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Hugo Wolf

Hugo Wolf
Born March 13, 1860 in Windischgraz, Austria
Died February 22, 1903 in Vienna, Austria
  • Country: Austria
  • Genres: Vocal, Opera, Chamber, Choral

Biography

Hugo Wolf, a native of Windischgraz (now Slovenjgradec, Slovenia), in the Austro-Hungarian province of Styria, was born on March 13, 1860 and died on February 22, 1903, three weeks before his 43rd birthday -- like Schubert, German music's first great lieder composer, of tertiary syphilis. Like Schumann, the other great lieder composer (also syphilitic), Wolf died in an insane asylum after trying to drown himself in October 1898. (He had committed himself a year earlier, but was discharged after four months.) Also like Schumann, he composed in manic bursts between periods of depression, once the disease entered its second stage, and like two predecessors, was an unsuccessful composer of stage music.

Wolf completed only one opera, Der Corregidor (1895-1896), based on the same Spanish comedy Falla later used in The Three-Cornered Hat. Indifferently and with difficulty he also composed incidental music for two plays long forgotten. As a teenager, he began but never finished a violin concerto and two symphonies (in 1879 he lost the manuscript of a third symphony while traveling). His orchestral repertory amounts to Penthesilea (after Kleist; 1883-1885), a turbidly scored, Liszt-Wagnerian symphonic poem; Christnacht, a choral work both naive and sublime (1886-1889), and the Italian Serenade (a 1892 arrangement of his charming 1887 Serenade in G for String Quartet).

Despite haphazard education that ended in a series of expulsions, Wolf the lieder composer was possessed of (and by) a psychological insight that revealed as early as 1878 what poured forth later between arid stretches -- some 300 songs, the finest of them both emotionally penetrating and musically profound. Mörike, Goethe (the Mignon - Lieder are incomparable), Kleist, Lenau, and Heine were his favorite German poets, plus Eichendorff when Wolf reached the expressive summit in 1887. For three years prior he had been an outspoken critic -- the only job he ever held -- in Vienna's weekly Salonblatt. Pro-Wagner and anti-Brahms, he was as honest as Berlioz had been, and thus made powerful enemies who took revenge later on. Wolf habitually lived hand to mouth, supported by a circle of friends who provided shelter and sustenance for ten years, and finally in 1896 gave him his own apartment. By then, however, the disease had entered its third stage, and his mood swings alienated many who cared deeply. On September 19, 1897, he cracked -- blaming Mahler, his friend of 20 years and onetime roommate, of sabotaging Der Corregidor at the Hofoper.

In October 1889, Wolf had turned his attention from German poetry to translations of Spanish poets. Between Halloween and the following May, he composed 44 songs called the Spanish Songbook. Then, between September 1890 and December 1891, he composed 22 song translations comprising Part I of an Italian Songbook. Thereafter he didn't write a note of original music until March 1895, when he undertook Der Corregidor, completing all four acts in piano score within twelve weeks. After laboriously scoring it, he wrote twenty-four songs in isolation between 25 March and 30 April 1896 -- Part II of the Italian Songbook. He spent the next months revising Der Corregidor. After setting his last songs in March 1897, three somber sonnets by Michelangelo, Wolf worked tirelessly on another Spanish opera, Manuel Venegas, which amounted to 60 pages of piano score, before his breakdown. Following his death, he was buried alongside Beethoven and Schubert in Vienna's Central Cemetery, impoverished to the end but officially a cultural hero. ~ Roger Dettmer, All Music Guide

 
 
Music Encyclopedia: Hugo (Filipp Jakob) Wolf

(b Slovenj Gradec, 13 March 1860; d Vienna, 22 Feb 1903). Austrian composer. He played the violin, piano and organ as a child and studied briefly at the Vienna Conservatory (1875-7, meeting his idol Wagner) but, lacking discipline and direction, he had to rely on friends and cultured benefactors for help and introductions. His first important works, the songs of 1877-8, arose from the effects of his sexual initiation and first romantic attachment. Some are bright, others agonized, reflecting his depression and illness from a syphilitic infection. Though in 1880 this cloud seemed to abate, a pattern of cyclic mood swing and sporadic creativity was already established. Holidays, studies of Wagner and radiant song settings alternated with personal estrangements and a dark, dramatic strain in his music. For three years (1884-6), he wrote trenchant musical criticism for the Wiener Salonblatt, siding with Wagner and against Brahms, meanwhile working on Penthesilea (1883-5) and the D minor Quartet (1878-84) and beginning a secret love affair with Melanie Köchert. Compositional mastery and a sense of purpose came only in the late 1880s, when he turned from subjectivity to imaginative literature as a stimulus. In 1888 Eichendorff's poetry and in particular Mörike's inspired a sudden flowering of song music that in profusion and variety matched Schubert and Schumann. His acclaimed public performances won new converts, and in February 1889 he finished the 51 songs of the Goethe songbook, in April 1890 the 44 Spanish songs. Publication and critical recognition turned his thoughts to opera but from 1891 physical exhaustion and depressive phases stemmed the flow of original music. In 1895 he composed his only completed opera, Der Corregidor, but it was unsuccessful; in 1897 he composed his last songs and had the mental breakdown that led to his terminal illness.

Wolf's strength was the compression of large-scale forms and ideas - the essences of grand opera, tone poem and dramatic symphony - into song. Combining expressive techniques in the piano part with an independent vocal line, and using an array of rhythmic and harmonic devices to depict textual imagery, illustrate mood and create musical structure, he continued and extended the lied tradition of Schubert and Schumann. Yet he was original in his conception of the songbook as the larger dramatic form; each one seems to have been planned in advance to represent a poet or source. Folk music, nature studies, humorous songs and ballads peopled by soldiers, sailors, students or musicians recur in the German settings, while religious or erotic themes dominate the Spanish and Italian songbooks.

works:
Songs
  • 245 published settings, incl. 53 of Mörike (1889), 20 of Eichendorff (1889), 51 of Goethe (1890), 44 in Spanisches Liederbuch (1891), 46 in Italienisches Liederbuch, i (1892), ii (1896)
  • 103 unpublished or posthumously published settings
Dramatic music
  • Der Corregidor, opera (1896)
  • Das Fest auf Solhaug, incidental music (1891)
Choral music
  • Christnacht, solo vv, mixed vv, orch (1886-9)
  • 3 other acc. works, 12 unacc. choruses, mixed/male v
Instrumental music
  • Penthesilea, sym. poem (1883-5)
  • Str Qt, d (1878-84)
  • Intermezzo, E♭, str qt (1886)
  • Serenade (Italienische Serenade), G, str qt (1892)
  • pf variations, character-pieces


 
Britannica Concise Encyclopedia: Hugo Filipp Jakob Wolf

(born March 13, 1860, Windischgraz, Austria — died Feb. 22, 1903, Vienna) Austrian composer. He entered the Vienna Conservatory at age 15, but, as a rabid Wagnerian, he lost patience with his teachers' conservatism and soon left. By age 18 he probably had contracted the syphilis that would make him mentally unstable and eventually kill him. His volatile personality made it difficult for him to keep private students. As a critic (1884 – 87), he attracted attention for his vituperative comments. His productivity came in bursts; in 1888 – 89 he produced the remarkable songs of the Mörike Lieder, the Eichendorff Lieder, the Goethe Lieder, and much of the Spanish Songbook — more than half his total output. After beginning the Italian Songbook in 1891, he wrote nothing for three years, then quickly composed the opera Der Corregidor (1896) and finished the Italian Songbook (1896). In 1897 he suffered a complete breakdown, and he thereafter lived largely in an asylum.

For more information on Hugo Filipp Jakob Wolf, visit Britannica.com.

 

Wolf, Hugo (Windischgrätz, 1860-1903, Vienna), one of the greatest composers of Lieder (see Lied), had a complex personality inhibiting composition for long periods; these were followed by bouts of a few days or weeks, in which he wrote numbers of Lieder of great individuality, sometimes several in a single day.

Wolf's greatness lay in his capacity to immerse himself in a poem and then to produce a musical setting which enhanced the words without introducing any tone or mood extraneous to the poem. His songs, written in groups according to the poet who interested him at the time, comprise Mörike-Lieder (53 songs, 1888), Eichendorff-Lieder (20 songs, 1888), Goethe-Lieder (51 songs, 1888-9), Das spanische Liederbuch (translations by E. Geibel and P. Heyse, 1889-90), and Das italienische Liederbuch (translations by P. Heyse, 2 vols., 1891-6). Wolf also set three poems by Michelangelo, several by other poets, and a few more poems by his favourites Mörike and Goethe. His few other works include an opera, Der Corregidor (performed Mannheim 1896, libretto by Rosa Mayreder, 1858-1938), a string quartet in D minor (1880), and a symphonic poem, Penthesilea (1883). In 1897 Wolf began to suffer from paralysis and mental abnormality and spent the rest of his life in a mental institution.

 
('gō vôlf) , 1860–1903, Austrian composer; studied at the Vienna Conservatory. From 1883 to 1887 he wrote musical criticism for the Vienna Salonblatt. As a composer he first gained attention when his songs began to be published in 1889. Wolf's more than 300 Lieder place him with Schubert and Schumann as a supreme master of that form. He wrote many songs with texts by Goethe, Mörike, Eichendorff, and other German poets, but he also used foreign lyrics in translation, as in his Spanisches Liederbuch (1889) and Italienisches Liederbuch (Part I, 1891; Part II, 1896). Wolf borrowed Wagner's chromatic harmony and symphonic conception of accompaniment, but in his songs he transformed them into his own miniaturistic idiom. He also wrote an opera, Der Corregidor (1896; based on Alarcón's El Sombrero de tres picos), as well as choral works and some chamber music. In 1897 he had a mental breakdown and later at his own request was committed to a state asylum, where he died.

Bibliography

See biographies by E. Newman (1966) and F. Walker (2d. ed. 1968).

 
Dictionary: Wolf  (vôlf) pronunciation, Hugo 1860–1903.

Austrian composer known for his musical settings of the poetry of Goethe and Italian and Spanish writers and for the opera Der Corregidor (1895).


 
Wikipedia: Hugo Wolf
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Photograph of Hugo Wolf

Hugo Wolf (March 13, 1860February 22, 1903) was an Austrian composer of Slovene origin, particularly noted for his art songs, or Lieder. He brought to this form a concentrated expressive intensity which was unique in late Romantic music, somewhat related to that of the Second Viennese School in concision but utterly unrelated in technique.

Though he had several bursts of extraordinary productivity, particularly in 1888 and 1889, depression frequently interrupted his creative periods, and his last composition was written in 1898, before he died of syphilis.

Biography

Early life (1860 – 1887)

Wolf was born in Windischgraz (now Slovenj Gradec, Slovenia), then a part of the Austrian Empire. Hugo Wolf spent most of his life in Vienna, becoming a representative of "New German" trend in Lieder, a trend which followed from the expressive, chromatic, and dramatic musical innovations of Richard Wagner.

A child prodigy, Wolf was taught piano and violin by his father beginning at the age of four, and once in primary school studied piano and music theory with Sebastian Weixler. However, subjects other than music failed to hold his interest; he was dismissed from the first secondary school he attended as being "wholly inadequate", left another over his difficulties in the compulsory Latin studies, and after a falling-out with a professor who commented on his "damned music", quit the last. From there, he went to the Vienna Conservatory to the disappointment of his father, who had hoped Wolf would not try to make his living from music; again, however, he was dismissed for "breach of discipline", though the often-rebellious Wolf would claim he quit in frustration over the school's conservatism.

After eight months with his family, he returned to Vienna to teach music. Though his fiery temperament was not ideally suited to teaching, Wolf's musical gifts—as well as his personal charm—earned him attention and patronage. This support of his benefactors allowed him to make a living as a composer, and a daughter of one of his greatest benefactors inspired him to write: Vally ("Valentine") Franck was Wolf's first love, with whom he was involved for three years. During their relationship, hints of his mature style would become evident in his Lieder. Wolf was prone to depression and wide mood swings, which would affect him all through his life. When Franck left him just before his 21st birthday, he was despondent; he returned home, though his family relationships were also strained; his father remained convinced that Wolf was a ne'er-do-well. His brief and undistinguished tenure as second Kapellmeister at Salzburg only reinforced this opinion—Wolf had neither the temperament, the conducting technique, nor the affinity for the decidedly non-Wagnerian repertoire to be successful, and within a year had again returned to Vienna to teach in much the same circumstances as before.

Wagner's death was another tragic event in the life of the young composer. The song "Zur Ruh, zur Ruh" was composed shortly afterward and is considered to be the best of his early works; it is speculated that it was intended as an elegy for Wagner. Wolf often despaired of his own future in the years following, in a world from which his idol had gone, leaving tremendous footsteps to follow and no guidance on how to do so. This left him often extremely temperamental, alienating friends and patrons, though his charm helped him retain them more than his actions merited. His songs meanwhile had caught the attention of Franz Liszt, whom he respected greatly, and who like Wolf's previous mentors advised him to pursue larger forms; advice he this time followed with the symphonic tone poem on Penthesilea. Wolf's activities as a critic began to pick up; he was merciless in his criticism of the inferior works he saw taking over the musical atmosphere of the time (Anton Rubinstein in particular he considered odious) and fervent in his support of the genius of Liszt, Schubert, and Chopin. Known as "Wild Wolf" for the intensity and expressive strength of his convictions, his vitriol made him some enemies. Though he composed little during this time, what he did write he could not get performed: the Rosé Quartet would not even look at his work after being picked apart in a column, and the premiere of Penthesilea was met by the orchestra with nothing but derision for the man who had dared to criticize Brahms.

He abandoned his activities as a critic in 1887 as he began composing once more; perhaps not unexpectedly, the first songs following his compositional hiatus are settings of texts by Goethe, Eichendorff, and von Scheffel on the subject of strength and resolution when faced with adversity. Shortly thereafter Wolf completed the Italienische Serenade, which is regarded as one of the first works of his mature style as a composer. Only a week later his father died, leaving Wolf devastated, and he did not compose for the remainder of the year.

Maturity (1888 – 1896)

1888 and 1889 proved to be amazingly productive years for Wolf, and a turning point in his career. After the publication of a dozen of his songs late the preceding year, Wolf once again desired to return to composing, and travelled to the vacation home of the Werners—family friends whom Wolf had known since childhood—in Perchtoldsdorf (a short train ride from Vienna), in order to escape and compose in solitude. Here he composed the Mörike-Lieder at a frenzied pace. A short break, and a change of house, this time to the vacation home of more longtime friends, the Ecksteins, and the Eichendorff-lieder followed, then the 51 Goethe-lieder, spilling into 1889. After a summer holiday, the Spanisches Liederbuch was begun in October 1889; though Spanish-flavoured compositions were in fashion in the day, Wolf sought out poems that had been neglected by other composers.

Wolf himself saw the merit of these compositions immediately, raving to friends that they were the best things he had yet composed (it was with the aid and urging of several of the more influential of them that the works were initially published). It was now that the world outside Vienna would recognize Wolf as well. Tenor Ferdinand Jäger, whom Wolf had heard in Parsifal during his brief summer break from composing, was present at one of the first concerts of the Mörike works and quickly became a champion of his music, performing a recital of only Wolf and Beethoven in December 1888. His works were praised in reviews, including one in the Münchener allgemeine Zeitung, a widely-read German newspaper. (Of course the recognition was not always positive; Brahms's adherents, still smarting from Wolf's merciless reviews, returned the favor—when they would have anything to do with him at all. Brahms's biographer Max Kalbeck ridiculed Wolf for his immature writing and odd tonalities; another composer refused to share a program with him, while Amalie Materna, a Wagnerian singer, had to cancel her Wolf recital when allegedly faced with the threat of being on the critics' blacklist if she went on.)

Only a few more settings were completed in 1891 before Wolf's mental and physical health once again took a downturn at the end of the year; exhaustion from his prolific past few years combined with the effects of syphilis and his depressive temperament caused him to stop composing for the next several years. Continuing concerts of his works in Austria and Germany spread his growing fame; even Brahms and the critics who had previously reviled Wolf gave favorable reviews. Wolf, however, was consumed with depression, which stopped him from writing—which only left him more depressed. He completed orchestrations of previous works, but new compositions were not forthcoming, and certainly not the opera which he was now fixated on composing, still convinced that success in the larger forms was the mark of compositional greatness.

Wolf had scornfully rejected the libretto to Der Corregidor when it was first presented to him in 1890, but his determination to compose an opera blinded him to its faults upon second glance. Based on El sombrero de tres picos, by Pedro Antonio de Alarcón, the darkly humorous story about an adulterous love triangle is one that Wolf could identify with: he had been in love with Melanie Köchert, married to his friend Heinrich Köchert, for several years. (It is speculated that their romance began in earnest in 1884, when Wolf accompanied the Köcherts on holiday; though Heinrich discovered the affair in 1893 he remained Wolf's patron and Melanie's husband.) The opera was completed in nine months and was met initially with success, but Wolf's musical setting could not compensate for the weakness of the text, and it was doomed to failure; it has not yet been successfully revived.

Final years (1897 – 1903)

Wolf's last concert appearance, which included his early champion Jäger, was in February 1897. Shortly thereafter Wolf slipped into syphilitic insanity, with only occasional spells of wellbeing. He left sixty pages of an unfinished opera, Manuel Venegas, in 1897, in a desperate attempt to finish before he lost his mind completely; after mid-1899 he could make no music at all, and once tried to drown himself, after which he was placed in a Vienna asylum at his own insistence. Melanie visited him faithfully during his decline until his death on February 22, 1903; her lack of faith to her husband, however, tortured her, and she killed herself in 1906.

Wolf is buried in the Zentralfriedhof (Central Cemetery) in Vienna, along with many other notable composers.

Music

Wolf's greatest musical influence was Richard Wagner, who, in an encounter after Wolf first came to the Vienna Conservatory, encouraged the young composer to persist in composing and to attempt larger-scale works, cementing Wolf's desire to emulate his musical idol. Wolf went so far as to emulate Wagner's vegetarianism as well, but this lasted only 18 months. His antipathy to Johannes Brahms was fueled partly by his devotion to Wagner, and partially by misunderstanding and clash of personality, rather than any ill-will on Brahms' part.

His true fame is his lieder; Wolf's temperament and abilities led him to more private and personal forms. Though he initially believed that mastering the larger forms was the hallmark of a great composer (a belief that his early mentors reinforced), the smaller scale of the art song provided an excellent basis upon which to develop basic compositional skills and later came to be his greatest strength. Wolf's lieder are noted for compressing expansive musical ideas and depth of feeling; his skill at interpreting and depicting texts musically is suited to the form. Though Wolf himself was obsessed with the idea that to compose only short forms was to be second-rate, his organization of poem settings into complete dramatic cycles, finding connections between texts not explicitly intended by the poet, as well as his conceptions of individual songs as dramatic works in miniature, mark him as a talented dramatist despite having written only one not particularly successful opera.

Early in his career Wolf modelled his Lieder after those of Franz Schubert and Robert Schumann, particularly in the period around his relationship with Franck; in fact, they were good enough imitations to pass off as the real thing, which he once attempted, though his cover was blown too soon. It is speculated that his choice of lieder texts in the earlier years, largely dealing with sin and anguish, were partly influenced by his contraction of syphilis. His love for Franck, not fully requited, bore the intellectual children of the Wesendonck lieder: impassioned settings of works by Nikolaus Lenau. The others were as distant from those in mood as possible; lighthearted and humorous. Penthesilea, too, is tempestuous and highly colored; though Wolf admired Liszt, who has encouraged him to complete the work, he felt Liszt's music too dry and academic, and strove for color and passion.

1888 marked a turning point in his style as well as his career, with the Mörike, Eichendorff, and Goethe sets drawing him away from Schubertiana and into "Wölferl's own howl". Mörike in particular drew out and complemented Wolf's musical gifts, the variety of subjects suiting Wolf's tailoring of music to text, his dark sense of humor matching Wolf's own, his insight and imagery demanding a wider variety of compositional techniques and command of text painting to portray. In his later works he relied less on the text to give him his musical framework and more on his pure musical ideas themselves; the later Spanish and Italian songs reflect this move toward "absolute music".

Wolf wrote hundreds of Lieder, three operas, incidental music, choral music, as well as some rarely-heard orchestral, chamber and piano music. His most famous instrumental piece is the Italian Serenade (1887), originally for string quartet and later transcribed for orchestra, which marked the beginning of his mature style.

Wolf was famous for his use of tonality to reinforce meaning. Concentrating on two tonal areas to musically depict ambiguity and conflict in the text became a hallmark of his style, resolving only when appropriate to the meaning of the song. His chosen texts were often full of anguish and inability to find resolve, and thus so too was the tonality wandering, unable to return to the home key. Use of deceptive cadences, chromaticism, dissonance, and chromatic mediants obscure the harmonic destination for as long as the psychological tension is sustained.[citation needed] His formal structure as well reflected the texts being set, and he wrote almost none of the straightforward strophic songs favoured by his contemporaries, instead building the form around the nature of the work.

Notable works

Opera

Lieder

Instrumental

  • String Quartet in D minor (1878-84)
  • Penthesilea (1883-85)
  • Italian Serenade (1887, revised in 1892))

Recording Projects

Individual songs have been included in the recorded repertoire of many singers. Significant early Wolf recording artists included Elisabeth Schumann, Heinrich Rehkemper, Heinrich Schlusnus, Josef von Manowarda, Lotte Lehmann, Karl Erb and others. Early post-War collections were recorded by Suzanne Danco, Anton Dermota and Gerard Souzay (all before 1953), Dietrich Fischer-Dieskau (1954), Hans Hotter (1954), Erna Berger (1956), Heinrich Rehfuss (1955) and Elisabeth Schumann (1958), and important individual songs by Elisabeth Schwarzkopf, Nicola Rossi-Lemeni, and Elisabeth Höngen. Gerald Moore was a distinguished accompanist in Wolf song recordings. Fischer-Dieskau published a large collection of Morike songs with him in March 1959 (HMV ALP 1618-1619). Two major projects stand out for more comprehensive coverage.

The Hugo Wolf Society was formed in September 1931 for the recording, under the aegis of English His Master's Voice records, a substantial proportion of the song repertoire, in limited editions for subscribers. The selection of artists was restricted to singers under contract to this company. Each volume consisted of six HMV red-label discs (unobtainable separately) and retailed new at $15.00 Am.
Volume I, entirely performed by Elena Gerhardt accompanied by Coenraad van Bos, presented a selection mainly from the Spanish and Italian songbooks and the Mörike songs. For many years this scarce set was regarded as a collector's prize, and forms a distinct corpus within her recorded art. Later volumes always included more than one singer. Volume II: 16 of the 51 Goethe songs, all (apart from McCormack) accompanied by Coenraad van Bos, but with Friedrich Schorr's Prometheus with the orchestral accompaniment. Volume III: A selection of 17 items, including three Michelangelo songs, three Mörike songs, four from the Spanisches Liederbuch and six from the Italienisches Liederbuch. All accompanied by Coenraad van Bos. Volume IV: 30 items from Italienisches Liederbuch. Accompaniments by Coenraad van Bos, Michael Raucheisen and Hanns Udo Müller. Volume V: A selection of 20 songs (mainly Mörike and Spanisches Liederbuch). Volume VI: Various. Artists included Alexander Kipnis (III, IV, V); Herbert Janssen (II, V); Gerhard Hüsch (II, III, IV, V); John McCormack (accompanied by Edwin Schneider) (II); Alexandre Trianti (II, III); Ria Ginster (IV, V); Friedrich Schorr (II); Elisabeth Rethberg (IV, V); Tiana Lemnitz (VI). Each volume was accompanied by a booklet containing a short essay by Ernest Newman (I: Words and Music in Hugo Wolf, II: Wolf's Goethe Songs, III: A Note of Wolf as Craftsman, IV: The Italienisches Liederbuch) together with German texts, English translations (by Winifred Radford) and notes on each song (by Newman).

A Hugo Wolf Lieder Edition was recorded by Dietrich Fischer-Dieskau and Daniel Barenboim during the 1970s for DGG, each volume containing three records. Volume I (1974): Mörike Lieder (Paris Grand Prix du Disque). Volume II (1976): Lieder on poems by Goethe, Heinrich Heine and Nikolaus Lenau. Volume III (1977): Lieder on poems by Eichendorff, Michelangelo, Robert Reinick, William Shakespeare, Lord Byron, Hoffmann von Fallersleben, Joseph Viktor von Scheffel, etc. The accompanying volumes include essays by Hans Jancik, texts of the poems, and translations by Lionel Salter (English) and Jacques Fournier and others (French).

Sources for this Section:

  • Hugo Wolf Society Publications (HMV, Hayes 1931-1936).
  • Hugo Wolf Lieder Publications (Deutsche Grammophon, 1974-1977).
  • R.D. Darrell, The Gramophone Shop Encyclopedia of Recorded Music (Gramophone Shop, Inc., New York 1936).
  • E. Sackville-West and D. Shawe-Taylor, The Record Year 2 (Collins, London 1953).
  • A Complete List of HMV, Columbia, Parlophone and MGM Long Playing Records Issued up to and including June 1955 (EMI, London 1955).
  • The Art of Record Buying 1960 (EMG, London 1960).

References

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Artist. Copyright © 2008 All Media Guide, LLC. Content provided by All Music Guide ® , a trademark of All Media Guide, LLC. All rights reserved.  Read more
Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved.  Read more
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Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved.  Read more
Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Hugo Wolf" Read more

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