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Wenn ich in deine Augen seh’ (Wolf)


This song was recorded live at the Oxford Lieder Festival as part of Hugo Wolf: The Complete Songs on Stone Records.
Click here to listen to this song with William Dazeley and Sholto Kynoch, or click here to buy the CD from Stone Records.

Wenn ich in deine Augen seh’ (Wolf)

Wenn ich in deine Augen seh’,
So schwindet all mein Leid und Weh;
Doch wenn ich küsse deinen Mund,
So werd’ ich ganz und gar gesund.
Wenn ich mich lehn’ an deine Brust,
Kommt’s über mich wie Himmelslust;
Doch wenn du sprichst: Ich liebe dich!
Dann muss ich weinen bitterlich.

When I look into your eyes

When I look into your eyes,
All my pain and sorrow vanish;
But when I kiss your lips,
Then I am wholly healed.
When I lay my head against your breast,
Heavenly bliss steals over me;
But when you say: I love you!
I must weep bitter tears.
Translation © Richard Stokes, author of The Book of Lieder (Faber, 2005)

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Composer

Hugo Filipp Jakob Wolf was born on 13 March 1860, the fourth of six surviving children, in Windischgraz, Styria, then part of the Austrian Empire. He was taught the piano and violin by his father at an early age and continued to study piano at the local primary school. His secondary education was unsuccessful, leaving his school in Graz after one term and then the Benedictine abbey school in St Paul after two years for failing Latin. When, in 1875, his lack of interest in all subjects other than music led to him leaving his next school in Marburg after another two years, it was decided that he should live with his aunt in Vienna and study at the conservatoire.

In Vienna he attended the opera with his new circle of friends, which included the young Gustav Mahler, and became a devotee of Wagner. However, after only two years he was unfairly dismissed from the conservatoire for a breach of discipline, after a fellow student sent the director a threatening letter, signing it Hugo Wolf.

He continued to compose and returned to Vienna in 1877 to earn a living as a music teacher, but he did not have the necessary temperament for this vocation and would, throughout his life, rely on the generosity of friends and patrons to support him. The composer Goldschmidt took him under his wing and introduced him to influential acquaintances, as well as lending him books, music and money. It was, however, under Goldschmidt’s guidance that he paid a visit to a brothel in 1878, resulting in him contracting syphilis, which later led to his insanity and early death. This sexual initiation coincided with his first major burst of songwriting.

His mood swings and sporadic creativity were now quite pronounced, and he stayed with friends who could offer him the tranquillity and independence he needed to work. In 1881, Goldschmidt found him a post as second conductor in Salzburg, where his musical talents were greatly appreciated, but his violent quarrelling with the director led to his return to Vienna early the following year. For a while his mood brightened, but by 1883, the year of Wagner’s death, he had stopped writing music.

At this point, his future seemed uncertain. His work had been declined by publishers Schott and Breitkopf, he had writer’s block, and he quarrelled with friends. He had been teaching Melanie Köchert since 1881, and with the influence of her husband he was appointed music critic of the Sunday journal Wiener Salonblatt, for which he spent three years writing pro- Wagnerian, anti-Brahmsian pieces. Although this was useful, it did get in the way of his composition, and attempts to have his own works played were thwarted by musicians who had fallen foul of his sharp criticism.

He began to write music again in 1886, finally confident in his talents. In May 1887, his father died, and although Wolf wrote little for the rest of the year, a publisher did produce two volumes of his songs, one dedicated to his mother, the other to the memory of his father.

Again taking refuge with friends, Wolf now began a sudden, spontaneous burst of songwriting, emerging from years as a music critic and coinciding with the start of his love affair with Melanie Köchert. By March, after 43 Mörike settings, he took a break with friends and then began another spate of songwriting in September resulting in thirteen Eichendorff and more Mörike songs. He returned to Vienna and in February 1889 had finished all but one of the 51 songs of his Goethe songbook. After another summer break, he returned to writing and April 1890 saw him complete his 44 Spanish songs. By June 1890, this creative period of two and a half years had produced a total of 174 songs.

Wolf’s fame had now spread beyond Austria, with articles being written in German publications. His exhaustion and bouts of depression and insomnia meant that he wrote very little for most of 1891, but at the end of December wrote another 15 Italian songs. For the next three years, he barely wrote a note.

In April 1895, spurred on by Humperdinck’s operatic success of Hänsel und Gretel, he again began composing from dawn till dusk. By early July the piano score of his four-act opera Der Corregidor was complete, with the orchestration taking the rest of the year. It was turned down by Vienna, Berlin and Prague but finally staged in Mannheim to great success. He completed his Italian songbook with 24 songs written in the period from 25 March to 30 April 1896.

In March 1897, he wrote his last songs: settings of German translations of Michelangelo sonnets. He was, by now, clearly a sick man, but nevertheless in September he embarked on a new opera, feverishly completing sixty pages in three weeks. It was at this point that he succumbed to madness, claiming to have been appointed the director of the Vienna Opera. Under restraint, he was taken to an asylum, and although he returned home to Vienna briefly in 1898, he was returned to an institution later that year after trying to drown himself. His devoted Melanie visited him regularly until his death on 22 February 1903. He is buried in the Vienna Central Cemetery beside Schubert and Beethoven.

© 2011, Mark Stone


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Poet

Heine was born of Jewish parents. Much of his early life was influenced by the financial power of his uncle Salomon Heine, a millionaire Hamburg banker, with whom he remained on an awkward footing for many years. After he had been educated in the Düsseldorf Lyceum, an unsuccessful attempt was undertaken to make a businessman of him, first in banking, then in retailing. Eventually, his uncle was prevailed upon to finance a university education, and Heine attended the universities of Bonn, Göttingen, Berlin, and Göttingen again, where he finally took a degree in law with absolutely minimal achievement in 1825. In that same year, in order to open up the possibility of a civil service career, closed to Jews at that time, he converted to Protestantism with little enthusiasm and some resentment. He never practised law, however, nor held a position in government service; and his student years had been primarily devoted not to the studies for which his uncle had been paying but to poetry, literature, and history. 

When the July Revolution of 1830 occurred in France, Heine did not, like many of his liberal and radical contemporaries, race to Paris at once but continued his more or less serious efforts to find some sort of paying position in Germany. In the spring of 1831 he finally went to Paris, where he was to live for the rest of his life. 

Heine’s early years in Paris were his happiest. From an outcast in the society of his own rich uncle, he was transformed into a leading literary personality, and he became acquainted with many of the prominent people of his time.  However his critical and satirical writings brought him into grave difficulties with the German censorship, and, at the end of 1835, the Federal German Diet tried to enforce a nationwide ban on all his works. He was surrounded by police spies, and his voluntary exile became an imposed one. In 1840 Heine wrote a witty but ill-advised book on the late Ludwig Börne (1786–1837), the leader of the German radicals in Paris, in which Heine attempted to defend his own more subtle stand against what he thought of as the shallowness of political activism; but the arrogance and ruthlessness of the book alienated all camps.

Though never destitute, Heine was always out of money; and when his uncle died in 1844, all but disinheriting him, he began, under the eyes of all Europe, a violent struggle for the inheritance, which was settled with the grant of a right of censorship over his writings to his uncle’s family; in this way, apparently, the bulk of Heine’s memoirs was lost to posterity

The worst of his sufferings, however, were caused by his deteriorating health. An apparently venereal disease began to attack one part of his nervous system after another, and from the spring of 1848 he was confined to his “mattress-grave”. His third volume of poems, Romanzero (1851), is full of heartrending laments and bleak glosses on the human condition; many of these poems are now regarded as among his finest. A final collection, Gedichte 1853 und 1854 (Poems 1853 and 1854), is of the same order. After nearly eight years of torment, Heine died and was buried in the Montmartre Cemetery.

Heine's international literary reputation was established with the publication of Buch der Lieder in 1827, a collection of already published poems, several of which were set as Lieder by Schubert, Schumann, Mendelssohn and others.

Schwanengesang (Swan song), D 957, is the title of a collection of songs written by Franz Schubert at the end of his life in 1828 and published iin 1829, just a few months after his death. The collection was named by its first publisher Tobias Haslinger, presumably wishing to present it as Schubert's final musical testament to the world. Unlike the earlier Die schöne Müllerin and Winterreise, it contains settings of three poets, Ludwig Rellstab (1799–1860), Heinrich Heine(1797–1856) and Johann Gabriel Seidl (1804–1875). 

In the original manuscript in Schubert's hand, the first 13 songs were copied in a single sitting, on consecutive manuscript pages, and in the standard performance order. All the song titles are by Schubert, as the poet did not give names to the poems. The six poems by Heine, set as part of D 957, are Der Atlas , Ihr Bild, Das Fishermädchen, Die Stadt. Am Meer  and Der Doppelganger.

Taken from Encyclopedia Britannica (to view the full article, click here), and Wikipedia (to view the full article, click here.)

To read some of his poetry, click here
 


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