Italian Serenade in G Major for
String Quartet Hugo Wolf
Among nineteenth century chamber
works, we find an unusual subcategory of pieces by composers more often
associated with other genres. One example is Hugo Wolf's Italian Serenade for
string quartet. Wolf is primarily known
as a composer of songs.
Wolf created a new genre of a type of
"comic" serenades with the work. The comic atmosphere is established right
at the beginning with some preliminary strumming on open fifths and repeated
notes as if to check tuning, rather like a band readying itself before the
music actually gets under way. The mock-tuning lasts for eight whole measures.
The
movement is in rondo form, cleverly adapted so that the players seem like
personalities in an amorous comedy, with the entire first episode devoted to the
lover preparing his declaration. In the development section, there are
elaborate new countermelodies (second violin), and a recitative-like idea for
cello, answered (at first mockingly, then more compliantly) by the other instruments.
After more dance-like digressions, and a return of the rondo theme, the
Serenade ends as it began, amid the thrumming of imaginary guitars. The Avalon Quartet
Classical Music | Music for Quartet
Hugo Wolf
Italian Serenade in G Major Play
Recorded on 09/23/2009, uploaded on 11/21/2009
Musician's or Publisher's Notes
Italian Serenade in G Major for String Quartet Hugo Wolf
Among nineteenth century chamber works, we find an unusual subcategory of pieces by composers more often associated with other genres. One example is Hugo Wolf's Italian Serenade for string quartet. Wolf is primarily known as a composer of songs.
Wolf created a new genre of a type of "comic" serenades with the work. The comic atmosphere is established right at the beginning with some preliminary strumming on open fifths and repeated notes as if to check tuning, rather like a band readying itself before the music actually gets under way. The mock-tuning lasts for eight whole measures.
The movement is in rondo form, cleverly adapted so that the players seem like personalities in an amorous comedy, with the entire first episode devoted to the lover preparing his declaration. In the development section, there are elaborate new countermelodies (second violin), and a recitative-like idea for cello, answered (at first mockingly, then more compliantly) by the other instruments. After more dance-like digressions, and a return of the rondo theme, the Serenade ends as it began, amid the thrumming of imaginary guitars. The Avalon Quartet
More music by Hugo Wolf
Ein Ständchen Euch zu bringen kam ich her, from the Italienisches Liederbuch
Wohl denk ich oft, from Drei Gedichte von Michelangelo
Alles endet, was entstehet, from Drei Gedichte von Michelangelo
Neue Liebe
Fühlt meine Seele, from Drei Gedichte von Michelangelo
Lebe wohl
“Elfenlied” from Gedichte von Eduard Morike
Als ich auf dem Euphrat schiffte
Das verlassene Mägdlein
Das Köhlerweib ist trunken
Performances by same musician(s)
String Quartet in F Major, Op. 135
Quartet No. 1 Op. 11, in D Major, mov. 4, Finale
String Quartet No. 12 in c minor, D. 703 “Quartettsatz”
String Quartet in g minor, Op. 10
Crisantemi
Quartet No. 1 Op. 11, in D Major, Moderato e semplice
Quartet No. 1 Op. 11, in D Major, mov. 2, Andante cantabile
Quartet No. 1 Op. 11, in D Major, mov. 3, Scherzo
Allegro ma non troppo, from Piano Quartet No. 3 in c minor, Op. 60
Scherzo, from Piano Quartet No. 3 in C minor, Op. 60
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