Wolf-Ferrari Lieder for soprano from song-cycles
View record and artist detailsRecord and Artist Details
Composer or Director: Ermanno Wolf-Ferrari
Label: Musica Mundi
Magazine Review Date: 4/1990
Media Format: CD or Download
Media Runtime: 59
Mastering:
DDD
Catalogue Number: 314004
Tracks:
Composition | Artist Credit |
---|---|
(44) Canzoniere, Movement: No. 3, Giovanottino, il bello andar che hai |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: Ninna-nanna la malcontenta |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: S'io non son bella al vostro paragone |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: Io vado a letto con una croce in pelto |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 12, Mamma, non mi mandate fuori sola |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: Dimmelo, Nino mio, come facesti |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: Come tu mi fal rabbia quando passi |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 20, M'è stato detto che te ne vuoi ire |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 21, Vai in buon'ora, o viso delicato |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 22, E questa valle mi par rabbuiata |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 23, O miei sospiri, andante ove vi mando |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 24, L'è rivenuto il fior di primavera |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 25, Io mi credeva che tu fossi morto |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 26, Giovanottino che passi per via |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 27, Vo' fa' 'na palazzina alla marina |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 28, Dio ti facesse star tanto digiuno |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 29, Dimmi, bellino mio, com'io ho da fare |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 30, Quando a letto vo' la sera |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: 'No. 31, Quando sarà quel benedetto giorno''? |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: Avevo una campagna sola sola |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 36, Oggi sposa il mio ben, che amavo tanto! |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 41, Vado di notte, come fa la luna |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: Lunga e distesa mi pongo nel letto |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: Spirito Santo, entrate nei mio cuore |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 1, La vedovella |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
(44) Canzoniere, Movement: No. 2, M'è statto reglato tre vïole |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
Edelwild |
Ermanno Wolf-Ferrari, Composer
Ermanno Wolf-Ferrari, Composer Horst Göbel, Piano Maria de Francesca-Cavazza, Soprano |
Author: Michael Oliver
These two collections come from opposite ends of Wolf-Ferrari's song-writing career. The Italian Song-Book (the texts are in Italian, despite the German title given here, the booklet prints them in German and English only) was written in Venice in 1936, a few songs every day—they are all very short—to be played that same evening to a friend. That, ideally, is how they should be heard: in twos and threes, when the almost naive charm of these lyrical trifles would be intensified and the risk of feeling that one is listening to an endless sequence of encore pieces (they would make delightful encores) avoided. Wolf-Ferrari went to the same sources for his Tuscan folk lyrics as Paul Heyse, whose translations Hugo Wolf used for his Italienisches Liederbuch, but on the whole he seems to have avoided the poems that Wolf chose. His ''L'Addio'', however, does correspond to Wolf's ''Mir ward gesagt'', he must have realized this, and that his own talent was not to be measured against such harmonic subtlety and depth of feeling. Instead he wrote a gracefully expressive line and equipped it with a bare and economical piano part: he turned it back into a folk-song, you might say. Which is no way to transcend the artlessness of such a text and write a great song, but the directness of Wolf-Ferrari's manner is a most effective complement to the poems' touching simplicity. As I say, try them in twos and threes: they have an unassuming but attractive freshness. No fewer than 26 of them are included here, my appetite for the remainder has not been dulled.
Edelwild (German words this time) seems hardly to be by the same composer, and indeed the cycle dates from Wolf-Ferrari's teens. As you might expect there is some juvenile romantic gesturing, some awkward piano writing, and a great deal of evidence that young Ermanno (whose real name was Hermann Friedrich Wolf, after all: born in Venice, but of a German father, and trained in Munich) had been soaking himself for years in Schumann and Brahms, Liszt and Wagner. But there are signs, too, that he pretty shrewdly understood what he had been hearing; the best songs of the cycle (the first and sixth, say) are real Lieder, and accomplished ones.
Francesca-Cavazza's voice is weak in the lower register and rather breathy when she sings quietly which the Italian songs often oblige her to do. She can open out to an operatic fullness, but a touch of strain is audible here and there. Adequate performances, even so, decently recorded, and the pianist is excellent (he also edited Edelwild from the composer's almost indecipherable manuscript).'
Edelwild (German words this time) seems hardly to be by the same composer, and indeed the cycle dates from Wolf-Ferrari's teens. As you might expect there is some juvenile romantic gesturing, some awkward piano writing, and a great deal of evidence that young Ermanno (whose real name was Hermann Friedrich Wolf, after all: born in Venice, but of a German father, and trained in Munich) had been soaking himself for years in Schumann and Brahms, Liszt and Wagner. But there are signs, too, that he pretty shrewdly understood what he had been hearing; the best songs of the cycle (the first and sixth, say) are real Lieder, and accomplished ones.
Francesca-Cavazza's voice is weak in the lower register and rather breathy when she sings quietly which the Italian songs often oblige her to do. She can open out to an operatic fullness, but a touch of strain is audible here and there. Adequate performances, even so, decently recorded, and the pianist is excellent (he also edited Edelwild from the composer's almost indecipherable manuscript).'
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