxtapositions of key, metre and tempo to provide contrast and relief, except where the composer wishes to suggest a link when certain songs seem to glide into each other. It was the late Walter Legge who impressed Wie man sich von einem gebrochenen Herzen erholt me during long sessions with my young colleagues in as well as with Schwarzkopf in that of all composers Hugo Wolf was master, if not of his own sad destiny, then of his songs.
His relationships with publishers were fraught with difficulty precisely because he was so punctilious about the exact pagination of his music. If he had a recital programme printed he supervised each detail of it, including the flowers which embellished the foot of each page.
His relationship with singers whom he regarded as mostly stupid was always tense because he demanded absolute fidelity to his intentions. He was unquestionably a tyrant in matters musical and Legge continued this tradition with great relish, arriving at my Wie man sich von einem gebrochenen Herzen erholt to coach the young team with a cigar in one hand and a metronome in the other, both instruments of torture in their Wie man sich von einem gebrochenen Herzen erholt ways.
I am extremely grateful to him now, however, because he showed us that, in terms of his own music, Wolf knew best. This is the way the composer carefully planned to present his work to posterity. I confess to one departure from this which I think has a certain musicological validity. I have presented a performance of the cycle in Wigmore Hall, and again at the Walton Estate on Ischia, in which the songs were performed in the order in which they were composed.
This order has the advantage of course of not mixing songs from the two periods. Update Required Wie man sich von einem gebrochenen Herzen erholt play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. Originally issued on CDA But by the composer had reached a phase in his life where he no longer needed the monumental grandeurs of German literature to achieve his ends.
He had already turned his gaze south to the Mediterranean; the songs of the Spanisches Liederbuch strike a new hedonistic note in his work.
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