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Louisiana State UniversityLSU Digital Commons
LSU Historical Dissertations and Theses Graduate School
1995
An Introduction to the Songs of Felix Wolfes(1892-1971) With Complete ChronologicalCatalogue.Viola R. DacusLouisiana State University and Agricultural & Mechanical College
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Recommended CitationDacus, Viola R., "An Introduction to the Songs of Felix Wolfes (1892-1971) With Complete Chronological Catalogue." (1995). LSUHistorical Dissertations and Theses. 6004.https://digitalcommons.lsu.edu/gradschool_disstheses/6004
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A Bell & Howell Information C om pany 300 North Z eeb Road. Ann Arbor. Ml 481 0 6 -1 3 4 6 USA
313/761-4700 800/521-0600
AN INTRODUCTION TO THE SONGS OF FELIX WOLFES (1892-1971)
WITH COMPLETE CHRONOLOGICAL CATALOGUE
A Monograph
Submitted to the Graduate Faculty of the Louisiana State University and
Agricultural and Mechanical College in partial fulfillm ent of the
requirements for the degree of Doctor of Musical Arts
in
The School of Music
byViola R. Dacus
B.M., University of M ississippi, 1985 M.M., Louisiana State University, 1988
August 1995
UMI Number: 9609078
Copyright 1995 by Dacus, Viola R.
All rights reserved.
UMI Microform 9609078 Copyright 1996, by UMI Company. All rights reserved.
This microform edition is protected against unauthorized copying under Title 17, United States Code.
300 North Zeeb Road Ann Arbor, MI 48103
ACKNOWLEDGEMENTS
I w ould like to acknowledge and thank all of those w ho helped
m ake this w ork possible, particularly Angelika Forsberg and Richard
Aslanian for sharing their personal knowledge of Mr. Wolfes. I w ould also
like to thank the people of the Felix Wolfes Estate and Theodore Presser
Com pany for their generosity in the use of scores, and thanks also to the
helpful staff of the H oughton Library at H arvard University. I am grateful to
the m em bers of my supervising committee, especially Robert Grayson and
Jennifer Brown for their enthusiasm, time, and advice. Finally, I w ould like
to thank my husband Ed for his characteristically constant support.
TABLE OF CONTENTS
ACKNOWLEDGEMENTS............................................................................................iii
LIST OF SCORES............................................................................................................. v
ABSTRACT................................. vi
CHAPTER ONE: FELIX WOLFES: COMPOSER AND CONDUCTOR............. 1
CHAPTER TWO: THE SONGS OF FELIX WOLFES...............................................61. Auf dem See (1943; Ernst B ertram )........................................................92. Bluhender Kirschbaum (1958; Christian W ag n er).......................... 183. Blume, Baum, Vogel (1951; Herm ann H esse ).................................. 314. Die Nachtigall (1930; Theodor S to rm ).................................................385. Du schlank und rein wie eine Flamme (1944; Stefan G eo rg e) 456. Erdgewalt (1958; Rudolf B inding).........................................................527. Gefunden (1958; Johann Wolfgang von G o eth e)............................. 628. Immer wieder (1941; Rainer Maria R ilke)..........................................709. Kleiner Rat (1961; Wolfgang Am adeus M o zart) .............................. 7610. Weihnachten (1940; Joseph von Eichendorff).................................. 83
CHAPTER THREE: SONG CATALOGUE..............................................................92
REFERENCES................................................................................................................ 164
APPENDIX A: ALPHABETICAL INDEX TO CATALOGUE............................167
APPENDIX B: CHRONOLOGICAL LIST OF SONGS......................................... 172
APPENDIX C: LETTERS OF PERMISSION............................................................178
V ITA ................................................................................................................................182
i v
LIST OF SCORES
1. A u fd e m S e e ...............................................................................................................10
2. Bliihender K irschbaum ............................................................................................ 19
3. Blume, Baum, V ogel................................................................................................33
4. Die N achtigall............................................................................................................ 40
5. Du schlank und rein wie eine Flamme................................................................46
6. E rdgew alt....................................................................................................................54
7. G efunden .....................................................................................................................63
8. Immer wieder .................... 71
9. W eihnachten.............................................................................................................. 84
v
ABSTRACT
The German-born composer and conductor Felix Wolfes (1892-1971)
left a substantial legacy of over two hundred inspired and finely crafted
songs. These works have earned him a place among his self-proclaimed
ancestors, Brahms, Wolf, Strauss, M ussorgsky, and his teachers, Reger and
Pfitzner. Unfortunately, both the composer and his w orks rem ain virtually
unknow n today.
Wolfes's output as a composer consists almost entirely of German
lieder. His style is strongly rooted in the Romantic tradition of earlier lieder
composers, bu t Wolfes did more than merely imitate his predecessors.
While the majority of his output suggests a conservative post-tonal idiom,
he frequently stretched the boundaries of tonality further through
chromaticism and even ventured into atonality. Wolfes's greatest
achievement was not, however, the developm ent of a characteristic
"Wolfes" style. His genius lay rather in his ability to create music that
evolved directly from the poetry. It was in this way that he was able to
accomplish a true melding of w ord and music, and to create a body of
unique and individual works.
The purpose of this m onograph is to provide an introduction to Felix
Wolfes and his songs. The paper is divided into three chapters, the first of
which presents biographical information, including his family, education,
and professional activity. Chapter Two begins with a brief discussion of
general stylistic trends. This is followed by a detailed study of ten songs
vi
considered by the author to be some of the m ost appealing and accessible to
both perform er and audience. Chapter Three is an annotated catalogue of
all 208 of Wolfes's lieder, both published and unpublished. Each entry
contains the title, poet, date of composition, dedication, vocal range, initial
tem po indication, publication information, length in m easures, and an
incipit.
CHAPTER ONE
FELIX WOLFES: COMPOSER AND CONDUCTOR
The Germ an-born composer and conductor Felix Wolfes (1892-1971)
left a substantial legacy of over two hundred inspired and finely crafted
songs. These works have earned him a place among his "self-proclaimed
ancestors,"! Brahms, Wolf, Strauss, M ussorgsky, and his teachers, Reger and
Pfitzner. Unfortunately, both the composer and his works rem ain virtually
unknow n today.
Wolfes's ou tpu t as a composer, like that of Hugo Wolf (1860-1903),
consists almost entirely of German lieder. His style is strongly rooted in the
Romantic tradition of earlier lieder composers, but Wolfes did m ore than
merely imitate his predecessors. While the majority of his output suggests a
conservative post-tonal idiom, he frequently stretched the boundaries of
tonality further through chromaticism and even ventured into atonality.
W olfes's greatest achievment was not, however, the developm ent of a
characteristic "Wolfes" style. His genius lay rather in his ability to create
music that evolved directly from the poetry. It was in this w ay that he was
able to accomplish a true m elding of w ord and music, and to create a body of
unique and individual works.
Felix Wolfes was born on September 2, 1892 in H annover into an
affluent family. His father, Paul Wolfes, was a book dealer and his mother,
1 Robert Dum m , "About the Songs of Felix Wolfes," Pamphlet, Mercury M usic Corporation, 1.
1
2
Grace Ham m Wolfes, was an am ateur pianist. The dual interests of his
parents in literature and music were to be the driving forces of Wolfes's life,
in particular of his song writing. He and his brothers developed musical
talents through their m other's guidance and support; she played piano duets
w ith the young Felix.2 His brothers, A rthur and Helm uth, played violin
and cello. Felix's love of reading continued throughout his life and became
the inspiration for his songs.
After his early education in Breslau and at the University of Leipzig,
Felix w ent on to the Leipzig Conservatory where he studied piano with
Robert Teichmiiller (1863-1939) and theory and composition w ith Max Reger
(1873-1916). In 1911, Wolfes moved to Strafiburg to study composition and
conducting w ith Hans Pfitzner (1869-1949), who rem ained one of the most
im portant figures in Wolfes's life; he and Pfitzner corresponded until the
latter's death in 1949. From 1913-1915, Wolfes was engaged by Pfitzner as the
opera coach for the Strafiburger Stadttheater. Wolfes continued in this
position from 1915-1916 under the direction of Otto Klemperer, who
succeeded Pfitzner during World War 1.3
Wolfes then began a successful career as a conductor with
appointm ents in Elberfeld (1918-1919), Halle (1919-1923), Breslau (1923-1924),
Essen (1924-1931), and D ortm und (1931-1933). As his reputation grew, he
frequently served as guest conductor at more im portant cultural centers
such as Cologne, Frankfurt am Main, M annheim (where he w orked w ith
W ilhelm Furtw angler), and M unich.4 According to Weiner, Wolfes
2 Richard Aslanian, telephone interview by the author, 8 August, 1994.
3 Marc Weiner, "Der Briefwechsel zw ischen Hans Pfitzner und Felix W olfes 1933-1948," in Exilforschang II ( Munich: Text und Kritik, 1984), 394.
4 Ibid.
3
mastered all the standard repertoire for concert and opera halls; he also
frequently presented new works by his contemporaries, such as Pfitzner and
Richard Strauss (1864-1949). He also helped make these composers' works
more accessible by writing piano-vocal scores for Strauss's operas Die
schweigsame Frau and Arabella, and Pfitzner's opera, Das Herz, his choral
fantasia, Das dunkle Reich, and his famous "musical legend," Palestrina.
Wolfes also prepared a Germ an edition of Tchaikovsky's Eugene Onegin.
Unfortunately, just as Wolfes was reaching the high point of his
conducting career, his performances were banned by the Nazis because of his
Jewish heritage. He was dismissed from his position in Dortm und in
February 1933 before a production of Die Meistersinger. According to
Angelika Forsberg, a close friend of Wolfes, he was told by friends not even
to return home that evening. He left all of his belongings behind, including
his substantial book collection. W einer tells of the following m onths
Wolfes spent in hiding w ith his friend, Fritz Volkmann. Even during this
time, Wolfes continued to work on music, particularly the piano-vocal
arrangem ent of Strauss's Arabella.5
In June 1933, Wolfes fled to Paris where he spent the next several
years in poverty. D uring this time he set to music Vieilles Chansons et
Rondes Frangaises (published by Max Eschig, Paris and Schott and Co. Ltd.,
London), writing under the pseudonym , Rene Deloup (French for wolf), in
an attem pt to earn money. Wolfes played piano in cabarets and also taught
private lessons.6 Some of his students were sent by his friend Charles
Munch, whom he knew from his time in StraGburg. From 1936 to 1937,
5 Ibid.
6 Ibid.
Wolfes w orked as a conductor and opera coach at the Monte Carlo Opera,
w here his brother H elm uth held an adm inistrative position.
In 1937, Wolfes traveled to the United States. He held an assistant
position at the M etropolitan Opera, where he worked w ith Bruno W alter
and num erous other artists who reportedly held him in the highest regard.
In N ew York he conducted the Sunday evening concerts at the Met and the
M ozart Festival w ith the Philharmonic at Carnegie Hall. In the sum m er of
1939 he traveled to Australia as accompanist to the well known singer
Marjorie Lawrence, whom he had met earlier in Paris. He served as the
assistant conductor at the Chicago Opera Com pany in 1945 and toured the
United States and Canada. From 1941-1948 he also held a position at the
Berkshire Music Festival in Tanglewood under Boris Goldovsky. Despite
these opportunities, however, Wolfes's conducting career never again
flourished as it had in Germany.
Wolfes finally settled in Boston, w here he taught at the New England
Conservatory of Music and was associate conductor of the New England
Opera Theater. One of the hallmarks of his presence in Boston was the
series of concerts of Unusual Vocal Music, for which he selected, prepared,
and accompanied vocal works rarely perform ed at that time. These included
songs by Wolf and Mahler that have since become part of the standard
repertoire for singers. He also used these opportunities to champion the
music of Hans Pfitzner, who he believed was m isunderstood and wrongly
neglected outside Germany. Wolfes sought to aquaint students and
audiences w ith Pfitzner's music in classes, concerts, and lecture recitals. In
his last years Wolfes "put together a slender living mainly as a vocal
5
c o a c h ."7 Felix Wolfes died on March 28, 1971 in Boston, after suffering heart
problem s for several years.
In spite of the m any difficulties Wolfes endured throughout his life,
the image that friends and aquaintances paint of him is one of hum or,
generosity, hum ility, and devotion. His shortcomings in the English
language frequently amused others as well as himself; and in a lecture recital
recorded in 1969, he even invites the audience to find hum or in any
language problems he m ight have. He shared his energy and talent
willingly w ith all of his students, frequently forgetting the concept of time
altogether during lessons. His devotion is evident in lasting friendships and
the very close relationship he shared w ith his brother, H elm uth, w ho died
shortly after he did. The dedications to his songs are filled w ith the names
of respected colleagues, family, and friends such as H elm uth Wolfes, Charles
Munch, Fritz Volkmann, Angelika Forsberg, Hans Pfitzner, Samuel Barber,
Boris Goldovsky, and Gian-Carlo Menotti.
Throughout his life, Wolfes found musical inspiration in the poetry
he read so passionately. The resulting songs form the m ost substantial body
of Germ an lieder of the twentieth-century; yet the majority of them were
not published nor even perform ed during Wolfes's lifetime. These songs
will be the focus of the rem ainder of this paper.
1971.7 Michael Steinberg, ''Love of Music Sustained W olfes in Old Age," Boston Sunday Globe, 4 April
CHAPTER TWO
THE SONGS OF FELIX WOLFES
The 208 songs of Felix Wolfes represent nearly fifty years of work
and are as broad-ranging in musical style as they are in poetic material.
Indeed, this variety is the very essence of Wolfes's approach.
W olfes's lifelong passion for reading introduced him to num erous
poets whose works became the seeds from which his music grew. The range
of poems is itself impressive, extending from translations of ancient Chinese
poets and the symbolist, Verlaine, to German poets from Heine to Hesse.
Wolfes rarely set poems that had been previously used by other composers.
This is probably due in part to the fact that m any of the authors he chose
post-date the m ost prolific lieder composers.
Wolfes seldom altered a poet's work. On those few occasions when
he did, changes were limited perhaps to the repetition of a particularly
im portant w ord or phrase for emphasis. On the other hand, he generally
did not adhere to the sectionalized structure of the poems. Indeed,
traditional formal structure of any kind is not a standard feature of his
songs. In order to create unity, Wolfes used recurring themes, motives,
intervals, and rhythm ic figures. These devices are almost invariably related
directly to the text, and help establish the central mood of the poem.
Each of Wolfes's 208 songs is a unique creation built on the
individual stresses, meter, m eaning and images of the poem. He frequently
6
7
developed musical phrases directly from the shapes of poetic lines. His
m ethod of text setting varied w ith the individual poem. The one thing that
d id not vary was his strict adherence to the natural inflection of the spoken
w ord. Much of his vocal w riting is syllabic, w ith the line rising and falling
just as in speech. To accommodate this inflection, Wolfes frequently used
complex rhythm s. His melismatic w riting is never florid, merely
expressively enhanced. Wolfes further conveys the m eaning of the text by
using w ord painting. For example, in Erdgewalt he uses a long stepwise
descending line to illustrate the idea of "coolness rushing below." Or he
m ay use a recurrent rhythm ic figure to represent a bird, as in Die Nachtigall
and Blume, Baum, Vogel. The success of his songs lies frequently in a very
m em orable im pression of the m ood of a piece, often captured in the
accom panim ent, rather than in easily recognizable melodies.
The influences of the earlier lieder composers are apparent
throughout Wolfes's work. The subjects of his songs are those of the
Romantics, such as love, longing, parting, nature, and death. Although his
melodic and harmonic language is frequently Romantic as well, Wolfes
extended the use of chromaticism and in one "study," Die Birke (Hesse), he
even experim ented w ith twelve-tone writing. Wolfes also used other
devices available to his predecessors and expanded on by twentieth-century
composers. These include m odality, non-functional progressions,
frequently shifting tonalities and meters, and often sparse texture; all serve
to illustrate the ever im portant text. No single aspect of Wolfes's being can
be credited w ith the creation of these songs. His love of literature supplied
the inspiration and resulted in subjects worthy of being set to music. His
m usical genius and exceptional training resulted in finely crafted, musically
sophisticated songs. His extraordinary pianistic ability helped him compose
challenging and beautiful accompaniments. Finally, his experience as an
opera conductor and vocal coach afforded him a rare understanding of the
singing voice. This knowledge allowed him to create some of the m ost
expressive vocal music of our century.
W hat follows is a study of ten songs that I believe to be some of
W olfes's most appealing and easily accessible to both performer and
audience. The songs represent a small cross-section of his lieder. Each one
is a setting of a text by a different poet and depicts its own individual mood
and style. Songs from throughout his compositional life are represented.
The examination of these songs will address several of the following
questions: Who was the poet? Did Wolfes set other poems by h im /her? Did
other composers set the poem? How did Wolfes set the text? Are key w ords
or phrases illuminated, and if so, how? W hat is the nature of the vocal line?
How does it relate to the accompaniment? How is the mood expressed
musically? How does the musical form /structure conform or not conform
to the structure of the poem? W hat aspects of the song are particularly
challenging to the singer? Does the song show influence of other com posers'
w orks or styles?
In the discussion of each song, I have provided my own translation
of the Germ an text. These translations are not meant to be poetic. I have
tried to m aintain w ord order w hen at all possible to aid in the location and
observation of Wolfes's treatm ent of specific words in German. This creates
some rather aw kward phrases in English but I believe it is helpful for the
present purpose.
9
1. Auf dem See (1943)
On the Lake
Beautiful blue-edged silver cradle softly deepened green death, let your bright waves nestle more gently our boat.
Above your gigantic halls, above your cool black radiance, those who travel over more joyfully hold each other.
Lift up suspended our slender shell, so that it glidingly falls, so that it still happier sways over your underw orld.
U nder us death 's cradle,above us heaven's wind,we feel ourselves more blissfully soaring,more happily aware that we are (alive).
Wolfes set fifteen poems by the distinguished German poet Ernst
Bertram (1884-1957) w ith w hom he corresponded. A u f dem See is a superb
example of Wolfes's link w ith his Romantic predecessors. This poem, w ith
its depiction of the joy of life in the proximity of death and its vivid images
of nature, is similar to those that inspired Strauss and Brahms. The lush
harm onies and expansiveness of the setting are also characteristic of many
earlier Romantic lieder.
Wolfes establishes a flexible ternary structure through the use of
varied melodic material. The A section, measures 1-27, sets the first and
second stanzas of text, and is unified by several statem ents of the opening
chromatic melody. This motive, first heard in the voice in m easures 5-8,
10
Mel* Relsner geuidnet
Auf dem See
Ernst Bertram Felix Wolfes (1943)
Leicht bewegt (J.-es) With light m ovem ent
Schon
poco
Sil tief - - terver
A L-i-57P oem from G e d ic h te , 1 9 2 0 . U sed b y p e rm iss io n o f Inse l-V erlog .
© C o p y rig h t 1 943 b y Felix W o lfe s . A ss ig n e d 1 9 6 2 to B cek m an M usic, Inc.
U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
12
Rie sen - hal len. dei ner Kuh - le schwar - zem
dim.
‘Sb.
2 1
Glast diehal lenten
poco‘fcb. #
freu - fafit.sich nur•poco
13
fliefiendflowing
He be scbwe-bend sre achlan - keun
(P)
Scha tend (Silt,
>JSt
tnfespr.
ter achwan -dafl sie noch_ gluck
14
ber dei Un - ter welt.ne
espr.
etw as ruhig rather quiet
Erstes TempoTempo I
daster uns des v ie gen,
15
B.O.
P Aitfj it-, a t ~ Itff^V n — r
u - ber uas dea
# ¥ H ---------------
Him - mels Wind,
p « L --------
spQ - ren wir uos
-§>.. .....— y
9 : jt.ft*... --p -.," * ----------------------------=p— ■S ^ L
qgfaU -*.-
pse - l i-g e r flie - gen, se - li - ger wi8 -
m
i*k=____
16
recurs in measures 11-14 (piano, transposed up a fifth), measure 22 (voice,
partial statement), and m easures 26-27 (piano). The B section, m easures 28-
41, treats the third stanza. It is set off from the A section by the use of a new
them e in a different character, forged from the notes of an major triad
(measures 28-41). This m elody is repeated in the piano in m easures 32-35.
A lthough he changes the melodic material in this section, Wolfes retains
the arpeggiated accom panim ent and the rocking rhythm ic motion that
characterized the A section. The final A^ section (corresponding to the
fourth stanza) begins in m easure 42 w ith a modified restatem ent of the
original chromatic melody at the original pitch; this motive appears again in
m easures 48-49 and in the postlude.
In A u f dem See Wolfes creates a vivid im pression of waves
through the use of undulating arpeggios in the accompaniment. He
establishes a pattern of continuous sixteenth-notes for these figures, though
he slows the motion at several points to convey a calmer mood. (See
m easures 9-10 under the text "griiner Tod" [green death] and m easures 33-35
under the w ords "das sie noch begliickter schwanke" [so that it still happier
sways]). The arpeggiations are m ost dramatic in m easure 18 under the text
"Riesenhallen” (gigantic halls), im plying the depths of the water. A t
this point the accompaniment ascends from its lowest register in broad
quadruplet arpeggios against the rushing sixteenth notes in the right hand.
The J J J 1 rhythmic figure that pervades both the voice part
and the accompaniment also depicts the images of the text: it effectively
suggests the rocking of both the boat and the cradle. Gabriel Faure (1845-
1924) also used this pattern in his song Les Berceaux (1879), which shares
17
w ith A u f dem See its themes of rocking cradles and boats. The pattern is
especially conspicuous in m easures 28-31 of Wolfes's song, w here the text
reads Hebe schwebend unsre schlanke Schale, dafl sie gleitend fdllt" (lift up
suspended our slender shell so that it glidingly falls). Here Wolfes combines
the rhythm ic figure w ith the major triad gesture m entioned above in a
m anner that seems to suggest the heaving of the waves.
The five-measure postlude recalls similar material from the B
section in outlining a B major triad. However, even m ore interesting is the
striking dissonance created in m easure 54 by the sudden introduction of a
m inor third in an otherwise diatonically major triad. Wolfes has earlier
used major and m inor harm onies in close proximity under such w ords as
"griiner Tod" (green death) in measures 9-10 and "Unterwelt" (underw orld)
in m easures 37-38. The abrupt introduction of the m inor third in the
postlude seems to be a rem inder of the presence of death. As the poem
suggests, this awareness of death makes life even m ore wonderful.
Harmonic m ovem ent throughout the song is determ ined not by
standard tonal syntax, bu t m ost frequently by stepwise or third-related
m ovem ent (as, for example, in the introduction). The m aterial is a
som ew hat exotic form of traditional harm ony using added-tone chords and
m ajo r/m inor versions of the same chord in close proximity. The frequently
stepw ise bass m ovem ent further serves to unify the piece.
Wolfes's use of rhythm ic figures, w onderfully rich harm onies, and
sw eeping melodic lines make A u f dem See appealing even to a first time
listener. His intelligent vocal w riting gives the song further interest for the
perform er. The lines are broad and lie very well in the voice allowing
18
higher and more dramatic passages to be sung comfortably. This vocal ease,
audience appeal and the fact that it was published in two keys, B major
(original)i and A major, make A u f dem See one of W olfes's m ost accessible
works.
2. B luhender K irschbaum (1958)
Blooming Cherry Tree
Countless joyful w edding guests, large and small, simple and dressed up, gentlem en and ladies, noblem aidens, knights, countless fathers and m others, countless children, grand m atrons, m any huntresses and Amazons,cheeky wenches along w ith somber, pious people, in the w edding house assemble.
Countless bridal-lovely rooms, here and there girlish finery, countless rosy w edding beds and alongside secluded, cozy little places, for the lady harpists and the sweethearts, countless bowls w ith drinks, countless cooks and butlers, unlim ited room for free actions in the w edding house is held.
Endless coming and going,farewells, returns, reunions,eating, drinking, dancing, love greetings,the desire to embrace loved ones;endless tender embraces,godlike freedom to do as one pleases;endless forgetting of grief and selfin the airy hall—during whichcountless happy m inutesin the joyful home float by.
1 A ccording to a correction sheet issued w ith Volum e 1 of Felix Wolfes Ausgeiviihlte Lieder, Mercury M usic Corporation, 1962, measure 28 of A u f dem See should contain the follow ing accidentals in the vocal line: a natural before the G, and a flat before the E.
Boris Qoliovatg yewidmei
Bluhender Kirschbaum
Christian Wagner
Leidit bescfcwlugtjin wediselndem Temp** Light and sw ift, flexible tempo
Felix Wolfea (1968)
<J»108)
wie zarte Fanfaren like soft fanfares
z # 5 im■*
p flBssig flowing
Pei. immer teeAselni pedal always flexible
und be - trefi - te,greB und klei - no. eio - fach .
P oem from B ftihcnder K irichboum . U i* d b y perm iss io n of V e rla g A lb e rt l a n g e n - G e o r g MOIIar. A 12 '5 2 © Copyrig,ht 1 9 5 9 b y Pali* W o lfe s . A ss ig n ed 1 9 6 3 to B eekm on M usic, Inc.
U s e d By P e r m i s s i o n O f T h e P u b l i s h e r
20
p i iHerrn Prauund E - del-frau-lein RIt ter, un -en,
- ge-iahl-te V* - ter wohl Mutand ter, Un
SB*
1 1
und A - ranKin GroB ,JS - ge-rin - nen vielder,
1 3
mit Ern - sten, From - menfre - che Dir - nen wohlzo nen,
1 5
auf dem del hof kora - men.menzu - sam
AML
1 7
(J = 108)
22
1 9
Un
<J = 86)braut - lich scho ne Zim - roer,zahl
A
2 1
Flimu i und dort wohl raad-chen - haf - ter mer,
2 3
und da*zahl si • ge Hocfa - zeits • bet ten.ro
A
23
a It ' "7— « . PP Voco rubato. h V >tt-------------------h hm '— 1:1—
~~~ —- h z z k n — i— -L ^ .— Jfci
J V — - \pine - ben heim - lie
poco rubato —
h tr= 2 ^ - ■au - te Stat - ten, ro-sen-
, ---|
far-big aus-ge-s(iilag-ne
• - + • ^ -------------- EE__ P
L - z j j f r S T p l- J )—
l § 5A
' ‘i a r tV i if ^ f c U 4 5 —ess*------------------------------ 1
2 7
Stub - chen fur die Herf Schon -rin undne nen
2 8
lieb chen, zahl Scha len mitun
24
tran - ken, un - ge-xahi- te K5-che wohlund Schen - ken,
etw as verbreitern broadening a little
f Zeit nehmen take time
ge-messner Raum zu frei - em in dem
wieder im Tempo again in tempo
1
5Hoch - re lts - h&u - se
S H I J S 3
25
3 5
< J - 1 0 S )
3 8
Un-ge-tihl-teaKommen o-der
M.
p subito
Ab • scbied-neb -men,hen, Keh ren,
espr.
26
TrinWie der Tan - ten,se - hen,
espr.
Lie bes-grus - sen, Lteb - ge-wor-de- nes Umar men - rnus-sen;
delieato
nicht eilig not hurriedespr.
tes In - ni - ges Um
nicht eilig not hurried
un . ge-xahl fas gotsen,
espr.
27
ren - las - sen;
f
in dem iuft’ - genzahl - tea Leid und Selbst ver-gesun sen
poco
l e - wah - rend-des - sen
leicht P lightly
A 1 2-52
30
Bliihender Kirschbaum is one of two poems Wolfes set by the
relatively little-known Christian W agner (1835-1918), to w hom D um m
refers as "the Germ an cross-number to Grandm a Moses."2 The poem ,
w hich depicts a tree rustling and evoking fanciful images, is divided
into three stanzas. Wolfes divides his setting into three corresponding
through-com posed sections, separated by easily recognizable interludes.
Wolfes begins the song w ith a fanfare establishing the festive mood
of the poem. This fanfare can easily be seen in the first m easure of the song.
The figure is repeated in falling chromatic third relationships and is used
subtly throughout the song in measures 5-6, 8,12-13, 40, and 42. It is
particularly conspicuous, in varying forms, in the interludes betw een
strophes and in the postlude. In these instances the motive retains its full
length and the chromatic th ird relationships; the variations are m ostly
lim ited to changes in pitch level. During the interlude before the final
stanza, however, the original form of the fanfare appears w ith tone clusters
and an inversion of the figure in measure 36.
The accom panim ent continues to be the m ain conveyor of the
m ood of the poem throughout the song. The descending triplet figures
introduced in m easure 3 can be thought of as the flurry of activity
throughout the imagined w edding house; they are also suggestive of gently
falling cherry blossoms from the w ork's title.
Wolfes takes great care to set the text in a way that follows the
rhythm s and inflections of speech, thus creating irregular phrase shapes and
frequently complex rhythm s. While these phrases are perhaps not melodies
that linger in the ear after a single hearing, they do very effectively and
2 Robert Dumm, "About the Songs of Felix Wolfes," Pamphlet, Mercury Music Corporation, 1.
31
naturally convey the meaning of the text. The setting is for the m ost part
syllabic; the only significant melisma occurs on the final line of text, "an
dem Freudenheim voriiberfluten" (in the joyful home float by). Wolfes
uncharacteristically emphasizes this line further by repeating it. The melody
becomes practically Straussian in its expansiveness, which makes for a very
exciting ending. In keeping with the light mood previously established,
Wolfes interrupts w ith one final sounding of the fanfare followed by an
ornam ented authentic cadence.
W olfes's exquisite setting of Bliihender Kirschbaum presents a
challenge to the accompanist in the form of virtuosic dem ands. From the
singer it requires precise diction and a high range. Wolfes addresses the
latter by providing alternate notes at the end of the song, as well as a lower
transposition.3 In spite of its technical dem ands, the strikingly beautiful
accompaniment, coupled with a delightful text setting make this example of
the post-Romantic lied a rew arding experience for both perform er and
listener.
3. Blume, Baum, Vogel (1951)
Flower, Bird, Tree
You are alone in nothingness, you burn in solitude, heart, greeting you at the abyss is the dark flower Pain.
3 W olfes originally com posed Bliihender Kirschbaum in E major but he also wrote a transposition in C major, and both have been published. However, the transposition does contain two mistakes (according to a correction sheet included with the published volumes): in measure 5, the piano part should have a B natural (follow ing the vocal line) rather than a G, and in measure 30, the low est note in the rolled chord on beat two should be a D natural rather than a B.
32
Stretching its limbs the tall tree Grief, singing in the branches the bird Eternity.
The flower Pain is silent finding no word, the tree grows into the clouds and the bird sings on forever.
Wolfes obviously felt an affinity w ith the Romantic tw entieth-
century poet Herm ann Hesse (1877-1962). He set m ore of Hesse's poems
than any other poet's--forty-three in all-com prising over one fifth of his
total lieder output. Blume, Baum, Vogel is a sober depiction of eternal pain
and suffering, which Wolfes effectively conveys in a simple, disturbingly
stark setting.
Hesse's poem is divided into three stanzas, which Wolfes sets in a
loose AA^B form. The song begins w ith a four-and-one-half-measure
introduction. Stanza one is set in measures 5-14. Stanza two follows in
measure 15 w ith no interlude. However, Wolfes gives a vaguely strophic
quality to the song by setting the opening line of the second stanza to a
melodic line similar in shape to that of stanza one. Stanza three is
distinguished from the previous stanzas by the interlude in m easure 24 that
precedes it. It is further differentiated by the narrow er range of its opening
melodic line and by the slightly less obvious use of the w ork's m ain motive
first heard in the beginning. This motive is found in a lower voice in stanza
three, rather than the upperm ost voice as it had been previously or, as in
m easures 26-27 and measure 29 is simply not present at all. The song ends
w ith a three-measure postlude.
33
Fur H. Lutz Peter
Blume, Baum, Vogel
Hermann Hesse
Sehr ruhig und einfaeh (J=7 2)
Felix Wolfes ( 1 9 5 1 )
i f Hilt h f f fh ----!—!----- —H
■ m ¥ -—=hr
Bist al lein.
Lee - rent Herz,gluhst eln
(no triplet)
Poem from D ie G e d ic h te , 2 n d e d itio n , 19 4 2 . U sed b y perm iss io n o f F retz & W o sm u th V erlo g . A l2*52 © C o p y rig h t 1951 b y Felix W o lfes . A ss ig n ed 1 9 6 3 to B eck m an M usic, Inc.
U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
34
kle Blu - me Schmerz.griiRt dich am A b. grand dun
he BaumderReckt ste
cresc.
sm gt in den Zwel
JTw J-on J f f ] r l ^
'"0 flg 0 ~
35
<P)
wig.Veit.
wen ig Pei. little pedal
2 4
fia -Blu-me Schmeri 1st schweig-sam,
p espr.
det kein Wort, der Baum wachst die
cresc.
36
...... > > ^Wo! . - ken, und der Vo - gel
M' .. - ..... r -■-■■! - ~ —
<* 3
___ ____ ----- ~~~- — ---------------— \z^ = % F 4 i ^ = f e
(» I f " ' —
^ h = f r ~ = - ........ Il!= = s
singt ------ ------
— r— ^ — r -—---------------------------------- Zf------------ 1im - mer
p jf it ' T f p f y jth X i . Q . f T f t N
g q t j j i t - f r - ' .....* 7 ~ =
j ‘— j
- j # i - ..T '-
3 4
| M = = =fort.
j r j r ~ g & £ M ff j ... = = i
dim. VP
[dri/ Jrr*f <f = % ] .r=J------------- :-- 3----------- w ' = , r
» i O ,• ---m it Ped. ^irith ped.
37
Hesse's poem is full of symbolic imagery, which gives Wolfes ample
scope for text painting. The m ost im portant musical symbol is the bird,
Eternity, whose song Wolfes introduces in the opening measure w ith the
previously m entioned plaintive motive, C# - D - C#. This motive is similar
in form and effect to the one used by Gustav Mahler (1860-1911) in lira
Mitternacht (1901; Friedrich Ruckert), the first part of which also deals w ith
the theme of dispair (Wolfes used this same motive earlier in Der Feind
[1944] under the w ord "Mitternacht”.) Wolfes expands the motive in the
right hand in measures 2-4, then repeats it in measures 4-5. It recurs
throughout the song in both its initial and expanded forms. In fact, this
motive is so pervasive that out of the thirty-seven measures of the song,
only eight contain no part of it.
There are num erous additional examples of w ord painting in this
song. For instance, in the phrase "gliihst einsam, H erz" (you burn in
solitude, heart), Wolfes sets the word "Herz” by itself in m easure 10, where
it is separated from the preceding and following words by quarter rests. A
falling leap in measure 12 emphasizes the word "Abgrund” (abyss). In
measure 15 the vocal leap of a major sixth is tied to a rhythmically stretched
triplet at the words "reckt seine A ste" (stretches its limbs). In m easure 19 the
bird motive intensifies w ith the repetitive upper neighbor figure doubled in
the voice on the word "singt" (sings). The bird motive continues
unim peded at its highest pitch level from measures 19-23 under the text
"singt in den Zweigen Vogel Ewigkeit" (sings in the branches the bird,
Eternity). At this point the w ord "Ewigkeit” (eternity) is rhythmically
lengthened; the same thing happens in measures 28-29 on the word
38
"wcichst" (grows). Measures 29-30 further illustrate the text w ith an
ascending chromatic line that suggests the tree growing tow ard heaven. The
continuous bird motive appears again in measures 30-37 under the text "und
der Vogel singt immerfort" (and the bird sings on forever).
Wolfes also establishes the mood of the text by avoiding
conventional dom inant-tonic progressions. The key signature indicates F#
minor, and the prom inent upper neighbor "bird" motive hovers around the
dom inant, C#. The fact that the piece ends on a dom inant chord w ithout a
resolution to tonic strengthens the feeling of unrest, and further confirms
the mood of endless suffering.
Sparse texture, chromaticism and lack of a clear tonal center
effectively illustrate the text. As in his other works, Wolfes derives easily
singable melodic lines directly from natural inflections and rhythm s of the
words. Wolfes's careful attention to the text and the use of the haunting
bird motive make this an unforgettable setting of Hesse's poem.
4. Die Nachtigall (1930)
The N ightingale
It's because the nightingale sang through the whole night; it is from his sweet sound, the sound and the echo, that the roses have sprung open.
She was once a wild thing; now she walks deep in thought, carries in her hand a sum m er hat and bears quietly the sun's heat and does not know w hat to do.
39
It's because the nightingale sang through the whole night; it is from his sweet sound, the sound and the echo, that the roses have sprung open.
Die Nachtigall is one of only two poems Wolfes set by Theodor
Storm (1817-1888); the other is Schlaflos. W ritten in 1930, the song is an
example of Wolfes's early efforts. Alban Berg (1885-1935) also included a
setting of this poem in his Sieben friihe Lieder (1905-1908).
Die Nachtigall is particularly straight forward in its formal
structure. The basic form is ternary; each of the sections corresponds to a
stanza of text. Wolfes further organizes the piece by using piano interludes
that help to bridge the contrasting strophes. In his later works, he frequently
abandoned such strict formal devices.
Also uncharacteristic of the later Wolfes is the independent vocal
line w ritten in regular eight-bar phrases. The accompaniment plays the role
of an accessory rather than that of an equal partner. It is also interesting to
note that the first sixteen m easures (comprising nearly the entire first
stanza) are completely diatonic; however, the harmonies are determ ined by
mostly stepwise parallel motion in three voices rather than traditional
progressions. The first sixteen measures are also notable for their rhythmic
constancy in both the vocal line and the accompaniment. This is consistent
w ith the return of the same m aterial in the A^ section, although the
accom panim ent varies slightly (specifically through the use of m ajor/m inor
m ixture as previously observed in A u f dem See).
Else Betz getcidmet
Die Nachtigall
Theodor Storm Felix Wolfes( 1 9 3 0 )
Zart bewegt (J -so)liently mooing
dieDas macht, hatee
p legato
ie Nactit Da sind rera
sind dieHall und Wi der - hall
A L I.J7 © Copyright 1951 by Felix W olfei. A iiigned 19 6 2 to Beekmon M ujic. Inc.U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
41
1 7 (P)
Ro auf go . spninsen gen.espr
2 3
Sie war doch dessonst ein
2 8
Singeht sie tiefBlut; nen,nun
im m er ru higer und le ise r gradually calmer and softer3 3
derdel stillund dulSom mer - hut
42
was be - gin - nen.Son Glut und welfi nicbt,
(d' = d vomer)( O ' - p re v io u s d)
diemadit,Das es hst
5 1
DaNach Nachtgall die gan gen.ze sun
5 7
undHaUSen Schall,aind sindvon rem
44
W olfes's m ore familiar traits are evident in the vocal line, w hich is
almost entirely syllabic, yet quite lyrical. The most expansive vocal lines are
the settings of the text "die Rosen aufgesprungen" (the roses have sprung
open) in both the first stanza, measures 17-20, and third stanza, m easures 65-
72. These broad lines are created by a stretching of the meter (to illustrate the
blooming of roses) which helps to make a smooth transition into the new
m eter that follows both examples. Wolfes's rhythmic transition back from
two-four to three-four meter at measure 49 can be traced in the preceding
three measures. His attention to compositional detail is evident in the
subdivisions in the right hand, which lead seamlessly into the vocal line in
the new meter. This predates Elliott Carter's (1908- ) use of metrical
m odulation, in which changes of rhythm and meter become part of the
structural design.
One of the characteristics of Wolfes's songs in general is the
frequent repeated use of a motive or theme to create an overall im pression
of a piece (as we have already observed in Blume, Baum, Vogel). The use of
such a motive is quite obvious in this early song through the use of the
sevenths in quick sixteenth-notes in the right hand, which produces the
effect of a bird song. This figure is continuous in both the first and last
strophes where the text is about the nightingale. It is absent from the
contrasting middle stanza and the postlude that reestablishes that stanza's
pensive mood. The piece ends with a faint seventh heard above a dom inant
harm ony in the key of B minor.
This early song is mainly distinguished from m any of the later
songs by its clear ternary structure and by the purely supporting role of the
accompaniment. This simple structure combined w ith the engaging, lyrical
45
m elody makes Die Nachtigall a wonderful first aquaintance w ith the songs
of Felix Wolfes.
5. Du schlank und rein wie eine Flamme (1944)
You, Slender and Pure as a Flame
You, slender and pure as a flame, you, as the m orning tender and light, you blooming branch of a noble line, you, as a spring secret and simple,
Accompany me in sunny meadows, make me tremble in the evening haze, lighten m y path in the shadow, you cool wind, you fiery breath.
You are m y desire and my thought,I inhale you w ith every breath,I sip you w ith every drink,I kiss you in every scent.
You blooming branch of a noble line, you, as a spring secret and simple, you, slender and pure as a flame, you, as the m orning tender and light.
Wolfes set three poems by Stefan George (1868-1933): Das Kloster,
Nachtwache, and Du schlank un rein wie eine Flamme. He effectively
expresses both the pure and passionate moods of the poem w ithout
disrupting the flow of the song.
George's poem is comprised of four stanzas, the last of which
contains the same text as the first; however the lines are reordered. Wolfes
follows this pattern and sets the song in an ABCA^ form.
46
Du schlank und rein wie eine Flamme
Stefan George Felix Wolfes(1944)
Zart, flieflend (J-so>1 Delicately, flowing
wie derDu adilank und rain v ia al . ne Flam - me,
Pedal isomer tekr wenlg u*d tart pedal always eery sparing end delicate
H ot
(P),
Quellwie ge ■ heim
PP p poco espr.
AI-I.J7 Poem from O o i n e u e fte tch , 1 9 2 0 . U sed b y perm iss io n o f V erlo g Helm ut K upper. c C o p y r i g h t 1 9 4 4 b y Fel i* W o l f e t A i i ' O n e d 1 ^ 6 ? *o B ? e l " " o n Mu^ir
U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
47
ni-gen M at. ten,auf son
raudi, er.leuch . test met - nen Weg SchatIm
PP
eine Spur fliefiender with a tr ifle more motion
mfespr. ___ 1 —
Itu bist mein Wunsch und mein Ge-dan - ke,
(J = 88)Ber Hauch.hei me
48
2 2
4& &
dich mlt je - der Luft, fch schlur - fe didh mit je - dem Tran - ke,
4
M JL &
2 5 zart / delicately
Duft.ich kiis
za rt / delicately
y J J
2 9
ao/cf eapr.
J jd-Ez
- J 7 T 2 A
blu . bend ReisDu vom e-dlen Stam.me*(J = 80)
p espr
50
Wolfes m ade no alterations to George's text. While the stanzas are
not distinctly separated by interludes, stanzas one, two, and three are set off
from each other by varying texture and mood. Stanza four is preceded by a
five-measure interlude that adds emphasis to the transposed return of the
opening melody.
The song begins w ith no introduction other than a C octave in the
left hand, which is reiterated every two measures during the first stanza.
The fluid m elody on the w ords "du schlank und rein wie eine Flamme,"
seems to have sprung directly from the text. It is a graceful musical
rendition of the inflection and rhythm of the phrase and is among one of
Wolfes's most easily recognizable melodies (Wolfes himself used it again in
Das letzte Haus ten years later). An interesting aspect of the melody is the
use of fourths stacked in an ascending melodic line. H eard first in the
opening measures, the interval of the fourth features prom inently
throughout the song in both melody and accompaniment. The entire first
stanza, measures 1-9, is m ade up of slight variations of the opening bars,
both vocal line and accompaniment, at different pitch levels. The texture of
stanza one is quite spare, em phasizing the text, "du schlank und rein" (you
slender and pure).
In the second stanza, measures 9-18, Wolfes continues to use the
interval of the fourth in the accompaniment, but in a more complex way
than before. The accompaniment is rhythmically active and uses the
opening vocal melody (based on the rising fourths) contrapuntally in both
hands. The vocal line is increasingly chromatic, particularly in m easures 14-
15 under the text "erleuchtcst meinen Weg im Schatten” (lighten my path
in the shadow). Wolfes then contrasts this with the striking clarity created
51
by the cessation of the contrapuntal fourth motive in m easures 17-18 under
the text "du kiihler Wind, du heifier Hauch" (you cool w ind, you fiery
breath). The contrast is further emphasized by the doubling of the vocal
rhythm in the upperm ost accompaniment line.
Stanza three is the m ost obviously passionate one of the poem. To
reflect this intensification, Wolfes indicates a faster tem po in m easure 19.
However, his w riting at this point seems to be an effort to hold back the
em otion through the use of the steady ostinato. The melody under the text
"du bist mein Wunsch und mein Gedanlce" (you are my desire and m y
thought) is a variation of the opening melody of stanza one, bu t this time
poignantly inflected in the minor. The accompaniment gives a sense of
solidity, m oving in regular block chords. The right hand outlines the same
pattern of fourths found in the melody, and the left hand provides stability
through repeated chords. The inner voice of the accom panim ent for the
m ost part moves in contrary motion to the right hand. This pattern is
repeated in two-measure groupings at rising pitch levels (fourths)
throughout the stanza. The regular nature of the accom panim ent is
contrasted w ith the urgency of the vocal line, which culminates in the final
phrase, "Ich kiisse dich mit jedem Duft" (I kiss you in every scent). Here
Wolfes m aintains com posure with the instruction zart (delicately) and the
m arking pp.
At this point (measures 28-32) there is a reflective and slightly
ornam ented interlude that employs the opening melodic material.
A lthough George reorders the text in the final stanza, Wolfes creates a
feeling of recapitulation in measure 33 by using the same melodic material
that he does in stanza one, only this time a whole tone higher and marked
52
espressivo. The accompaniment is fuller than that of stanza one, and uses
the full statem ent of the opening melody in the right hand. This melody
appears exactly as it did in the accompaniment of stanza two. A unique
feature of the accompaniment in the final strophe is use of a walking bass
pattern, which descends from A to D. This finally comes to rest in m easure
39 w here the original tonality of C returns. The reappearance of the tonic,
coupled w ith the original opening line of text, gives an even stronger sense
of recapitulation here where there is also a return to the opening line of text,
than in m easure 33. The song concludes w ith an authentic cadence in
m easures 45-46 followed by the clear sound of an open fifth, C and G.
W olfes's Du schlank und rein wie eine Flamme is a superb setting
of Stefan George's poem. He captures the purity and the ardor of the text in
a melodic, appealing rendition. While the song does present challenges to
the singer in the form of chromatic lines and a broad range (nearly two
octaves), these need not be viewed as im pediments to performance. Upon
close inspection one can see that vocal lines are for the m ost part assisted by
the accom panim ent, which is one of Wolfes's m ost manageable. A lthough
the tessitura in some passages is quite high, Wolfes always aids the singer by
preparing the top notes, usually with the previously m entioned rising
fourth intervals.
6. Erdgewalt (1958)
Earth-power
Brooks rush out of the heart of the m ountains, full of happiness and in m yriads of candles burn forests in ecstacy.
53
Treetops blaze glowing fire upw ard.The green dome dims the brightness.Silently woven in the web of rays sparkles enticingly the dragonfly.
Rising stem and roots whisper passionate language back and forth and out of shadow y nostrils rocks rush coolness below.
Valleys exhale gentle breathsaround the m ountains' motionless feet—:and I burn in never lostfire of all the pow er and sweetness.
Gently aimed sun-daggers strike me. I stand burning out, w oodland, rocks, m ountains, salam anders, w ith you loving, w ith you blooming.
Wolfes set four poems by Rudolf Binding (1867-1938), a Germ an
poet w ho embraced literature late in life. The poem has a typically
Romantic theme, the exaltation of nature.
Binding's poem is divided into five stanzas. A lthough Wolfes's
setting is through-com posed w ith no interludes, he articulates the stanzas in
various other ways. For example, in measures 5-6, the cadences establish the
end of stanza one while the arrival at in m easure 6 provides tonal
stability for the beginning of stanza two. Stanza three begins in m easure 12
and is differentiated from the preceding stanza by the compass of melodic
lines (stanzas one and two tend to have broadly rising and falling lines,
while the lines in stanza three tend to be narrow er in range). The m ood of
stanza three is also calmer than those prior to it. The mood is indicated by
W olfes's direction, espr., verbal ten (expressive, restrained), at m easure 13,
54FUr John S. Botoman
Erdgewalt
Rudolf G. Binding' Felix Wolfes (1958)
p i
Kraftig, stiirmisch (J=so) Vigorous, fierg______
Ba-diestur-zenaosdemHer-zender Ge - blr - ge voU Be-gliiciung
!!C Jz5 afi
_ Y
v iew ed ., wechselnd fmuch pedal, flexible
-tf
und in M y-ria - den Ker-ien bren-nen WS1 der in Ver - juk - kung.
P R s
s
Wip-fel lo-dem Glut nach o - ben
S c h w u n g vo ll with impetus
Poem from D /e G td tc h t* , 1 9 3 7 . U sed b y p e rm iss io n o f Rutten & lo e n in p V erlog . AL2»52 © C opy rig h t 1 9 5 9 b y Felix W o lfe s . A ss ig n ed 1 9 5 3 to B eekm on Music, Inc.
U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
55
Wol bung wehrt der le.Hel -- ne
Stumm ms Strah - len - nets ge - wo - ben blitxt ver - fuh-rend die Li
J U®: kfi
* ^* <3E&l
espr., verhultea espr., restrained
bel Stei - gend Stamm und Wur - zelnle.
p esp r.
SB?
pedal w ith every quarter note
56
flu - stern hei-Be Spra - che bin und wie - der und aus schat-ten-vol-len
jT t r a te — gp
Nu - stem rau - schen Fel - sen me - der
hJ)5 - - ler dem um _ derhau-cfaen lin-den
m f dolce
AL2-52
57
2 1
Ber - star - re und Ich
m
fle x ib le pedal
brenn Feuver - loh tem Kraft undall derer
2 5
Su fie.
58
2 7
- cheZart Son
light pedal
2 9
tref fen midi. glu - hend,(eh steh ver
light pedal
3 1
Wal - Ber -- sen,
m it Ped. with pedalA 12-S2
59
Mol - che, mit eucfa bend,
/ e f k
3
D O lllush3 6
mit euch blu
o oil lusA A
3 8
hend.
i # S S E # .I f I f
cresc.mf __ /
■ . . _ ...^ 5 / 5 <
f f
....-|S------- -5 S ~ f ■ - g —
*AL2-52
*•i
dte——-
L
*
7 * * iSa. jT ■&
60
and by the relatively slower rhythmic motion of both the vocal line and the
accompaniment. Stanzas three and four are defined by the descending
second-inversion chords in measures 17-18, which seem to come to rest on a
Phrygian cadence in B^, then move to a solid change of tonality to D major
in m easure 19, the beginning of stanza four. The final stanza is
distinguished not only by the feeling of harmonic arrival in m easure 27, but
also by a modified return of the opening accompaniment figure (transposed,
w ithout the second-inversion chords, and dynamically subdued to reflect
the mood of the text).
W olfes's approach to Erdgezualt is similar to that in another lengthy,
descriptive poem discussed previously, Bliihender Kirschbaum (see
N um ber 2 above). In both songs, Wolfes vividly expresses the central mood
of the poem mainly through the accompaniment. From the first m easures
of Erdgezvalt, the rapidly descending triads that move in contrary motion
w ith the ascending bass line establish a feeling of power and m om entum .
Indeed, the accompaniment is a veritable tour de force for the pianist, w ith
its rapid successions of chords, wide reaches, and frequently irregular
subdivisions of meter.
The vocal line very effectively communicates the text w ith its
mainly syllabic structure. Wolfes enriches the vocal line by melismatically
illum inating particular words such as "Siifie" (sweetness) at m easures 25-26
and "bliihend" (blooming) at measures 36-38. The melody in the latter
passage is a transposition of that in measures 6-7, the only such repetition in
this otherwise through-composed song.
61
Erdgewalt uses less w ord painting than other songs in this group;
Wolfes relies instead on the accompaniment to convey the mood of the
poem. Nevertheless, a few examples may be found. In measures 17-18, he
uses the opening second-inversion chords in a two-measure descent under
the w ords "Kiihle nieder" (coolness below) and in m easure 34 he sets the
w ord "Molche" (salamanders) to a much m ore lively figure than those
given to the im m ediately preceding "Waldung, Felsen, Berge" (woodlands,
rocks, mountains). The strength of the latter is illustrated by the pow erful
second-inversion series in the accompaniment.
Much of the beauty of this piece comes from the lushness of the
accom panim ent, w ith its rich tertian harmonies and frequent chromatic
root movement. This is illustrated quite obviously in the opening five
m easures w here the accompaniment moves in second-inversion chords in
E major then in E^ and back to E major in measure 4, followed by a
beautifully placed deceptive C major chord in measure 5. This same type of
m ovem ent may be seen again in the final three m easures of the song,
presented over a tonic pedal.
Erdgewalt illustrates Wolfes's ability to leave the listener w ith a
lasting impression of the central mood of a piece. While not m ade up of
clearly defined tunes, the syllabic nature of the vocal line very sensitively
communicates the text. Throughout the entire song, the longest vocal pause
betw een phrases is only two quarter rests. While this creates a sense of
m om entum essential to the text, at the initially suggested tem po of one
quarter note = 80, the lack of rests is quite challenging for the singer.
However, Wolfes's fine vocal writing w ith its naturally flowing stresses and
62
rising and falling lines prevents m onotony or vocal distress. The
occasionally expansive phrases allow the voice to bloom in its best range.
7. G efunden (1958)
Found
I w ent in the forest just to goand nothing to do, that was m y thought.
In the shade I saw a little flower growing, shining like stars, as beautiful as eyes.
I wanted to break it, then it said gently:Shall I be broken only to wither?
I dug it upw ith all its little roots, to the garden I carried it by my lovely house
and replanted it in the quiet place; now it branches out and blooms on.
Wolfes set only three poems by Goethe: Ddmmerung senkte sich
von oben, Zigeunerlied, and Gefunden. W ritten in 1813, Gefunden has a
them e familiar in old German poetry, the personification of a flower. Other
well know n examples by Goethe include Heidenroslein and Das Veilchen.
The flower in Gefunden, as the title indicates, is found in the woods.
63
F i r Jack Hoe
GefundenJ. W. v. Goethe Felix Wolfes
( 19S8)1 Einfach, gemachlich
. . Simple, at ease
<J =6 6 )
idolce espr.
L
¥im m er P ed .,aber M ar alw ays w ith peda l bu t clear
Ich ging im
f f r r r r
und niciits zu chen, das war mein Sinn.su
A 1-4-M© C opy rig h t 195 9 b y Felix W o lfes . A ssigned 1 963 to B eekm on M usic, Inc.
U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
64
Scfaat - ten Bah ich ein
PP
gteinne leueh-tend,Bliim - lein stehn, Slerwie
da sag!’ es fewIch wolll es bre-chen,schun
0
m -4 -5 8
65
p p
bro d e n sein?kenWeiSoil icfa rum
p p
I d grub’s mit al len den Wiirz - lein aus, rum
2 5
£Gar - ten trug i d ’s am hub - sd e n Haus
^ r l _______^
L ' ^ t b— --------------------------------
AH-H
66
stilnod pflanit es wle-der Am
dolce
m f dolce espr.
und bluht
AI-4-S8 »Pednd urchtirhliy with pedal,1 rau tpa i &ni 3. Ped.__________________
67
W olfes's setting, composed in 1958, reflects the simplicity of the
poem. Indeed, his own instructions for performance are Einfach,
gemcichlich (simple, at ease). Richard Strauss also em phasized the simplicity
of the poem in his setting, Op. 56 (1903), one of the few he wrote in a folk
like style.
Goethe's poem consists of five short stanzas. Wolfes set the poem in
a through-com posed m anner; rests, harmonic arrivals, and the returning
interval of a seventh help distinguish the strophes. The first stanza ends on
the dom inant in m easure 10. A brief interlude employing the rising
seventh figure separates it from stanza two, which begins in m easure 12. It
ends in m easure 17 w ith a very brief arrival on the tonic. The vocal line
rests for two beats, and the accompaniment again uses the rising seventh
figure to articulate the beginning of stanza three (measure 18). Stanza four
begins in a similar m anner in measure 22 following a harm onic arrival in
B^. Stanza five is set somewhat differently than the preceding four. Wolfes
seems to punctuate the music as Goethe did the poem. There is no real
pause in the vocal line between the two final stanzas (and no punctuation in
the text). Instead, in the last stanza Wolfes waits until the end of the second
line of text (where Goethe placed a semicolon) to complete the harmonic
arrival in F. Wolfes then uses the rising seventh motive and rests w ithin
the stanza as he had at the beginning of others.
W olfes's setting opens w ith a five-and-one-half-measure
introduction from which the vocal line seems to bloom. This introduction
provides material that recurs in various forms throughout the song. The
most notable example is the figure (mentioned above) of the ascending
68
seventh followed by stepwise descending motion (shared between the left
and right hands in the opening measure), which returns throughout the
entire piece in both the vocal line and the accompaniment. Another
recurring motive in this piece is the persistent pedal tone, which Rectanus
describes as a "rhythmic bass motive."4 The sequence suggested in the right
hand, m easures 1 through 3, also continues throughout the song.
The opening vocal line is a prim e example of Wolfes's skill. The
shape of the melodic line rises and falls with the inflection of the text as
naturally as if one were speaking. This, coupled w ith natural rhythm ic
stresses, gives the line its ow n unique character that perm eates the entire
song. One may view the introduction as fragments of the initial vocal line,
which, by means of rising (measures 1-4) then falling (measures 4-6)
sequential motion over a constant pedal tone in the bass, seem to move
urgently tow ard completion in it.
The vocal line remains quite simple, virtually syllabic throughout
the entire piece. After evolving from the introduction it separates subtly
from the accompaniment in m easure 7 and rejoins only occasionally, as in
measures 12-13, 16,18, and 21. The piano part is also simple in style, never
consisting of more than four voices at a time. For the most part it provides
the unifying features of the song, such as the previously m entioned pedal
tones and the rising seventh figure that seems to underpin the freer vocal
line. This is especially obvious in the second stanza, measures 12-17, w here
the piano part consists of the ascending seventh figure in a rising sequence ,
which finally comes to rest briefly on the tonic.
4 Hans Rectanus, "Unsterbliche Melodie: Die Lieder von Felix Wolfes," M ilteilungen dcr Hans Pfitzner Gesellschaft 28 (1972), 20.
69
Next, Wolfes offers something new in the form of a motive
containing a rising and returning m inor third. This occurs first in measure
18 (the beginning of stanza three) and seems to be related to the concept of
the breaking of the flower, since the figure appears in m easure 18 on the
w ords, "es brechen,” and again in the next two m easures under the text,
"Soil ich zum Welken gebrochen sein?" (Should I be broken only to
wither?) This section of the song does not contain the rising seventh figure
and is the m ost chromatic part of the piece. This chromaticism, particularly
in the descending vocal melody, aptly expresses the pitiful plea of the flower.
In m easure 22 (the beginning of stanza four) there is a return of the
rising seventh figure as the speaker digs up the flower and takes it home.
Once the flower has been replanted, we see (in m easure 28) a return to the
exact m aterial found in the accompaniment to the first vocal line in
measures 6-8, only this time a whole tone lower. Like the flower, it is in a
new location.
In m easure 30, Wolfes expands the rhythm of the vocal line at the
w ords "nun zweigt es immer und bliiht so fort" (now it branches out and
blooms on). This melodic expansion, as well as the fact that the final sung
pitch is given no specific indication for a cutoff, musically suggest the
blooming forth of the flower. As is common in m any of W olfes's songs, the
final measures (measure 34 to the end of the piece) provide a clear dom inant
to tonic progression in the key suggested by the key signature (G major).
This is in contrast to the avoidance of such progressions earlier in the song.
Gefunden is a charm ing song that is appealing to both perform er
and listener. The melodic line flows quite naturally; and the most
chromatic passages are doubled in the accompaniment (as in m easures 18
70
and 21) thereby aiding the singer. Among Wolfes's songs, this is one of the
few that m ay be managed by less than advanced students, making it an ideal
introduction to his works.
8 Immer wieder (1941)
Again and Again
Again and again, even though we know love's landscapeand the little churchyard with its plaintive namesand the dreadfully silent gorge in which the others come to an end:Again and again we two go out under the ancient trees, lying dow nagain and again amid the flowers, facing heaven.
Immer wieder is one of three settings by Wolfes to poems of Rainer
Maria Rilke (1875-1926) who was, according to Angelika Forsberg, Wolfes's
favorite poet. The other two poems (Herbst and Vergiss, vergiss) have also
been published. Wolfes sets the poem in a m anner corresponding to the
poem 's structure; however, while the poem is not divided into stanzas,
Wolfes does establish a feeling of strophic form in measures 15-16 (repeat of
the text Immer wieder) through the use of an interlude and the same
melodic line as the initial statem ent of the text in m easure 1.
W olfes's hauntingly lush setting aptly depicts the romantic themes
of love, death, and the afterlife. The vocal line and the accompaniment are
inextricably bound by the harmonic structure and the effective use of duple
against triple divisions of the beat. In the opening measures the broad
ascending triplet figures of the accompaniment seem to give rise to the
melody. In turn, the triads of the triplet figure proceed chromatically with
the descent of the vocal line as in m easures 1-2, where the harm ony moves
71Immer wieder
Rainer Maria Rilke Felix Wolfes„ , . , (1941)Rohig bewegtWith quiet motion
der,wieraer
Lie Land - schaft aucfa ken
6
Kirch kUhof mit sei - nenund den Uei nen
&
P oem from G e d ic h fe , 19 06* ? 9 2 6 , f 9 5 3 . U sed b y perm ission o f insel-V erlog . A l-3< 43 © C o p y r ig h t 1 9 4 3 b y Felix W o lfe s . A ssig n ed 1 9 6 2 to B eekm on M usic, Inc.
U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
72
und die ftircht - bar ver scfawei gen - demen
wel - cher die deman
poco
derwiemer
Zeit la&seft____hold back a Uttle
m
,= ^
AL-3.43
73
gehn wir zu zwei en hin un - ter die ten BSu - me,
'W<
wiegern uns ini raer
poco
dolce
zwi-scfaeu die Bluwie menmer
dolce
75
from B to to A, and continues to and G in measures 3-4. This type of
m ovem ent rather than traditional functional progressions produces the
rich, chromatic sound that is characteristic of the piece. The broad, slow
triplet figures ascending from the bass, present throughout m ost of the song,
also contribute to the expansive nature of the song. They are noticeably
absent in measures 10-14 where Wolfes does a bit of w ord painting. H ere the
text reads, "und die furchtbar verschweigende Schlucht, in welcher die
Andern enden:" (and the dreadfully silent gorge in which the others come
to an end). In m easure 10 Wolfes begins a relentless stepwise descent in the
bass line, which is imitated by the vocal line in measure 12 and continues in
the bass in m easure 14.
In measures 15-16 the rising triplet figure returns and the opening
vocal line recurs at the original pitch level (spelled enharmonically);
however, the pace of the accompaniment figure is slower and the
harm onies are different. In the following measures the rhythm becomes
m ore complex as Wolfes stretches the end of the phrase while m aintaining
accurate speech inflections. The m eter signature shifts five times betw een
m easures 18 and 23, but the flow remains quite natural. The following
m easures build up to the climax of the song. The text here is "lagern uns
immer wieder" (lying dow n again and again). Then Wolfes
uncharacterisically adds a text repetition, another m ore em phatic "immer
wieder" set to the highest pitch in the song in m easure 26. The phrase
concludes "zwischen die Blumen" (between the flowers); Wolfes indicates a
decrescendo and gives the instruction dolce. This expressive treatm ent of
the w ord "Blumen" is accompanied by a new figure in m easure 28, which
76
begins w ith a rising sixth and a descending semitone. The final phrase of
the song, "gegeniiber dem Hitnmel” (facing heaven), is appropriately built of
ascending thirds ending on the w ord "Himmel" (heaven). The final seven
m easures are a postlude beginning w ith a delicate restatem ent of the
"Blumen" motive from m easure 28. This postlude leaves one w ith the
feeling of contemplating heaven from among the flowers, as suggested by
the text. It ends w ith an arpeggiation of a B major chord, the same harm ony
that opened the piece.
The use of lush tertian harm onies, chromaticism, and sensitive
vocal w riting make Immer wieder an exquisite example of the Romantic
lied. The vocal line, while broad in range, is finely w ritten for the voice,
m aking it as much a pleasure for the singer as for the audience.
9. K leiner Rat (1961)
A Little Advice
You will discover m uch in m arriage which to you a half m ystery has been; soon you will know through experience how Eve once had to proceed so she later gave birth to Cain.
Yet, Sister, these marital dutieswill you from the heart gladly carry out,then believe me, they are not difficult.Yet everything has two sides: m arriage brings truly m any joys, but it can also bring grief.
So w hen your husband in his bad tem pergives you a scowling look,which you do not believe to deserve,think, that's how m en areand say: "Lord, thy will be done by day—and m ine by night!"
77
The delightful song Kleiner Rat is based on one of the m ost
unusual of Wolfes's poetic subjects. The poem was included in a letter from
M ozart to his sister Nannerl on A ugust 18,1784. As the title indicates, the
poem was intended as a piece of advice to Nannerl just prior to her
marriage. M ozart's poem is comprised of three stanzas. While Wolfes's
setting is through-com posed, he does distinguish the stanzas through the
use of piano interludes.
Wolfes shows his hum orous side in Kleiner Rat. The chromatic
two-m easure introduction sets the droll mood of the song (Example l ).5
Behzglich, grazids 100) Comfortably, gracefully
etwas frei somewhat free
id ±
Example 1 © 1987 The Felix W olfes EstateUsed By Permission Of The Publisher
Sole Representative Theodore Presser Company
Wolfes uses the introductory material as interludes between the stanzas of
M ozart's poem . Example 2a shows the interlude between stanzas one and
two, which is a restatem ent of the introduction a whole tone higher.
5 Due to copyright restrictions, excerpts w ill be used in this study rather than the complete score.
Example 2b shows the one-measure interlude between stanzas two and
three, which is related to the m aterial in m easure 2 of the introduction in its
elaborated chromatic descent.
etwas frei somewhat fn
Doch. Schwe • J te r ,bst.
£ i t i -a
Example 2a © 1987 The Felix W olfes EstateUsed By Permission O f The Publisher
Sole Representative Theodore Presser Company
Drum,
tipr.
Example 2b © 1987 The Felix W olfes EstateU sed By Permission Of The Publisher
Sole Representative Theodore Presser Company
79
These interludes help establish structure in an otherwise very freely
composed piece. At the start of the song, the vocal line seems to continue
the sixteenth notes of the piano introduction. Indeed, the vocal line and
accom panim ent are inextricably bound throughout the entire song through
the rhythm ic similarities and frequent unisons. This m ay be easily seen in
the following exerpt (Example 3).
der Eh-sUnd bringt zwar vie • te Frtu - den al • lein_ auch Kum mer bnn ■ get er
Example 3 © 1987 The Felix W olfes EstateU sed By Permission Of The Publisher
Sole Representative Theodore Presser Company
One of the m ost successful features of Kleiner Rat is the setting of
the text, which Wolfes treats in an almost recitative-like fashion. In fact, the
rhythm s and pitch inflections of the vocal line are so accurate that one can
achieve a very similar effect simply by speaking the w ords approxim ating
the rhythm and pitch. To achieve this naturally flowing line, Wolfes creates
some rather tricky rhythm ic combinations (Example 4). Any difficulty in
80
learning such rhythm s, however, is overshadow ed by the subtlety of
expression they allow.
EL
die DunichtgUu - best zu ver-die • nen,
Example 4 © 1987 The Felix W olfes EstateU sed By Permission Of The Publisher
Sole Representative Theodore Presser Company
Wolfes is at his m ost hum orous in the final stanza. In m easures 22-
23 under the com pliant text "Herr, es gescheh dein wille bei Tag" (Lord, your
will be done by day), he indicates rubato, a delicate decrescendo, and even
underscores the sentim ent w ith a graceful trill (Example 5).
un pocop p _____________________ ^=s—p p dolce rubato
- = n - E i ^ . _ . ^ d f e = = = — >--------------------------- - y . . -..............> - r
sag: “Herr, cs ge-scheh dein W
-m —
= ¥ =il-le hei Tag
... ■ ------------- #- 9 ” ------- =-------------
* „ f A----- ----
-S3
Example 5 © 1987 The Felix W olfes EstateUsed By Permission O f The Published
Sole Representative Theodore Presser Company
81
This contrasts wonderfully w ith the following waltz-like passage
(Example 6), which builds as Wolfes repeats some of M ozart's text (und
meiner). The m om entum is futher increased as Wolfes sequentially raises
the accom panim ent by a semitone from m easures 24-25 to 26-27 and
augm ents the rhythm of the vocal line to em phasize the repetition of text.
The chrom atic descent in the upper voice of the accom panim ent recalls the
opening figure of the introduction.
c tempo 2 4 beschwingter
und
ner,und mei
m f
Example 6 © 1987 The Felix W olfes EstateUsed By Permission Of The Publisher
Sole Representative Theodore Presser Company
82
In m easure 29 the speaker begins to regain her com posure
(Example 7). The pp high G# in m easure 30 indicates her outw ard
expression of sweetness, while her inw ard determ ination to have her own
w ay is suggested in the accompaniment by the trum pet-like battle call in the
lowest notes. Her true thoughts are shown in the declarative repetion of "in
der Nacht," underscored by a piano flourish in a V-I cadence in G.
Uncharacteristically, Wolfes provides no postlude, thus lending her
statem ent greater finality.
ruhig a tempo
/ j i c .N acht!'Nacht, der
PP
Example 7 © 1987 The Felix W olfes EstateUsed By Permission Of The Publisher
Sole Representative Theodore Presser Company
The extreme chromaticism, complex rhythm s, and dem anding
vocal range make Kleiner Rat challenging even for advanced performers.
Wolfes knowingly provides alternate notes in the high ending m easures to
m ake it accessible to m ore singers. His rendition of M ozart's hum orous
"piece of advice" is an entertaining and fresh addition to the lieder
repertoire.
83
10. Weihnachten (1940)
Christm as
Markets and streets are deserted, silently illum inated is every house, pensively I walk through the lanes, everything looks so festive.
By the w indows women have decorated colorful toys devoutly, thousands of children stand and look, so marvelously, silently happy.
And I w ander beyond the walls to the open field.Sublime brightness, solemn awe!So wide and quiet is the world!
Stars on high their orbits circle, from the snowy solitude rises something like w ondrous singing— oh you season full of grace!
One of W olfes's m ost enchanting settings, Weihnachten is one of
six poems he set by Joseph von Eichendorff (1788-1857). Wolfes superbly
captures the mood of this moving poem. He sets Eichendorff's four-stanza
w ork in a through-com posed manner. Stanzas one and two are linked by
related melodic material. A piano interlude separates stanzas two and three
as well as three and four.
The song begins w ith a two m easure introduction made up of w hat
Rectanus calls a "passacaglia-like structure ," 6 but may be more aptly
described as an ostinato. This pattern is used throughout the song in
complete and incomplete forms and in various transpositions. The motion
of this ostinato pattern, particularly the shape of the lines containing parallel
6 Rectanus, 20.
84
Bern Andenken meinea Brudert Arthur
Weihnachten
Joseph von Eichendorff Felix Wolfes(1940)
Ruhig, gehend (J*se> With quiet motion
Morkt und Stras-sen stehn ver - las - sen,
p dolce espr.
5
still er leuch Haus.
Sin send Gas sen,
© Copyright 1 9 4 1 by Feli* W olfes. A ssigned 1962 lo Beekman Music, Inc.
U s e d By P e r m i s s i o n Of T h e P u b l i s h e r
85
les aleht
p = | F ^ ~ ---- f = M = f = r = \• t L - i r - 1 -
1 . = 1 ^ r z z — J - = ------
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bfcg---- j — _ j_ rf~ rrrl
1 7
An den Fen.stem b n . ben FVau - en bun - tes Spiel - leug frnmm gc-schmflckt.
hJMtt 4J " J ~ -i= J - ~ ■ :-j j 'T '= l i '^ = ]-=■
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2 1 poco
der- st0i be - gliickt.Thu-send Kind. lein stehn und schau - en, sind so wun
A
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&■7dint.:cresCT
86
bos dsn Man-e raUnd kh wan - dre
TT-
zartdelicately
hell’Feld. Heh
4
Schau era! Wie so weit undges
dim.
4 5
Welt!die
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87
sehr ruhig very quiet5 0
hoch dieSter ne
ohne A u sdru ch without expression
pp.
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j t o r r - nKrei - se sdilin . gen.
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Aus des Schnee es Ein sam - keit
88
irtplfrfk ...
H r - t~ r ^ r -
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wun - der - ba - res Sin g e n - - ________ _
% = L ^ U =■p dolce espr.
T g f w
r F\_____________ _
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89
tenths, which I will refer to as the traveling motive, suggests the walking of
the speaker. The parallel tenths at the beginning are also somewhat
rem iniscent of the m otion in Hugo Wolf's Nun wandre Maria (1889), in
which Mary and Joseph are traveling to Bethlehem.
The first two stanzas are treated in basically the same way, though
there are subtle changes in the traveling motive in stanza two (such as the
use of parallel fifths in the right hand in m easures 15-16 and the elimination
of any parallel motion in measures 13-14 and 17-18). Of interest in stanza
one is the change in accompaniment at m easure 7. This is repeated in the
next four m easures under the text "Sinnend geh ich durch die Gassen"
(Pensively I go through the lanes). While there is still a feeling of motion
w ith a change in pitch on every beat, this figure, w ith its repeated plagal
cadence in F seems to stress the more devout, pensive aspect of the text.
Wolfes further emphasizes the pious nature of the poem by the use
of ecclesiastical modes. For example, the vocal line in measures 3-4 starts in
G Lydian and ends in G major, though the underlying harmonies are more
complex. Modality is more obviously used in association with the various
transpositions of the traveling motive. Examples m ay be seen in measures
15-20 (E Mixolydian), measures 21-22 (A Mixolydian), measures 23-24 (A
Dorian), measures 31-32 (D Dorian), and measures 33-34 (B^ Dorian).
One of the most wonderful moments of the song occurs in stanza
three. Up to this point, Wolfes has written two stanzas where the traveling
motive plays a large role. In stanza three the motive continues in parallel
sixths under the text "Und ich wandre aus den Mauern bis hinaus ins freie
Feld" (And I w ander beyond the walls to the open field). Suddenly as the
90
speaker stops to contemplate his surroundings at m easure 36, Wolfes stops
the motion and introduces a delicate series of descending first-inversion
triads in the piano a full two octaves above w hat preceded them. In
m easure 37 the vocal line enters with the same pitches as in m easure 36.
The vocal line in this section shows Wolfes at his best; the exquisite text
setting is perfectly written for the voice. The relatively long rests in the
vocal line in measures 36-49 enhance the feeling of absolute w onder in the
text "Hehres Gldnzen, heil'ges Schauern! Wie so weit und still die Welt''
(Sublime brightness, solemn awe! So wide and quiet is the world!) In this
section the traveling motive has been reduced to a trembling figure
extremely low in the bass, which further emphasizes the awestruck m ood of
the text.
The final strophe begins at measure 50, w here Wolfes uses the
extrem e ranges of the piano to illustrate the text "Sterne hoch die Kreise
schlingen" (Stars on high their orbits circle). In m easure 51 the
accom panim ent in both hands moves in parallel stepwise sixths; the right
hand returns to the traveling motive shape in measures 52-53 and 56. In
m easures 54-57 Wolfes uses polytonality, perhaps to represent the
incom prehensible nature of creation: the right hand suggests m inor and
the left minor.
The final phrases are some of the most w onderful from a singer's
standpoint. From measures 58-68 Wolfes writes a broad, expressive line to
the text "Aus des Schneees Einsarnkeit steigt's wie wunderbares Singen"
w ith ascending scalar m ovem ent appropriately under the word “steigt"
(rises). The line reaches its high point on the word ''Singen'' (singing) in
91
m easures 66-67. The final expansive vocal line is supported by the return of
the traveling motive at its original pitch level. The last w ord, “Zeit," is part
of an authentic cadence in D major. The following nine m easures of
postlude are played over a tonic pedal and contain reminiscences of
previously used material, m ost notably the traveling motive in parallel
sixths in the starkly contrasting key of minor. A final statem ent of the
dom inant is outlined in the bass notes in measures 80-81 (a rhythm ic
augm entation of the traveling motive) and comes to a definitive rest on D
major in m easure 82.
Weihnachten is an outstanding example of Wolfes's w riting at its
best. He selects a fine poem and through specific compositional devices
(such as the ostinato figure and modality) firmly establishes the m ood of
that poem. The vocal line contains both naturally inflected, sim ple phrases
and sweeping melodies superbly written for the voice.
The songs of Felix Wolfes are an im portant body of w ork that has
until this time gone relatively unnoticed. These musically sophisticated and
challenging songs deserve a place in the standard lieder repertoire for
singers. It is m y hope that through these studies an interest in perform ing
the songs may be sparked and in turn, the songs may speak for themselves.
CHAPTER THREE
SONG CATALOGUE
This catalogue contains entries for all 208 of Wolfes's lieder. The
entries are listed chronologically and include the following information:
1 . title of the song
2 . poet's name and dates
3. date of composition
4. dedication
5. publication inform ation
6 . tem po indication
7. range
8 . length in m easures
9. incipit
This information was gathered from the published scores and fair copies in
Wolfes's own hand. These copies, as well as sketches, are found at the
H oughton Library at H arvard University.
The poets are identified by full name in the first citation, thereafter by
last nam e only. Dates of the poets are given when possible. Since Wolfes
took poetic inspiration from wherever he found it, including new spapers
and the works of friends and aquaintances, the dates of all poets are not
available.
92
93
Wolfes meticulously recorded the date of composition for each song.
The dates listed in this catalogue correspond to those Wolfes placed on the
fair copies found at the H oughton Library.
The dedications that Wolfes provided for nearly all of his songs give
us an insight to his circle of friends and colleagues. For the published songs,
the dedications given here appear as they do in the scores. While Wolfes
did not w rite dedications on the fair copies, a list of dedications does exist in
the hand of his brother, Helmuth. This list is in the possession of Felix's
friend, Angelika Forsberg, who graciously transcribed it for me. Dedications
from the published songs will be printed in italics to distinguish them from
those derived from Mrs. Forsberg's list. The last four songs Wolfes
composed have no written dedications; however, Mrs. Forsberg wrote to me
in a letter that he m entioned that Aphorismus m ight be "for m y friends."
The song's dedication is listed this way.
Ranges in the entries will be indicated by the use of the system
endorsed by the U.S.A. Standards Association, in which m iddle C is
represented as C^. For published works with specific voice range
indications, the standard abbreviations (H [high], M [medium], and L [low])
will be given as well.
Publication information will be listed as follows:
AL, Vols. 1-5: Felix Wolfes Ansgewahlte Lieder. New York: M ercury Music Corporation, 1962-1963.
SL, Vols. 6-11(12): Felix Wolfes Selected Lieder. Bryn M awr, Pennsylvania: Theodore Presser Company, 1987- .
Volumes 1-5 of the Aiisgewdhlte Lieder are no longer in print;
however, Theodore Presser Company currently holds the plates and the
rights to the songs. They are available by special request. Theodore Presser
is in the process of publishing the remaining Wolfes songs. Volume XII is
currently in progress; the anticipated date of publication is late 1995.
1 Title: Lied Kaspar Hausers Date o f Composition: 1926
Poet: Paul Verlaine (1844-1896) Length: 48 mm(trans. Richard Dehmel)
Dedication: Charles Munch gewidmet Range: - f#5
Initial Tempo: Ruhig, gleichmassig ( J = 64) © 1941 Felix Wolfes EatateUsed By Permission Of The Publisher
Publication Information: SL Vol. VIII (L)
ir ^j .. v - ---------
— t 1 i fJ -a,— J ___” a r
I c h k a m s o fromm, e i n Wai - s en- k i nd,
2 Title: Mondnacht auf dem Meer
Poet: Li-Oey (trans. Hans Bethge)
Dedication: Fritz Doenecke gewidmet
Initial Tempo: Ruhig bewegt
Publication Information: AL Vol. V (H)
Date o f Composition: 1926
Length: 63 mm
Range: B -
© Copyright 1941 by Felix Wolfes. Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
95
Title: Auf ein Adagio
Poet: Ernst Bertram (1884-1957)
Dedication: Wolfgang Frankl
Initial Tempo: Ruhig, mit grassem Ausdruck (J =63)
Publication Information: unpublished
Date of Composition: 1926
Length: 29 mm
Range: D^-E^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Bo - gen du aus Tra - nen 1 icht ge - soanrrt
Title: Die Heimat Date of Composition: 1926
Poet: Joseph Eichendorff (1788-1857) Length: 71 mm
Dedication: zum Andenken an Mimi Pfitzner Range:
Initial Tempo: Ruhig fliefiend
Publication Information: AL Vol. V (L)
© Copyright 1941 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
Vfltt b i i IDenkst du des Schlos-ses noch auf stil - lsr Hoh?
Title: Gute Nacht
Poet: Bertram
Dedication: Charles Munch
Initial Tempo: Langsam ( J =66)
Publication Information: unpublished
Date of Composition: 1927
Length: 29 mm
Range: G^-E^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
¥?■>-]' J J j-9 ----------- ------
Er-blin-denwill ichdie-ser Zeit - lich-keit:
96
6 Title: Die Zeder
Poet: Bertram
Dedication: Meinen Eltern
Initial Tempo: Ruhig fliefiende Halbe
Publication Information: AL Vol. Ill (M)
Date of Composition: 1928
Length: 34 mm
Range: B ^ - G ^
© Copyright 1951 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
--------u_______J) i— h— T~ ...- 3 —
H — h ri ~t 7)6 ■■....... & • g — &—e — mt
-----•$£ ------S§L— — a —« i.. J—J
Ichvfldi- se lcng - sem. fei - re Zait 1st e>-re lai - <£ GB - djl -dig -te it
Title: Schattendammerung
Poet: Bertram
Dedication: Elsa Frankl
Initial Tempo: Ruhig, klangvoll ( J =66)
Publication Information: unpublished
11
Date of Composition: 1929
Length: 103 mm
Range: F^-G ®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Die Nacht war t i e f und schon
8 Title: Die Nachtigall
Poet: Theodor Storm (1817-1888)
Dedication: Else Betz gewidmet
Initial Tempo: Zart bewegt ( J- = 50)
Publication Information: AL Vol. I (H)
p
Date of Composition: 1930
Length: 80 mm
Range: E^-G #5
© Copyright 1951 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
»- -n------ V 0----- --J_ P _ J r --- o— ------ H —&
Das Macht, es hat die Nach - ti - gall die qan - ze Nacht ge - sun - gen.
97
Title: Im Alter Date of Composition: 1932
Poet: Eichendorff Length: 40 mm
Dedication: Meinem Bruder Helmuth gewidmet Range:
Initial Tempo: Ruhig
Publication Information: AL Vol. V (L)
© Copyright 1941 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
J=r ~ fr k N{ > 4 7 J J 6? j
Wie wird nun al - les so stil - le wie - der!
10 Title: Verklarter Herbst
Poet: Georg Trakl (1887-1914)
Dedication: Herbert Spielman gewidmet
Initial Tempo: Breit stromend ( J =92)
Publication Information: SL Vol. VII (M)
^ ------
Date of Composition: 1940
Length: 66 mm
Range: A ^ -E ®
Used By Permission Of The Publisher
jfcn . ' l rGe - wal - t i g en - d e t s o d a s Jahr
11 Title: W eihnachten
Poet: Eichendorff
Dedication: Dem Andenken meines Bruders Arthur ,
Initial Tempo: Ruhig, gehend ( o = 56)
Publication Information: AL Vol. I (H)
Date of Composition: 1940
Length: 83 mm
Range: D4 - F#5
© Copyright 1941 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
9<i - 1 1 --------Ji= i= 4 = J
& A
Markt md S tra s -sen s t e h n v e r - 1 a s - s e n ,
12 Title: Im Nebel
Poet: Hermann Hesse (1877-1962)
Dedication: fu r Helmut Grohe
Initial Tempo: Fliefiend ( J =76)
Publication Information: SL Vol. VIII (L)
Date of Composition: 1941
Length: 82 mm
Range: F#3_p)#5
© 1941 by Felix Wolfes Estate Used By Permission Of The Publisher
V , i 1 i V—'---- £ ---- --------i)bM i- 4* J . • a . - ■ mi
rH
Sel t-sam, im Ne - be l zu Wan-dern!
13 Title: Immer wieder
Poet: Rainer Maria Rilke (1875-1926)
Dedication: fu r A lf Pasquale
Initial Tempo: Ruhig bewegt
Publication Information: AL Vol. Ill (M)
Date of Composition: 1941
Length: 39 mm
Range: A^-F^
© Copyright 1943 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
-rtdU—-----------t-----------f»----- ft9--- -■■■■:— fra
Im - mer wie der
14 Title: Ballade des ausseren Lebens Date of Composition: 1942
Poet: Hugo von Hofmannsthal (1874-1929) Length: 111 mm
Dedication: fu r Thomas A. Waggoner Range: F^3 -
Initial Tempo: Gemessen ( J = 63) © Copyright 1943 by Felix WolfesAssigned 1962 to Beekman Music, Inc.
Publication Information: AL Vol. V (L) Used By Permission Of The Publisher
15 Title: Letzte Bitte
Poet: Richard Dehmel (1863-1920)
Dedication: fiir Thomas A. Waggoner
Initial Tempo: Ziemlich langsam ( J = 66)
Publication Information: AL Vol. V (L)
Date of Composition: 1942
Length: 37 mm
Range: G ^-E®
© Copyright 1943 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
E i £ m
Le ge d e i - n e Hand auf mei - ne Au g e n ,
16 Title: Weinende Frau
Poet: Friedrich Schnack (1888-1973)
Dedication: Meiner Mutter
Initial Tempo: Zart und fliefiend ( J = 72)
Publication Information: AL Vol. I (H)
Date of Composition: 1943
Length: 45 mm
Range: C ^ - G ^
© Copyright 1943 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
p : - H -r t
Du musst v i e l Tra - n e n w e i - n e n :
17 Title: Die Fuge Date of Composition: 1943
Poet: Bertram Length: 115 mm
Dedication: in memory of Joachim von Helmerson Range: B ^ -
Initial Tempo: Ruhig ( J = 58)
Publication Information: unpublished
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
100
18 Title: A ufdem See
Poet: Bertram
Dedication: Mela Reisner gewidmet
Initial Tempo: Leicht bewegt ( J * = 69)
Publication Information: AL Vol. I (H)ALVoLffl(M)
Date of Composition: 1943
Length: 56 mm
Range: D4 - A5 (H) and C4 - G5 (M)
© Copyright 1943 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
ScKon um-blau - te Sil - ber - wie - ge,
19 Title: Todeslust
Poet: Eichendorff
Dedication: fiir Thomas A. Waggoner
Initial Tempo: Fliefiend, tonvoll(Grundtempo J etwa = 72)
Publication Information: AL Vol. I (H)
Date of Composition: 1944
Length: 37 mm
Range: C^4 - G^
© Copyright 1944 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
f l =£: ■ i b
ie - vor er i n d i e b l a u - e Fl u t ge - sun- ken,
20 Title: Der Feind Date of Composition: 1944
Poet: Clemens Brentano (1778-1842) Length: 44 mm
Dedication: Momme Mommsen gewidmet Range: D^4 - F ^
Initial Tempo: Gemessen, aber nicht langsam © Copyright 1944 by Felix Wolfes( cJ = 84) Mit Energie Assigned 1962 to Beekman Music, Inc.
Publication Information: AL Vol. Ill (M) Used By Permission Of The Publisher
------ < |—
i— ufl
X\Jc.
■*----9k = - f - f ..W
Ei - nenken-ne ich, wir lie ben ihn nicht.
101
21 Title: Du schlank und rein wie eine Flamme Date of Composition: 1944
Poet: Stefan George (1868-1933)
Dedication: none
Initial Tempo: Zart, fliefiend ( J = 80)
Publication Information: AL Vol. I (H)
Length: 46 mm
Range: B^-A^
© Copyright 1944 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
»---C-------£ — ?— a * = I ------- M M
Du schlank und rein wie ei - ne Flam - me,
22 Title: Brunnen Inschrift
Poet: Wilhelm von Scholz (1874-1969)
Dedication: in memory of Georg Reisner
Initial Tempo: Ruhig bewegt ( J =52)
Date of Composition: 1945
Length: 47 mm
Range: , f#5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
tp-i
Ichbinder Er - de kiih - les- e -
Blut
23 Title: Spruch des Engels
Poet: Hofmannsthal
Dedication: fiir Lulu Cossmann
Initial Tempo: Ruhig ( J = 84)
Publication Information: AL Vol. I (H)
Date of Composition: 1945
Length: 25 mm
Range: E ^ -G 5
© Copyright 1945 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
iIhr Men - s chen, zu des Le bens Spi e l e r - wacht,
102
24 Title: A llein
Poet: Hesse
Dedication: fu r Mogli Lenz
Initial Tempo: Einfach ( <1* = 92)
Publication Information: SL Vol. VUI (L)
Date of Composition: 1945
Length: 20 mm
Range: C ^ - F 5
© 1945 by Felix Wolfes Estate Used By Permission Of The Publisher
-- --E—-7 —frU/ ■ J hj*— H — rlT-— ---Es fiih -ren u - ber die Er - de
25 Title: AufWanderung Date of Composition: 1946
Poet: Hesse Length: 30 mm
Dedication: fu r William Olch Range: B ^ -F ®
Initial Tempo: Fliefiend, zart und ausdrucksvoll © Copyright 1946 by Felix Wolfes( J.=40) Assigned 1962 to Beekman Music, Inc.
Publication Information: AL Vol. Ill (M) Used By Permission Of The Publisher
p _____ _______ — ' ’ ^—f*— m— 3---------- T i — j—" ^ 3 & JL = 4 =Sei nicht trau - rig,
----- ------------ -----1bald___ ist es
•d -Nacht,
26 Title: Bei Mondaufgang Date of Composition: 1946
Poet: Sao-Han (trans. Bethge) Length: 44 mm
Dedication: fu r Stefan Mengelberg Range: - F^5
Initial Tempo: Ruhig fliefiend ( J = 72 etwa) © 1947 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. X (M)
i** v . —' l...------ r « ■'---2 1 J r ^ -4m — r ~ .. » .A I Jy*—Der Mond steigt auf - warts,
103
27 Title: Vorfriihling
Poet: Hofmannsthal
Dedication: Hans Pfitzner gewidmet
Initial Tempo: Leicht fliefiend,zart, ohne viele Nuancen
Publication Information: AL Vol. I (H)
Date of Composition: 1947
Length: 56 mm
Range: C#4 - Gm
© Copyright 1947 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
_«—--------------E_—~2b —---
r—- - &--- 1fr..■
------- HH'—*— «*— *— <------—
Es Vauft der Friih-lings-winddurch kah-le Al-leen,
28 Title: Herbst
Poet: Rilke
Dedication: Paid Jossmann gewidmet
Initial Tempo: Sehr ruhig ( J =80)
Publication Information: AL Vol. Ill (M)
Date of Composition: 1947
Length: 57 mm
Range: D4 - F#5
© Copyright 1947 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
IDi e Bl ' a t - t e r f a l - l e n ,
29 Title: Stimme der Mutter Date of Composition: 1948
Poet: Ernst Wiechert (1887-1950) Length: 28 mm
Dedication: zum Andenken an Range: D^4 -Agnes Keck-Wildermann .
Initial Tempo: Sehr ruhig und einfach ( J = 50) © Copyright 1948 by Felix WolfesAssigned 1962 to Beekman Music, Inc.
Publication Information: AL Vol. Ill (M) Used By Permission Of The Publisher
TV-------e~- W r .. f p — i — ,J 1- r r - s .
> dMi
J9
t wu
^ —
n-den Fiis - sen
\)«_v— *— J
komm '__i ch ge— *■— tfj
-gan - gen ,
30 Title: Unter den Stemen
Poet: Conrad Ferdinand Meyer (1825-1898)
Dedication: Rex Harrower gewidmet
Initial Tempo: Kraftig, frisch ( J =58)
Publication Information: SL Vol. VI (H)
4-2 jBZ
Date of Composition: 1948
Length: 44 mm
Range: C^-G#5
Used By Permission Of The Publisher
Wer in der Son - ne kanpft, ein Sohn_ der Er - de,
31 Title: Totengraber und Madchen
Poet: Schnack
Dedication: Hans Pfitzner gewidmet
Initial Tempo: Ruhig fliefiend ( J = 60)
Publication Information: AL Vol. I (H)
Date of Composition: 1949
Length: 44 mm
Range: D ^ - G 5
© Copyright 1949 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
Heu- t e strailst du, s c h o - n e Fr u h - l i n g s - b l u - me ,
32 Title: Mowenflug
Poet: Meyer
Dedication: fiir Anton und Muriel Wolf
Date of Composition: 1950
Length: 81mm
Range: B^-A^
Initial Tempo: Langsam gleichmassig kriesend © Copyright 1950 by Felix Wolfes( J = 80) Assigned 1962 to Beekman Music, Inc.
Publication Information: AL Vol. I (H) Used By Permission Of The Publisher
105
33 Title: Blume, Baum,, Vogel
Poet: Hesse
Dedication: fiir H. Lutz Peter
Initial Tempo: Sehr ruhig und einfach(i =72)
Publication Information: AL Vol. II (H)
Date of Composition: 1951
Length: 37 mm
Range: C#4 - G#5
© Copyright 1951 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
V f.? -3
r i T”
1 ? -------- 1-----l-n- - \ ■ ".L_fc_1 - ^ .. p b d— 4-
Bist al - lein im Lee - ren,
34 Title: Uber die Felder
Poet: Hesse
Dedication: fiir Raymond LaRoche
Date of Composition: 1951
Length: 28 mm
Range: E4 -
Initial Tempo: Ruhig, gleichmassig ( J = 66) © 1951 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. IX (H)
ma . - j -
±U-ber den Him-mel Wol - kenzi ehn, _
35 Title: Die Birke (A Study)
Poet: Hesse
Dedication: Helmuth gewidmet
Initial Tempo: Grazios bewegt, nicht eilig ( J = ungefahr 88)
Publication Information: SL Vol. IX (H)
Date of Composition: 1951
Length: 56 mm
Range: D4 -
© by Felix Wolfes EstateUsed By Permission Of The Publisher
- j f - T — r— Mr i - C t f f - I
1— —1y * JU-j-JH ------H —•------ k H ' . 1 I
Ei - nes Dich - ters Train ge - rank
36 Title: Die stille Stadt
Poet: Dehmel
Dedication: fiir Lulu Cossmann
Initial Tempo: Ruhig, leise ( J =66)
Publication Information: SL Vol. VIII (L)
Date of Composition: 1951
Length: 40 mm
Range: Gb3-G 5
© 1951 by Felix Wolfes Estate Used By Permission Of The Publisher
i * , i .= d- h -
J..ft—fr -* 'M 4— a —*Liegtei - ne Stadt im Ta - le,
37 Title: Nun leuchtet schon wieder
Poet: unknown
Dedication: Fritz Wolkmann
Initial Tempo: Freundlich bewegt ( J =88)
Date of Composition: 1951
Length: 50 mm
Range: Eb^ -A 3
© The Felix Wolfes Estate Used By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
-rUr.---^----— r — H i f P—
p-— 0--------- „------— f -------— L ~~X S'"4 J - U
— fc=— 3 - =3
Nun l e uc h - t e t schon wi e - d e r der Him-mei u- ber Blau
38 Title: Ein Winterabend
Poet: Trakl
Date of Composition: 1952
Length: 36 mm
Range: B ^ - F ^Dedication: fiir Richard Foster
Initial Tempo: Leise und sehr ruhig ( = 56) © Copyright 1952 by Felix WolfesAssigned 1963 to Beekman Music, Inc.
Publication Information: AL Vol. II (H) Used By Permission Of The Publisher
107
39 Title: Nachklange Beethovenacher Musik Date of Composition: 1952
Poet: Brentano Length: 78 mm
Dedication: fiir meinen Bruder Helmnth Range: A^3 -
Initial Tempo: Sehr ruhig halbe Takte ( J . = ca. 40)
Publication Information: SL Vol. VII (M) Used By Permission Of The Publisher
P..L---- 1------- r— * i-
---m ^ — 1
Ei n - s am- ke i t , du stum- mer Bron - n e n ,
40 Title: Am Ziele
Poet: Josef Weinheber (1892-1945)
Dedication: Momme Mommsen gewidmet
Initial Tempo: Sehr ruhig ( J = etrvva 76)
Publication Information: AL Vol. Ill (M)
Date of Composition: 1952
Length: 66 mm
Range: B - F ®
© Copyright 1954 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
----- m ~ - n ----------------------------
k r H ------------ t e — r — p — a U-------------- — J —i p t ------
---------- r ------------------• — 1L ........- * < 3 = ^
An - ge - langt am Ziel der Rei-se,
41 Title: An einen Schmetterling
Poet: Weinheber
Dedication: Else Betz gewidmet
Initial Tempo: Ruhig schwebend, leicht und gleichmassig ( J = 60)
Publication Information: SL Vol. IX (H)
Date of Composition: 1952
Length: 40 mm
Range: B^-G^®
© 1952 by Felix Wolfes Estate Used By Permission Of The Publisher
■fe"'5 '" - f j —I
V 1 3P = f ^ =
3
h r — PH1---- »—$ - —I .... J
-4-=— JI --- * + - ) —
CXj, leicht und schon, ausGot - tes Train ge-bo - ren,
108
42 Title: Abschied vom Leben
Poet: Stefan Zweig (1881-1942)
Dedication: Helli gewidmet
Initial Tempo: Ruhig bewegt ( J> = 56)
Publication Information: SL Vol. VIII (L)
Date of Composition: 1952
Length: 40 mm
Range: - E ^
© 1952 by Felix Wolfes Estate Used By Permission Of The Publisher
£ E
Lin -der schwebt der Stun-de Rei - gen
43 Title: Tief in den Himmel verklingt
Poet: Ricarda Huch (1864-1947)
Dedication: Lukas Foss gewidmet
Initial Tempo: Sehr ruhig ( J = 44)
Publication Information: AL Vol. II (H)
Date of Composition: 1952
Length: 38 mm
Range: C#4 - G#5
© Copyright 1952 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
i , J i f J J
—-y____ 3Lp H i
--z n z
Ti e f in den Him-mel v e r k l i n g t t r a u r i g der l e t z - t e Stern,
44 Title: Dammrung senkte sich von oben Date of Composition: 1953
Poet: Johann Wolfgang von Goethe (1749-1832) Length: 41 mm
Dedication: Paul Jossmann gewidmet Range: B ^ - A ^
Initial Tempo: Ruhig, ohne viele Nuancen, © Copyright 1953 by Felix WolfesJ>= Assigned 1963 to Beekman Music, Inc.
Publication Information: AL Vol. II (H) Used By Permission Of The Publisher
- p i T r j i T e p (: r r T 1Damn - rung senk - te sich von o - ben,
109
45 Title: Der Einsiedler Date of Composition: 1953
Poet: Eichendorff Length: 58 mm
Dedication: Meinem Bruder Helmuth Range: C^-G3
Initial Tempo: Ruhig, ausdrucksvoll, aber einfach ( J = 66)
Publication Information: SL Vol. VII (M) Used By Permission Of The Publisher
. ... , ...-2— -) S - r 3, . r lP — -ur~ 4 —£— - — - 1
Kami, Trost der Welt,
46 Title: Es geht eine dunkle Wolk' herein
Poet: unknown
Dedication: fiir Herbert Jessel
Initial Tempo: Einfach ( J =82)
Publication Information: SL Vol. VII (M)
Date of Composition: 1953
Length: 28 mm
Range: B3 - ! 5#3
Used By Permission Of The Publisher
T#-----------**--- !\-trrr------1----^ h---- —J. -J)—
— J)---
d —J----- a— JEs geht e i - n e dunk-le Wolk h e r - e i n ,
47 Title: DenToten
Poet: Weinheber
Dedication: fiir Gerhard Frommel
Initial Tempo: Sehr ruhig ( al = etwa 40)
Publication Information: SL Vol. XI (M)
P __________
I t
Date of Composition: 1953
Length: 55 mm
Range: C^ - F3
© 1953 by Felix Wolfes Estate Used By Permission Of The Publisher
3 :
Nachts fal-lan die S t e r - n e ,
110
48 Title: Verfall
Poet: Trakl
Dedication: Helmut Grohe gewidmet
Initial Tempo: Ruhig ( J = 76)
Publication Information: SL Vol. VII (M)
Date of Composition: 1953
Length: 46 mm
Range: - G5
Used By Permission Of The Publisher
-----H ----- i , . "'''""'I i 1!P
\ ..t----- . - TV— j ----- 3— L _; 4 -w f
y ~ 0 * -----1---- -----1An A - bend, wenn die Glok-ken Frie den lau - ten,
49 Title: Eisnacht
Poet: Siegbert Stehmann
Dedication: fiir Albert und Maria Elsberg
Initial Tempo: Andante ( «J =88)
Publication Information: SL Vol. XI (M)
Date of Composition: 1954
Length: 42 mm
Range: B^-G^
© 1954 by Felix Wolfes Estate Used By Permission Of The Publisher
g T - i I VH »Tf t t p r -
b t tfJ ..f & • ■■■■■—r ■■— i— * ' x : | . f IIm Ei s cte Mon - des wan - dern wir.
50 Title: Die kleine Passion
Poet: Gottfried Keller (1819-1890)
Dedication: Hertha Huver
Initial Tempo: Nicht schnell, leicht und zart
Date of Composition: 1954
Length: 71mm
Range: C4 - G#5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
------ q------- ■ Ij* 0
10--- r *— bTF V I
K r i p - r t
Der son - ni -g e Duf t Sep - tem-berli/t
I l l
51 Title: Die Birke 2
Poet: Hesse
Dedication: Mela Reisner
Initial Tempo: Grazios bewegt, nie eilig
Publication Information: unpublished
Date of Composition: 1954
Length: 21mm
Range: E ^ -G 5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Tffft o = - l >>— i -----------A—t' i —
i v * r * = i 1“ — f —
Ei - nes Dich-ters Train - ge - rank
52 Title: Das letzte Haus
Poet: Wiechert
Dedication: Ernst Possony gewidmet
Initial Tempo: Flieliend, feierlich bewegt ( cJ=50)
Publication Information: AL Vol. Ill (M)
Date of Composition: 1954
Length: 47 mm
Range: B3 - F^3
© Copyright 1954 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
•J-1 « ' *$JLCu le tz-tE S T&e in mei - nem Le - ben,
53 Title: Und wie manche Nacht
Poet: Hans Carossa (1878-1956)
Dedication: fiir Johanna J. Bosch
Initial Tempo: Sehr ruhig ( J = 54)
Publication Information: AL Vol. V (L)
$
Date of Composition: 1954
Length: 14 mm
Range: G# 3 -F 5
© Copyright 1954 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
E
Und wi e man-che Nacht bin ich auf - ge-wacht,
112
54 Title: Alter Mann Date of Composition: 1954
Poet: Rudolph Alexander Schroder (1878-1962) Length: 34 mm
Dedication: Walter und Ilse Rawson gewidmet Range:
Initial Tempo: Andante © Copyright 1954, 1959 by Felix WolfesAssigned 1962 to Beekman Music, Inc.
Publication Information: AL Vol. V (L) Used By Permission Of The Publisher
-t=v— ^ r T r —& r f - H—
Mit AT - tan Mann geht1 s wn-der-lich:
”5 Title: Septembermorgen
Poet: Eduard Morike (1804-1875)
Dedication: Lutz Peter gewidmet
Initial Tempo: Sehr ruhig ( J = 54)
Publication Information: SL Vol. VII (M)
Date of Composition: 1955
Length: 20 mm
Range: A^-F^
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
t r z jf t
I mJ:
Ne - be! r u - h e t noch di e We'lTT'
56 Title: Sylphide Date of Composition: 1955
Poet: Weinheber Length: 40 mm
Dedication: fiir Else Betz Range: A^ - A ^
Initial Tempo: Leicht schwebend, zart (J - =58) © 1959 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. X (M)
-----—1
9---- ! *—r —*----^ T —»... . . . r r r t »... * "V h = = > j }--- ------ R*— M*— • ft* W ..h— r D j d
Siis - se Ge-fahr - tin von Mond und nacht-li -chem Win - de,
113
57 Title: In einer Dammerstunde
Poet: Scholz
Dedication: Ludwig Bergmann gewidmet
Initial Tempo: Fliefiend ( J =88)
Publication Information: AL Vol. IV (M)
Date of Composition: 1955
Length: 75 mm
Range: A^-G^
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
........... Hi j L i t r — U - s w — d— 1— - - - - - - - \Lsi
I c h w o h - n e , wo d i e Wol - k e n g e h n ,
58 Title: Oase El Djem
Poet: Albert H. Rausch (1882-1949)
Dedication: fiir Richard Aslanian
Initial Tempo: Sehr ruhig
Publication Information: AL Vol. IV (M)
Date of Composition: 1955
Length: 39 mm
Range: a ^ -F * ®
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
Z f p r -
tw
S t i l l , o s t i l l ! Mein Le -ben will im Bron-nen cfei-w sdvfr-ai Au -gen
59 Title: Sybille im Dom
Poet: Bertram
Dedication: Marion Freschl Szekely
Initial Tempo: Ruhie, ausdrucksvoll( J = J ) ( J = 69)
Publication Information: unpublished
f j ii
Leid - vol l-ver-stiinwiel t,
Date of Composition: 1955
Length: 87 mm
Range: G ^ - G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
i i - b e r - g r o s s g e - r e ckt
114
60 Title: Herbstliche Trostung
Poet: Werner Bergengruen (1892-1962)
Dedication: fiir Alfred Gross
Initial Tempo: ( J =80)
Publication Information: AL Vol. II (H)
n f
Date of Composition: 1956
Length: 29 mm
Range: B ^ -G ^
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
^ 1* J V ... -Wo-hin i ch auch f l u c h - t e ,
61 Title: An eine Strophe
Poet: Bertram
Dedication: fiir Edward O.D. Downes
Initial Tempo: Ruhig bewegt, zart ( J = 50)
Publication Information: AL Vol. II (H)
Date of Composition: 1956
Length: 23 mm
Range: C ^ -G ^
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
---09--P V T '
-3— :-------a.
i — E> £ - * - ^ 1I V * C - - H - i - M
j - r r 1 ■»
Fliig-le, zar - te hin~ aus_ in die be-sonn - te Luft,
62 Title: Scheidende Seele
Poet: Albrecht Schaeffer (1885-1950)
Dedication: fiir Michael Hecker
Initial Tempo: Ruhig ( J = 72)
Publication Information: SL Vol. X (M)
Date of Composition: 1956
Length: 52 mm
Range: B ^ -G ^
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
i f r " P| V4— — ^—3—. -A
* '4 - c f i t -
Wenn d i e Mo r - g e n - s t e r - ne sich zu- ju bel n
115
63 Title: Gelassenheit Date of Composition: 1956
Poet: Wang We (trans. Manfred Hausmann) Length: 45 mm
Dedication: fiir Harold S. Johnson Range:
Initial Tempo: Ruhig ( J = 72) © Copyright 1959 by Felix WolfesAssigned 1963 to Beekman Music, Inc.
Publication Information: AL Vol. II (H) Used By Permission Of The Publisher
F r f " ' lT' J » J ^Me i n Le - ben s i nkt.
64 Title: Heim in den Anbeginn
Poet: Bergengruen
Dedication: fiir Ernst Possony
Initial Tempo: Ruhig ( J- = 46)
Publication Information: SL Vol. X (M)
* - P ....
Date of Composition: 1956
Length: 38 mm
Range: G ^ -G ^
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
pFar-bendie Wo 1-ken sich zar - t er ?
65 Title: Vergiss, vergiss
Poet: Rilke
Dedication: Adele Addison gewidmet
Initial Tempo: Sehr ruhig ( J = 66)
Publication Information: AL Vol. IV (M)
IfL
Date of Composition: 1956
Length: 27 mm
Range: A ^ - G ^
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
^ tq V ' ttV *■ *V e r - g i s s , v e r - g i s s und 1 as s uns j e t z t n u r d i e s e r - l e - b e n ,
116
66 Title: Verschneiter Fluss
Poet: Lin Dsung-Yuan (trans. Hausmann)
Dedication: fu r Richard Foster
Initial Tempo: Ruhig fliefiend,immer gleiche Viertel
Publication Information: AL Vol. IV (M)
Date of Composition: 1956
Length: 27 mm
Range: B ^ -E ^
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
iE T o
Kein Vo - gel fliegtmehr u - ber Fluss und Flur,
67 Title: Ein Traum ist unser Leben
Poet: Johann Gottfried Herder (1744-1803)
Dedication: Johanna J. Bosch gewidmet
Initial Tempo: ( J =50)
Publication Information: SL Vol. VII (M)
Date of Composition: 1956
Length: 20 mm
Range: E ^ -G ^
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
3* <■ r — = — H—77—** ** —---- &—HHh? .1 -----1------------------- ------------1 1 1
^ r 1M— --- £#—0 I f f — ^
Ein Traum, ein Treun ist in - sa Le - be n ajf Er - den hi er .
68 Title: Zigeunerlied
Poet: Goethe
Dedication: Helmut Grohe gewidmet
Initial Tempo: Schnell, unheimlich
Publication Information: AL Vol. IV (M)
E &
Date of Composition: 1956
Length: 64 mm
Range: A^-G^
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
£M
Im Ne - b e l - g e - r i e - s e l , im t i e - f e n S c h n e e ,
117
69 Title: Gleichnis
Poet: Dehmel
Dedication: fu r Charles Munch
Initial Tempo: Fliefiende Halbe, einfach
Publication Information: AL Vol. V (L)
Date of Composition: 1956
Length: 21mm
Range: G^3 - F 3
© Copyright 1959 by Felix Wolfes Assigned 1962 to Beekman Music, Inc. Used By Permission Of The Publisher
«—ftgs is t einBrun-nen, der heisst Leid;
70 Title: Lied
Poet: Wilhelm Klemm (1881-1968)
Dedication: Milton Feist gewidmet
Initial Tempo: Leicht bewegt ( J = 104)
Publication Information: AL Vol. II (H)
Date of Composition: 1957
Length: 58 mm
Range: D^4 -A 3
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
9 m--- 9 f '
y i ... 1= 1= -------
Z i e r - l i - c h e Bi r - ke du.
71 Title: Erdgewalt
Poet: Rudolf Georg Binding (1867-1938)
Dedication: fu r John S. Bowman
Initial Tempo: Kraftig, sturmisch ( J =80)
Publication Information: AL Vol. II (H)ALVoLIV(M)
Date of Composition: 1958
Length: 40 mm
Range: C#4 - G#5 (H) and B3 - F#5 (M)
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
Ba - che stiir-zen aus dem Her - zen der Ge - bir - ge voll Be-gliickung
118
72 Title: Gelbe Rose
Poet: Ludwig Strauss (1892-1953)
Dedication: fu r Carl Davis
Initial Tempo: Fliefiend, nie eilig
Publication Information: AL Vol. IV (M)
P^ — s*1-------a t }•»— I* W I. — a—W— p
e e f e i ; j j e
Date of Composition: 1958
Length: 46 mm
Range: B3 -G 3
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
Als die schma - le Flanwre ih-rer Knos - pe sich 9e - off net,
73 Title: Bluhender Kirschbaum
Poet: Christian Wagner (1835-1918)
Dedication: Boris Goldovsky gewidmet
Initial Tempo: Leicht beschwingt,in wechselndem Tempo
Publication Information: AL Vol. II (H)ALVoL V(L)
2
Date of Composition: 1958
Length: 63 mm
Range: D4 - B5 (H) and A#3 - G5 (L)
© Copyright 1959 by Felix Wolfes Assigned 1962,1963 to Beekman Music, Inc. Used By Permission Of The Publisher
£ ie y- &fcstaj
Un - ge - zahl - tef 1fro-he Hoch - zeits - ga - ste,
74 Title: Am Gartenfenster
Poet: Albrecht Goes (1908- )
Dedication: fiir Nancy Williams
Initial Tempo: Ruhig bewegt ( J = 76)
Publication Information: SL Vol. X (M)
Date of Composition: 1958
Length: 54 mm
Range: C4 -!^ 5
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
+ 4 -^ --- a— 9 — - )-
(p H ' /■ - M ™ k j ^ t —m--- d
Aus ge -wan-dertbist du rei - ne See - le,
75 Title: Gefunden
Poet: Goethe
Dedication: fiir Jack Moe
Initial Tempo: Einfach, gemachlich
Publication Infonnation: AL Vol. IV (M)
5 P
Date of Composition: 1958
Length: 37 mm
Range:
© Copyright 1959 by Felix Wolfes Assigned 1963 to Beekman Music, Inc. Used By Permission Of The Publisher
I c h g i n g i m Wal-de so f u r mi ch h i n ,
76 Title: Das Glasperlenspiel
Poet: Hesse
Dedication: fiir Herbert Spielman
Initial Tempo: Feierlich bewegt ( J =72)
Publication Information: SL Vol. X (M)
Date of Composition: 1958
Length: 33 mm
Range: B^-G^®
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
w -r -------- f 9
— J I— ------------J —
Mu- s i k tbs Welt - alls
77 Title: Tausend Male
Poet: Wagner
Dedication: fiir Fritz Doenecke
Initial Tempo: Ruhig fliefiend ( J. = 40)
Publication Information: SL Vol. XI (M)
Date of Composition: 1958
Length: 55 mm
Range: G^®-G^
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
120
78 Title: Spruch fiir eine Sonnenuhr Date of Composition: 1958
Poet: Binding Length: 21mm
Dedication: fiir Samuel Barber Range: B^3 . p#3
Initial Tempo: Sehr ruhig und gleichmassig © 1959 by Felix Wolfes Estate( J = 80) Used By Permission Of The Publisher
Publication Information: SL Vol. X (M)
2 i ..y . p . .. . 5 =1 1 \ r 1 '" p 1 ■■■"— ■■J
Der Tag g e h t i i - b e r m e i n G e - s i c h t
79 Title: Schneefall
Poet: Friedrich Bischoff (1894-1976)
Dedication: Richard Aslanian
Initial Tempo: In gleichmassig sanfter Bewegnung, etwas vertraumt
Publication Information: unpublished
Date of Composition: 1958
Length: 63nun
Range: B^-G *®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Wie es schneit, lei se schneit,
80 Title: Grabschrift eines Marines
Poet: Binding
Dedication: fiir Edgar Kupfer-Koberwitz
Initial Tempo: Sehr ruhig ( J = 40)
Publication Information: SL Vol. VIII (L)
Date of Composition: 1959
Length: 22 mm
Range: F#3 - F^3
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
^ ----------------- E - ,_ •?.. \\------ hr r i ; . t . 1hi|) ^ a
- Vt g .
AT - 1 es s t i r b t . Auc hd i e Fre un- de ,
121
81 Title: Regenbogen
Poet: Bertram
Dedication: Momme Mommsen
Initial Tempo: Ruhig bewegt, klangvoll
Publication Information: unpublished
Date of Composition: 1959
Length: 14 mm
Range: C^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
E5 5= ific
Z a r t - l i ch du von Tau - ge - z o - g e n son-nig i j-ber Dun - k e l - h e i t
82 Title: Jahraus-Jahrein
Poet: Weinheber
Dedication: fiir John Bowman
Initial Tempo: Ruhig, stetig ( J = 46)
Publication Information: SL Vol. X (M)
Di e-we i 1 d i r Mo
Date of Composition: 1959
Length: 53 mm
Range: B -
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
d um Mond e n t - g l i t t ,
83 Title: ZuM usik Date of Composition: 1959
Poet: Huch Length: 47 mm
Dedication: fiir Hilde Manasse Range: B ^ - F ^
Initial Tempo: In sanfter Bewegnung ( J = 48) © 1959 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. X (M)
u'i 3
1 ^ > C 1 1 ------- 1-------- F * = ! = t = FN
t p ----- -----------------*—........ J ^
.... 6 — &L p L - j i I
Was ist in dei - nem L ied, was mich be - tort?
122
84 Title: Die Liebenden
Poet: Georg von der Vring (1889-1968)
Dedication: fiir Stefan Mengelberg
Initial Tempo: Ruhig ( J = 66)
Publication Information: SL Vol. X (M)
7t&~er - lei t n
Date of Composition: 1959
Length: 34 mm
Range: b^3-F$5
© 1959 by Felix Wolfes Estate Used By Permission Of The Publisher
heim - lich L ie bavcfei,
85 Title: Melusine
Poet: Bertram
Dedication: Angelika Forsberg
Initial Tempo: Gleichmassig fliefiend ( J =Publication Information: unpublished
---
Date of Composition: 1959
Length: 59 mm
Range: C ^ - G ^
66) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Sole Representative Theodore Presser Company
£
S t r o - mend aus der gui-en Q u e l - l e
86 Title: Die zw ei Briider
Poet: Paul Pfitzner
Date of Composition: 1959
Length: 45 mm
Dedication: Meinem lieben Bruder Helmuth Range: B - F^gewidmet
Initial Tempo: Einfach, wie ein Volkslied © 1965 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. VIII (L)
t i ' ‘ J i mEs wa - r e n einstMi B r u - d e r,
123
87 Title: In der letzten Stunde
Poet: Pfitzner
Dedication: fiir Tommy Waggoner
Initial Tempo: Ruhig, still ( J = 60)
Publication Information: SL Vol. VIII (L)
Date of Composition: 1959
Length: 18 mm
Range: B ^ -D ^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
-rfSr P] H C 7 )------ R F = i M — r t n2 _ J
-0- — 4 . ^ 7 J 2f-_'~ U -Tug ---- — MW o h l i n d e r l e t z - t e n Stun - d e , da o f f - n e t s i c h d i e W u n - d e ,
88 Title: Lied der jungen Mutter
Poet: Bernhard Siepen
Dedication: Anton and Muriel Wolf
Initial Tempo: Fliefiend, zart ( J- = 52)
Publication Information: unpublished
t t—r
Date of Composition: 1959
Length: 44 mm
Range: C ^ - A ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
m-t-Nur Trin-ksi irtl Schla-fei war d e i - n e L u s t ,
89 Title: Ecce Homo!
Poet: Veikko Antero Koskenniemi (trans. Johannes Ohquist)
Dedication: fiir Arthur Hall
Initial Tempo: Sehr ruhig und gleichmassig (nicht sentimental!)
Publication Information: SL Vol. XI (M)
Date of Composition: 1960
Length: 55 mm
Range: A^-F^®
© 1992 by Felix Wolfes Estate Used By Permission Of The Publisher
124
90 Title: Nacht
Poet: Bo Djii (trans. Hausmann)
Dedication: fiir Dolly Jossmann
Initial Tempo: Ruhig, zart ( J = 66)
Publication Information: SL Vol. XI (M)
P___±z
Date of Composition: 1960
Length: 30 mm
Range: C ^ -F # 5
© 1992 by Felix Wolfes Estate Used By Permission Of The Publisher
± da P—ffw
D i e W a s - s e r - u h r i ms c h l &f e r v d e n P a - l a s t
91 Title: Orpheus Date of Composition: 1960
Poet: Binding Length: 26 mm
Dedication: Robert and Angelika Forsberg Range: C ^ -
Initial Tempo: Kraftig, schmiegsam ( J = 84) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
P a n - t h e r schmei c he l n sichaj s e i - n e n F u s - s e n ,
92 Title: Todesmusik Date of Composition: 1960
Poet: Franz von Schober (1798-1882) Length: 56 mm
Dedication: Gian-Carlo Menotti gewidmet Range: B - A^
Initial Tempo: Feierlich bewegt,immer klangvoll ( J = 54)
Publication Information: SL Vol. VI (H) Used By Permission Of The Publisher
...
In de s To - de s F e i - e r - s t u n - d e ,
125
93 Title: Herbstbild
Poet: Friedrich Hebbel (1813-1863)
Dedication: Maria Elsberg gewidmet
Initial Tempo: Sanft fliefiend ( J =72)
Publication Information: SL Vol. VI (H)
Date of Composition: 1960
Length: 25 mm
Range: F ^ -G ^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
---i*- 13 [ ■£+ » f ‘ .
ify ^ i-i 7 J * -g-= t = H M = !Di e ist ein Hatst - fag, w'ie i c h k e i - n e n s ah!
94 Title: Die Schritte
Poet: Goes
Dedication: Curt Allen gewidmet
Initial Tempo: Ruhig bewegt ( J = 42)
Publication Information: SL Vol. IX (H)
Date of Composition: 1960
Length: 38 mm
Range: Bb - 1^5
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
f l f f 1 1 \ ...pi ^ p f - i .Klein is t , mein Kind, dein er -ster Schritt,
95 Title: An eine Tote
Poet: Weinheber
Date of Composition: 1960
Length: 64 mm
Dedication: fiir Richard Conrad im Andenken Range: C^-Gb an Yong Soon Lee
Initial Tempo: Ruhig ( J = 63) © 1965 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. IX (H)
7 k — J - p—\
p 1 p— 1---- t— —ft— / .. 1... M U P i 1
Stil le Blu-me, er -blasst un-terherbst-li -chen Ster- nen,
126
96 Title: Ein helles Klingen
Poet: Hermann Claudius (1878-1980)
Dedication: Richard ConradJ
Initial Tempo: Fliefiend ( J. = 76)
Publication Information: unpublished
Date of Composition: 1960
Length: 48 mm
Range: E^-A^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
- * f i»— © » ftp VrH< J. _s—? — f—3 +*-?—j
iP
Es muss fu" m e i - n e S e e - l e i r - - gmd - vo ein he! - I s K1 in -gm sein .
97 Title: Still zu wissen...
Poet: Weinheber
Dedication: in memory of Hans Gareis
Initial Tempo: Ruhig ( J = 63)
Publication Information: SL Vol. X (M)
Date of Composition: 1961
Length: 55 mm
Range: B ^ -F ^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
0—-
13 -■+— 1 1—tr -3-----, —yylL.G L ... .. p.., es__„—d - - ^ -4
-©- x-S t i l l zu w i s - s e n , du cpist tald h i n- ab zu den Va - t e r n .
98 Title: Ruhender Hermes
Poet: Bertram
Dedication: Richard Conrad
Initial Tempo: Leicht bewegt, aber nie eilig ( J = 76)
Publication Information: unpublished
Date of Composition: 1961
Length: 50 mm
Range: D^-A^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
i— 3-i*— (—3 -
t r * .C-U —P— r t— 1 - i=z \ = * ± $ = J
Z i e r - 1 i c h - s t e r du von leidvte - stem Ge-wol k t r u g didicfein Flu - g e l - f u s s
127
99 Title: Das trunkne Lied Date of Composition: 1961
Poet: Friedrich Nietzsche (1844-1900) Length: 37 mm
Dedication: Charles Munch gewidmet Range: - D ^
Initial Tempo: Langsam, klangvoll ( J = 66) © 1965 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. VII (M)
2 Pr5-w -■i------ — si ......a
1— — r
0 Mansch, gib acht!
100 Title: Venedig
Poet: Nietzsche
Date of Composition: 1961
Length: 36 mm
Dedication: fiir Richard Aslanian Range: C ^ - G ^
Initial Tempo: Wiegend, phantastisch ( J. = 48) © 1965 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. VI (H)
a r. OU '-7— P 4[-)---- 1------ — J -J 4-9+----- i-----J— ^rir- ------ 1---------
/p 6 1 a
An der1---------------— ----------
Briik - ke stand j'ungst ich
— — tL--------in brau - ner
__ A -Nacht.
101 Title: Kleiner Rat Date of Composition: 1961
Poet: Wolfgang Amadeus Mozart (1756-1791) Length: 31 mm
Dedication: Robert und Angelika Forsberg Range: F -gewidmet »
Initial Tempo: Behaglich, grazios ( J = 100) © 1965 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. VI (H)
, ftripOu. X
\ b | | i*----1 0 r ....F r , . , *....1t^ -1 — L .. - f - F * ? .. 4----- * — — w,.... j 1
Duwirst im Eb-stad v i e l e r - f a h - r e n , w s d i r e i n h a l - b e s Rat - s e l w a r :
102 Title: Die Frauen von Ravenna
Poet: Hesse
Dedication: fiir Rainer Mengelberg
Initial Tempo: Zart, ausdrucksvoll (
Publication Information: SL Vol. X (M)
Date of Composition: 1961
Length: 30 mm
Range: A^-G^
: 76) © 1959 by Felix Wolfes EstateUsed By Permission Of The Publisher
\ vK --r- 1- ft ^ t - K - ..-few v—I!< V 4 -------11 y -W
m „. ...—®, .— ----8 ” H i
Die Frau-en von Ra - ven na tra - gen
103 Title: Relief
Poet: Saladin Schmitt
Dedication: Renate von Scheliha
Initial Tempo: Zart, fliefiend
Publication Information: Anticipated SL
Er r u h t noch so i n s
Date of Composition: 1961
Length: 28 mm
Range: C^-F^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
. XII Sole RepresentativeTheodore Presser Company
i - n e r eig-nen R e i n - h e i t
104 Title: Trost
Poet: Ina Seidel (1885-1974)
Dedication: Richard Conrad
Initial Tempo: Sanftbewegt (c)- = 46)
Publication Information: unpublished
Date of Composition: 1961
Length: 43 mm
Range: D^ -
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
129
105 Title: Knabe
Poet: Armin T. Wegner
Dedication: Armin T. Wegner
Initial Tempo: Ruhig (cl = 46)
Publication Information: unpublished
T 3 -T
Date of Composition: 1961
Length: 27 mm
Range: C ^ -G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
£ HM- U r d -
Du a u f me i - n e n Kni e - en , s e l t - s a - me s Kind
106 Title: Traumboot
Poet: Manfred Hausmann (1898-1986)
Dedication: fiir H. Lutz Peter
Initial Tempo: Sanft gleitend ( J. = 50)
Publication Information: SL Vol. IX (H)
Date of Composition: 1961
Length: 23 mm
Range: C ^ -
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
r------—-------“ “IF-----— ...ic— Z - J .tfw !i—
Wir b e - f a n - d e n uns, so trant' ich wi e- der ,
107 Title: Liebe
Poet: Hausmann
Dedication: none
Initial Tempo: Ruhig bewegt ( J = 80)
Publication Information: unpublished
Date of Composition: 1961
Length: 30 mm
Range: B ^ - F ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
a*— »--- 9 IT u. M = sfH H -J— *— *— P--- p— - j V J ' ' * I
Wenn wir uns nicht rehr ha - ben und uns seh nen
130
108 Title: Im Grase hingestreckt
Poet: Hesse
Dedication: Konrad Reisner gewidmet
Initial Tempo: Ruhig ( J = 56)
Publication Information: SL Vol. IX (H)
Date of Composition: 1962
Length: 30 mm
Range: C ^ - G ^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
V jT T T■ — 1 ... . r ■ (9--- ) —f —• ----- ih —
J —J—£- - - . . . . . . . J-Im Gra-se hi n-<£-strata
d....p ° -----
laech' ichdar Ha 1 - m
- — UJe zar - tem_
r f T f »Wald,
109 Title: Verlorener Klang
Poet: Hesse
Dedication: Charles Munch gewidmet
Initial Tempo: Einfach, ruhig ( J =92)
Publication Information: SL Vol. IX (H)
Date of Composition: 1962
Length: 82 mm
Range: C ^ - G ^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
■ 5*1------ ---------■ ' " . i i jr - ! - wol1 . -•
0 » * eh r r10 _
1 / - - V ...MEi n - ma l in Ki n-der-ta<)en g i n g Wi d i e Wi e- s e l a n g ,
110 Title: Andenken Date of Composition: 1962
Poet: Lili Medhat Length: 34 mm
Dedication: in memory of Victor Reisner Range: - G^
Initial Tempo: Gelassen, nie eilig ( J . = 50) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
.P
— 0 - 3 - _ P ~ ~ " h i t ' ‘v : —- o - i i 1 1 ± — h. E g . ■T ~lieb - test la ge Ta - ge.
131
111 Title: Spruch
Poet: Bertram
Dedication: Carlos Faria
Initial Tempo: Ruhig ( J = 69)
Publication Information: unpublished
Date of Composition: 1962
Length: 20 mm
Range: C ^ -
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Du kanns t rricht s e i n , Du tertEt d i c h n u r ver - schwen den
112 Title: Umrahmte Femsicht
Poet: Bertram
Dedication: Joel Flolmberg
Initial Tempo: Sanft fliefiend ( J = 76)
Publication Information: impublished
Date of Composition: 1962
Length: 28 mm
Range: E ^ -G 5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
F &
Die Fer - ne f r e i zu u - b e r - s c h a u - e n ,
113 Title: Rote Pantoffeln Date of Composition: 1962
Poet: Heinrich Heine (1797-1856) Length: 139 mm
Dedication: John Stewart Range: B ^ . g #5
Initial Tempo: Gemachlich, leicht wechselndes © The Felix Wolfes EstateTempo ( J*=88) Used By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
Hr---
* tf# 'am ___ b ~ w 1----- FT-y - 8 7 < 7 --- 2_
W - 4
Gar bo - se Kat - z e , so a l t und grau
114 Title: In den Nachmittag geflustert
Poet: Trakl
Dedication: Herbert Fromm gewidmet
Initial Tempo: Zart, fliefiend ( J = 76)
Publication Information: SL Vol. VI (H)
Date of Composition: 1962
Length: 39 mm
Range: C^-G^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
f ,L - F f = s p-—— n -------&—&-~p—
-------- -1-------M — ------- j i ------—— M
Son - ne, he r b s t - 1 i ch diinn und zag,
115 Title: Eine Melodie singt mein Herz
Poet: Huch
Dedication: in memory of Helli
Initial Tempo: Ruhig, verhalten ( J =76)
Date of Composition: 1962
Length: 34 mm
Range: G ^-G ®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
- y f * . Z---- 1 Pr i n - - - - “i— --- - - ---- -- h---- r- - - - - - -
±r*-y-l- --- 1 i- - - 1
) L _ J — A--- J A ...L |-- 3--------Ei - ne Me - 1 o
--------- “-- - - - - - - - - - - - -- d i e singt nen Herz , die du ge - sun -gen
116 Title: Nachtlied
Poet: Vring
Dedication: fiir Richard Foster
Initial Tempo: Ruhig fliefiend ( J =66)
Publication Information: SL Vol. XI (M)
Date of Composition: 1962
Length: 52 mm
Range: B^-G^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
133
117 Title: Mutter singt
Poet: Wegner
Dedication: Richard Conrad
Initial Tempo: Ruhig fliefiend ( J = 46)
Publication Information: unpublished
Date of Composition: 1962
Length: 25 mm
Range: F^-G^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
i >-
Mei-ne Mut - t er geht durch d i e Stu-ben und s i n g t .
118 Title: Traumlied
Poet: Gunther Weisenbom (1902-1969)
Dedication: Momme Mommsen
Initial Tempo: Ruhig, wiegend ( J = 66)
Publication Information: unpublished
Date of Composition: 1962
Length: 39 mm
Range: B^-G^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
&
Wir s c h l a ^ f e n a i - l e b l e i c h im Strom der Nacht
119 Title: Es ist ein Schnee gefallen Date of Composition: 1962
Poet: unknown Length: 35 mm
Dedication: Hilde Manasse gewidmet Range: B - F*®
Initial Tempo: Einfach, gleichmassig ( J = 76) © 1965 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. VII (M)
1 s 'VlfV l ' T
p ...—
y c 1 1 mL-wJ — ----- JEs i s t e i n S c h n e e g e - f a i - l en
134
120 Title: Was ist die Welt?
Poet: Hofmannsthal
Dedication: fiir Richard Aslanian
Initial Tempo: Sinngemass belebt ( J = 84)
Publication Information: SL Vol. IX (H)
Date of Composition: 1962
Length: 51mm
Range: D ^ - G 5
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
~*** —i y" t?
L-' fWas i s t
_ t o _
d i e W e l t ? Ein e - wi - g e s G e - d i c h t ,
121 Title: Die Holle
Poet: Hausmann
Dedication: fiir Maria Elsberg
Date of Composition: 1962
Length: 49 mm
Range: A ^ -E ^
Initial Tempo: Innerlich erregt und intensiv © 1965 by Felix Wolfes Estate( J = 76) Used By Permission Of The Publisher
Publication Information: SL Vol. VIII (L)
4HQjal ii-ber QbI is t uns ge-setzt ins-ge- samt.
122 Title: Weisse Wolken
Poet: Hesse
Dedication: fiir Angelika
Initial Tempo: Zart, schwebend ( J = 76)
Publication Information: SL Vol. IX (H)
Date of Composition: 1963
Length: 24 mm
Range: E^-G^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
0 s c h a u , s i e schwe ben wi e - d e r
135
123 Title: Eingelegte Ruder
Poet: Meyer
Dedication: Hertha Hnver gewidmet
Date of Composition: 1963
Length: 32 mm
Range:
Initial Tempo: Sehr ruhig und ausgeglichen © 1965 by Felix Wolfes Estate(J* = 144) Used By Permission Of The Publisher
Publication Information: SL Vol. VII (M)
m$
Mei-ne e i n - g e - 1 e g - t e n Ru-der t r i e - f e n ,
124 Title: Die Inschrift
Poet: Bertram
Dedication: Helmuth Wolfes
Initial Tempo: Gemessen ( J = 84)
Publication Information: unpublished
Date of Composition: 1963
Length: 25 mm
Range: B ^ -G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
r ~ T i T pDM i
----- A i — r h -
Du trittsthierein aus Zwang und Nacht,
125 Title: An einen Dichter
Poet: Schaeffer
Dedication: Johanna Bosch
Initial Tempo: Traumhaft, verhalten
Date of Composition: 1963
Length: 40 mm
Range: C ^ -G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
126 Title: Thanatos
Poet: Rausch
Date of Composition: 1963
Length: 47 mm
Range: Ab3-G 5Dedication: Stefan Mengelberg
Initial Tempo: Gleichmassig fliefiend ( J = 50) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
V i e - 1 e w a - r e n bei mir mit mir k e i - n e r
127 Title: Das Ende des Festes
Poet: Meyer
Dedication: Alfred Huebsch gewidmet
Initial Tempo: Ruhig ( J [ J • ] = 63)
Publication Information: SL Vol. VI (H)
Date of Composition: 1963
Length: 38 mm
Range: Db4 - G5
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
I'll i i >■ „ --------tfJN = i ------
— 1— a a
Da rift So - kra - tes dieFreun-de tran - ken,
128 Title: Volkslied
Poet: Hausmann
Dedication: fiir Fritz Volkmann
Initial Tempo: Einfach ( J = 88)
Publication Information: SL Vol. X (M)
Date of Composition: 1963
Length: 46 mm
Range: D 4-G b5
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
137
129 Title: Limerick
Poet: Kurt Peiser
Dedication: none
Initial Tempo: Sachlich berichtend, iTempo di Limerick ( J = 78)
Publication Information: unpublished
Date of Composition: 1963
Length: 8 mm
Range: D^-A^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
r 7 f> tEin Kna- be im Te- hu - an - t e - p e c
130 Title: Das Femgesprach
Poet: Eugen Roth (1895-1976)
Dedication: Kitty Frank
Initial Tempo: Gleichmassig fliefiend ( J =Publication Information: unpublished
Date of Composition: 1963
Length: 30 mm
Range: B ^ -G ^
84) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Sole Representative Theodore Presser Company
Ein Mansdi sp idtfem , ge - rau-ma Zeit,
131 Title: Die beiden Esel
Poet: Christian Morgenstem (1871-1914)
Dedication: Lotte Godfrey gewidmet
Initial Tempo: Gemachlich ( J =92)
Publication Information: SL Vol. VII (M)
Date of Composition: 1963
Length: 23 mm
Range: G ^-F $>
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
.# ! ,....... L— 'i± 5 L p L * — J
)
■ J4 - 1—0 *
j— - t:
Ein fin-strerE -se l rach ein-mal zu sei-nem eh-li-chen Ge-irahl:
132 Title: Der Hecht
Poet: Morgenstem
Dedication: Benno Frank gewidmet
Date of Composition: 1963
Length: 31mm
Range: c f 4 -
Initial Tempo: Wie eine Moritat vorzutragen © 1965 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. VI (H)
ft lM> 1— i?* ----- 1—h i— &
Ein Hecht, van hei - l i -gen An -ton be-kehrt,
133 Title: Die Fuchsien
Poet: Erich Kastner (1899-1974)
Dedication: Pauljossmann
Initial Tempo: Leicht, grazios ( J = 130)
Publication Information: unpublished
Date of Composition: 1963
Length: 23 mm
Range: D^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
f t
Wir tan - im Bail - lett, <fcss die Rxk - dei flie - cpv
134 Title: An*
Poet: Rausch
Dedication: Peter Kaizzi
Initial Tempo: Ruhig bewegt ( J = 80)
Publication Information: unpublished
Date of Composition: 1963
Length: 37 mm
Range: G^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
139
135 Title: Der Tod
Poet: Bernhard von der Marwitz
Dedication: fiir Helmuth
Initial Tempo: Ziemlich ruhig ( J = 76)
Publication Information: SL Vol. XI (M)
Date of Composition: 1963
Length: 38 mm
Range: B^-A^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
----- E------------ b---------------- 1A-tt r 7 k - }— K-----0 ---j
- — «
Kannstdu mir sa - gen
136 Title: Der Bruder
Poet: Rausch
Dedication: Helmuth Wolfes
Initial Tempo: Getragen ( J =60)
Publication Information: unpublished
Date of Composition: 1963
Length: 31mm
Range: G ^-F®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
j j 1 J JLas uns t i e f \er - htfl - Ten
137 Title: Scherzo
Poet: Claudius
Dedication: Alice Tate
Date of Composition: 1963
Length: 20 mm
Range: C^-G^
Initial Tempo: Leicht und behaglich ( J = 76) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
li £ j= .i— ft -Hh fr ***[> f JIch schrieb ein Ge - dicht zart - 1 ich auf ein Stuck Sei -den-pa-pier
140
138 Title: Der Dichter
Poet: Hesse
Dedication: fiir John Bowman
Initial Tempo: Innerlich bewegt ( J = 70)
Publication Information: SL Vol. XI (M)
Date of Composition: 1964
Length: 42 mm
Range:
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
» Y - i—p ..1: ■ 1 —frJ—e—w ---- m E
Rei - ner at-met der Gar-ten im Tau der Naeht,
139 Title: Spatblau
Poet: Hesse
Dedication: Angelika Forsberg gewidmet
Initial Tempo: Klangvoll fliefiend ( J = 88) Publication Information: SL Vol. IX (H)
Date of Composition: 1964
Length: 42 mm
Range: E^-A^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
0 rei ne, wun - d e r - v o l -1 e Schau,_
140 Title: Kleiner Gesang
Poet: Hesse
Dedication: fiir Uta Graf
Initial Tempo: Fliefiend ( J = 88)
Publication Information: SL Vol. XI (M)
p - ---------------- ___
Date of Composition: 1964
Length: 22 mm
Range: C ^ -G ^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
a L - E E-'f. j j "& £Re -gen-bo - g sv g e- d id t, Z a u- b e r aus s t e r - b e n - d e m Licht.
141
141 Title: Marzsonne
Poet: Hesse
Dedication: fiir Benjamin Huebsch
Initial Tempo: Sanft bewegt ( J. = 63)
Publication Information: SL Vol. XI (M)
Date of Composition: 1964
Length: 39 mm
Range; D^-G^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
L---- h— ------- n4----- j"d— ^ — —
(y x
r r u n - k e n __ von
... .........w ..f r u - h e r G l u t
142 Title: Knarren eines geknickten Astes
Poet: Hesse
Dedication: fiir Johanna Oldenburg
Initial Tempo: Rhythmisch, nervig, nicht schnell ( J = 60)
Publication Information: SL Vol. XI (M)
Date of Composition: 1964
Length: 26 mm
Range: B^-G^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
Mi f=fPf
Split - t r ig ge - knick - te r Ast,_ han - oen schon Jahr ua Jahr,
143 Title: Rotkehlchen
Poet: Wilhelm Busch (1832-1908)
Dedication: zurn andenken an meinen Bruder Arthur
Initial Tempo: Leicht, grazios, behaglich (J =72)
Publication Information: SL Vol. VI (H)
Date of Composition: 1964
Length: 19 mm
Range: E4 -G 5
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
r . m . ... & » 0-----1P-----------ry4? -* ------ * *— m J /
ftt-k d il - dm aS dan Z w e i - g e h i i p f t w i p p , w i p p !
142
144 Title: Symphonie
Poet: Hesse
Dedication: fiir Jan Meyerowitz
Initial Tempo: Stiirmisch bewegt ( J = 69)
Publication Information: SL Vol. IX (H)
-f
Date of Composition: 1964
Length: 26 mm
Range: D4 - G#5
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
■ f= &
Au s d un - k l e r Bran dung g a h rend
145 Title: Das Mandelbaumchen
Poet: Kastner
Dedication: Betsy Davis
Date of Composition: 1965
Length: 23 mm
Range: F4 -
Initial Tempo: Zierlich und behutsam ( J = 66) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
--------r- --------- *yfc..t=Ll- i - i =4=Ich binnoch klein und hab erst zwdlf Blut-chen
146 Title: Inschrift auf eine Uhr mit den drei Horen Date of Composition: 1965
Poet: Morike Length: 19 mm
Dedication: fu r Ruth Streeter Range: E^-G^
Initial Tempo: Etwas gemessen, aber mit Anmut © 1965 by Felix Wolfes Estate( J = 60) Used By Permission Of The Publisher
Publication Information: SL Vol. VII (M)
- ^ / T v w * — *—------------J 10 ------ -----------------------
p----- *------ « ------ ; -------- = ^ f = i e — 1—
? ? f 1 7 ....V - r r T r ^
) b -n ....
Am 1 ang-sanvsten von a l - l e n Go t - t e r n wan - d e l n w i r ,
143
147 Title: Friihlingslied
Poet: Friederike Kempner (1836-1904)
Dedication: Meinem Bruder Helmuth
Initial Tempo: Scheinbar emsthaft
Publication Information: SL Vol. VI (H)
Wenntb" hol -d
Date of Composition: 1965
Length: 16 mm
Range: E^-G^
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
FrtiMing l enz t
148 Title: An das ungeborene Kind
Poet: Lessie Sachs
Dedication: Helmut Grohe
Initial Tempo: Sehr ruhig ( J = 60)
Publication Information: unpublished
Date of Composition: 1965
Length: 38 mm
Range: - D^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
b -K~W-- - b ----- 9---------- ft—-U--------- -LtS_flL- a — J — -1-----J— -)----------1J—£*— s—
7 --------Ru- he und schla-fe, trau-me und trei-be,
149 Title: Aufgehender Mond
Poet: Vring
Dedication: fiir Charles Munch
Initial Tempo: Ruhig ( J = 80)
Publication Information: SL Vol. XI (M)
Date of Composition: 1965
Length: 56 mm
Range: F^-G ®
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
■V-/"""p i f frr____ kp s— i
— (.. / “P p - H - p - -W -U .ft
Die Ster - ne schwin-den aus der Bahn,_
144
150 Title: Gesang eines gefangenen Amsel
Poet: Trakl
Dedication: Richard Foster gewidmet
Date of Composition: 1965
Length: 35 mm
Range: _ ~p#5
Initial Tempo: Zart ausdrucksvoll, fliefiend © 1965 by Felix Wolfes Estate( J* = 112) Used By Permission Of The Publisher
Publication Information: SL Vol. VII (M)
gy .M r
Dunk- l er 0 - dem im griHien Ge - z we i g .
151 Title: In ein altes Stammbuch
Poet: Trakl
Dedication: Meinem Bruder Helmuth
Initial Tempo: Ruhig ( J* = 108)
Publication Information: SL Vol. VII (M)
Date of Composition: 1965
Length: 23 mm
Range: B -
© 1965 by Felix Wolfes Estate Used By Permission Of The Publisher
r )- - - ---- ^ 7 y— i )—(j) g 7 1 ,.,.t----__W- - - - ^ ) 7 ft ■
I m - m e r w i e - d e r k e h r s t d u , M e - l a n - c h o - l i e ,
152 Title: Ein Monch spricht zu Gott
Poet: Scholz
Dedication: fiir Mark Pearson
Initial Tempo: Breit fliefiend ( J = 80)
Publication Information: SL Vol. VIII (L)
Date of Composition: 1966
Length: 38 mm
Range: F ^ - E^
© 1991 by Felix Wolfes Estate Used By Permission Of The Publisher
_®f-—(to
^ c......* " '|__ J
Ich war er - lost
145
153 Title: Schlaf ein! Date of Composition: 1966
Poet: Alexander von Bemus (1880-1965) Length: 36 mm
Dedication: for Donald and Ninette Peterson Range: - E^
Initial Tempo: Ruhig, aber fliefiend ( J = 69) © 1969 by Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: SL Vol. VIII (L)
Shlaf e i n ! D i e techt i s t tief u n d veit
154 Title: Abendgesprach
Poet: Hesse
Dedication: fiir Katharina Mommsen
Initial Tempo: Einfach, fliefiend
Publication Information: SL Vol. VIII (L)
Date of Composition: 1966
Length: 20 mm
Range: B^-F^
© 1969 by Felix Wolfes Estate Used By Permission Of The Publisher
p' 1 K— \ v s h i " ' i! s ftI e - r b i iJ L-J )
Was bl ickst du trau - nend ins ver-vnl k - te Land?
155 Title: Heute Morgen im Garten
Poet: Claudius
Dedication: Leni Fromm
Initial Tempo: Leicht, fliefiend
Publication Information: unpublished
Date of Composition: 1966
Length: 29 mm
Range: D^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
) O ) ... ~ i k # r\ f *— * ff p 8 - ^ - H— r ~ t z i 1*— fd
Hat je - der Tag vchl je tz t s e i - n e ei - ge - ne Wei - se.
146
156 Title: Nacht
Poet: Hesse
Dedication: in memory of Georg Reisner
Initial Tempo: Ruhig ( J = 60)
Publication Information: unpublished
Date of Composition: 1966
Length: 29 mm
Range: A^-F^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
I tI c h h a - b e m e i - n e K er-ze a u s - g e - l o s c h t ;
157 Title: Schlaflied
Poet: Strauss
Dedication: Robert Kettleson
Initial Tempo: Ruhig, fliefiend ( «/ = 56)
Publication Information: unpublished
Date of Composition: 1966
Length: 16 mm
Range:
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
I* * ----------H > 1
h 1 ')— J ---------m--------- H-------- -i ---------------h & u i
....... ................p—J- —* 7t------ « ------------ —
Wenn du ru - hen injsst, w i l ich dich rriid g e -k u ss t,
158 Title: Traurigkeit
Poet: Hesse
Dedication: Theodor Uppman
Initial Tempo: Moderato ( J = 92)
Publication Information: unpublished
Date of Composition: 1966
Length: 40 mm
Range: B^-E^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
£EL u r J [T ^ ,j r J 1
Die mir noch Qe - stem gluh - ten , sind heu - te dan Tod ge - weiht,
147
159 Title: Doch heiinlich diirsten wir
Poet: Hesse
Dedication: Richard Foster
Initial Tempo: Ruhig ( J = 56)
Publication Information: unpublished
Date of Composition: 1966
Length: 34 mm
Range: C^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
i Jok -te-, -IE E ± = &
4SAn - mu - t i g g e i - stig, a - r a - te s - te i-h a f t
160 Title: Weisse Rose in der Dammerung
Poet: Hesse
Dedication: Fritz Munch
Initial Tempo: Zart, flieCend ( J* = 66)
Publication Information: unpublished
Date of Composition: 1966
Length: 29 mm
Range: E ^ -G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
* S = ^ ~ - f " r ' - f T , ••p 1 n
fp— 1— L— *------p— * +~ -&—i .. i—
T r a u - r i g l e h n s t du ctein Ge - s i c h t ’i i - b e r s L a u b ,
161 Title: Manche Nacht
Poet: Dehmel
Dedication: John Stewart
Initial Tempo: Ruhig beginnen ( J = 72)
Date of Composition: 1967
Length: 19 mm
Range: C ^ - G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Publication Information: Anticipated SL Vol. XII Sole RepresentativeTheodore Presser Company
Y - \—.
& - -r*—■We in n die F e l - d e r s i c h v e n d u n - k e l n ,
148
162 Title: Verlorenheit Date of Composition: 1967
Poet: Hesse Length: 26 mm
Dedication: Meinem Bruder Helmuth gewidmet Range: - F^
Initial Tempo: Bewegt, leidenschaftlich ( J = 84)
Publication Information: SL Vol. VIII (L)
© 1969 by Felix Wolfes Estate Used By Permission Of The Publisher
iN a c h t - w a n - d l e r , t a s t ' idimididnh Wal d und S c h l u c h t ,
163 Title: Friih im Wagen
Poet: Mdrike
Dedication: Helmut Grohe gewidmet
Initial Tempo: Ruhig, fliefiend ( J = 84)
Publication Information: SL Vol. VII (M)
Date of Composition: 1967
Length: 48 mm
Range: B3 -F#5
© The Felix Wolfes EstateUsed By Permission Of The Publisher
Es g r a u t vom Mor - g e r v r e i f in Dam - me-nng das F e l d ,
164 Title: Weg in die Einsamkeit
Poet: Hesse
Dedication: Thomas Waggoner
Initial Tempo: Ruhig, nie eilen ( J = 72)
Publication Information: unpublished
±
Date of Composition: 1967
Length: 53 mm
Range: B3 - F#3
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
E E :
D i e W e l t f a l l t v o n d i r a b ,
149
165 Title: Liebeslied
Poet: Richard Billinger (1893-1965)
Dedication: Richard Aslanian
Initial Tempo: Ruhig, zart ( J =80)
Publication Information: unpublished
Date of Composition: 1967
Length: 35 mm
Range: b^ -F ®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
M,... 1j • —k 0 --------------- - ^n ) ^ k l — ....... f *
= [ =------#
fth Li n-nen i s t so f e i n g e - 1 e g t .
166 Title: W aldlied
Poet: Nikolaus Lenau (1802-1950)
Dedication: Helmuth Wolfes
Initial Tempo: Kraftig bewegt ( J = 84)
Publication Information: unpublished
f £L. ■x£
Date of Composition: 1967
Length: 87 mm
Range: B ^ -F ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
? = F
Wie Mer - 1 in mixht ichdurch die Wal der ziehn;
167 Title: Nachts auf hoher See
Poet: Hesse
Dedication: Michael Silverman
Date of Composition: 1967
Length: 50 mm
Range: G^-E^
Initial Tempo: Ruhig und gleichmassig bewegt © The Felix Wolfes Estate( J = 63) Used By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
=ENachts ,wenn das Meer s i c h wi egt
150
168 Title: Leise w ie die Gondoln...
Poet: Hesse
Dedication: Angelika Forsberg
Date of Composition: 1967
Length: 27 mm
Range: C^-G 5
Initial Tempo: Sanft bewegt, nie eilig ( = 96) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
■7-7- I) b ~- t$
Lei - se wie d i e Gon - de l n a u f d e n K1 a-ren
169 Title: Auf eine Lampe
Poet: Morike
Date of Composition: 1968
Length: 20 mm
Dedication: Albert Elsberg gewidmet Range: - G ^
Initial Tempo: Zart und beschaulich ( J = 54)
Publication Information: SL Vol. VI (H) Used By Permission Of The Publisher
n f dolu.
Noch un -ver-ruckt, o scho-ne Lam - pe.
170 Title: Spruch
Poet: Hesse
Dedication: Richard and Donna Belanger
Initial Tempo: Etwas feierlich ( J = 80)
Publication Information: unpublished
dffUz.
Date of Composition: 1968
Length: 28 mm
Range: B - F^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
& ....S o m u s s t d u al - l e n D i n - g e n Bru - der und S c h we - s t e r s e i n,
171 Title: Verwelkende Rosen
Poet: Hesse
Dedication: Angelika Forsberg
Initial Tempo: Zart bewegt ( J =88)
Publication Information: unpublished
Date of Composition: 1968
Length: 26 mm
Range: E^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Moch- ten v i e - 1 e S e e - l e n d i e s v e r - s t e - h e n ,
172 Title: Das Kloster
Poet: George
Dedication: Momme Mommsen
Initial Tempo: Ruhig, gleichmassig ( J = 63)
Publication Information: unpublished
Date of Composition: 1968
Length: 61mm
Range: B^2. g4
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Mit we-nig Brii-dem f l ie h td ie lau-ten Hor - den,
173 Title: Nachtw ache
Poet: George
Dedication: Katharina Mommsen
Initial Tempo: Sehr ausdrucksvoll,aber verhalten ( J =66)
Publication Information: unpublished
Date of Composition: 1968
Length: 34 mm
Range: A 3-E 5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
174 Title: Sprache des Friihlings
Poet: Hesse
Dedication: Richard Conrad
Initial Tempo: Sanft bewegt
Publication Information: unpublished
Date of Composition: 1968
Length: 27 mm
Range: E ^ -A ®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
1 lf'.- Pn 0— r~ «---&------4--- ------- 1—t= z — r....r~y~'i
J e - d e s K i n d w e i s s , wa s d e r F r i i h - l i n g s p r i c h t
175 Title: Requiem
Poet: Meister Wolmyong
Dedication: Lutz Peter
Initial Tempo: Ruhig
Publication Information: unpublished
Date of Composition: 1968
Length: 27 mm
Range: - F ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
t # 3-----------p ______
- t — — ;------- c -------- 1—() c
w— M -- l -W cJ
Au f d e s T o - d e s un - be - k a n n - t e r S t r a s - s e
176 Title: Mit dem betenden Knaben
Poet: Wiechert
Dedication: Rex and Mary Harrower
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1968
Length: 43 mm
Range: B ^ - G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
153
177 Title: Aufhorchen
Poet: Hesse
Dedication: John Geller
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1968
Length: 48 mm
Range: B^-G^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
j h j t t r - _ t . . ^ Y - P . s : : .
- m - .......X fl1
— r M
Ein Klang so z a r t, ein Hauch so ney
178 Title: Friihling auf alten Grabem
Poet: Schnack
Dedication: Richard Foster
Initial Tempo: none
Publication Information: unpublished
■J y J *i
Date of Composition: 1968
Length: 30 mm
Range: A ^-F^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
a S
Auf den Gra-bern 4r To - ten ste-hen die Blu - men auf ,
179 Title: Wir Alten
Poet: Kurt Hamburger
Dedication: Charles Munch
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1968
Length: 34 mm
Range: C ^ - G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
% m ju tWir ha - ben das Ge - stem ver - lo - ren
154
180 Title: Schlaflos
Poet: Storm
Dedication: Lotte Gottgetreu
Initial Tempo: Anfangs etwas anruhig aber eigentlich wie schnell ( J* etwa= 76)
Publication Information: unpublished
Date of Composition: 1968
Length: 31mm
Range: A#3 -
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
T r a u - men i n Aug9-*-
s t e n b i n i c h e r - w a c h t ;
181 Title: Schlussworte des Todes Date of Composition: 1968
Poet: Hofmannsthal Length: 16 mm
Dedication: in memory of Renate von Sheliha Range:
Initial Tempo: Ruhig, flieliend ( J = 72) © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
--------r- ---------- ------fL clk^-— &9------------- 1 *---- - ...
J j £ t = r 1 -i— i-----15^---- — n
Li------------------ )------1 r-----1
Wie wun - d e r - v o l l s i r t d i e - s e W e - sen ,
182 Title: Nachricht vom Tod
Poet: Hesse
Dedication: in memory of Charles Munch
Initial Tempo: Massig bewegt
Publication Information: unpublished
Date of Composition: 1968
Length: 37 mm
Range: D^ - F
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
“ H h u- !... "W— 0 ----- .T . .1
Strril velktdbs w - g a n g - 1 1 - c h e .
155
183 Title: Alleinsein
Poet: Bruno Frank (1887-1945)
Dedication: Jean Harper
Initial Tempo: Massig bewegt
Publication Information: unpublished
Date of Composition: 1968
Length: 18 mm
Range: B^-F^®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
p m7Z i p hInmei-ne klei-ne Kan - mer dringt kein Ton._
184 Title: Herbstvogel
Poet: Hesse
Dedication: Fritz Volkmann
Date of Composition: 1969
Length: 34 mm
Range: D ^ -G # 5
Initial Tempo: Leicht bewegt, nicht eigentlich © The Felix Wolfes Estateschnell ( J 1= 100) Used By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
* , r r > |r . \> ■? - a■^ -- * t l' - r
..r4 >... ■) p- i d c I —
Ihr Vo-gel 1m Ge-strauch, Wieflat-terteu-er Ge - sang den brau - nen - den Wald ent-lang
185 Title: Hingabe
Poet: Hesse
Dedication: JohnHomor
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1969
Length: 39 mm
Range: A^-D^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
\ r T^ .....\ i ) - ^— r lI ) *"
kti . mA JJ L ----- -Ha J 1 ri n 1
Dun-kle du, Ur - mut - t e r a l - 1 er Lus t ,
156
186 Title: Wie eine Welle
Poet: Hesse
Dedication: Herbert and Hedda Spielman
Initial Tempo: Moderato
Publication Information: unpublished
Date of Composition: 1969
Length: 29 mm
Range: C ^ -A ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
a V t v \ 1 ^ . 't s ...—V “ " '
J __ m - U . LZ:.-.d 0 ®
-----’ * — jW i e e i - n e W e l - l e , d i e vom S c h a u m g e - k r ' a n z t
187 Title: Kindheit des Zauberers
Poet: Hesse
Dedication: Gerard and Joyce LaRoche
Initial Tempo: Moderato
Publication Information: unpublished
Date of Composition: 1969
Length: 28 mm
Range: C ^ -F ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
— —i----- i—f .. 0 ' "----- s—fr T~ )-----I) L - .......... 'J -)---- d • *r~ iff m
1-— J d
= f - 4*Wi e - d e r s t e i g i c h und w i e d e r i n d e i - n e r Br un- nen
188 Title: Der Bliitenzweig
Poet: Hesse
Dedication: John and Jane Stewart
Initial Tempo: Beschwingt
Publication Information: unpublished
Date of Composition: 1969
Length: 29 mm
Range: B -
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
J . a V ' t in J ** 1®- r.~ ■ft
r ~k .
j & J"'T
Im
[; j ) J
- merhinund
P.E1wi - der streb t der
u i 1Blii - ten-zweig im Win -
X—
de,
189 Title: Aus der Kindheit her
Poet: Hesse
Dedication: Hilde Manasse
Initial Tempo: Schlicht, fliefiend ( J = 84)
Publication Information: unpublished
Date of Composition: 1969
Length: 51mm
Range: B ^ -G # 5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Aus der Kind - heit weht ein Klang mir nach,
190 Title: Schlaflosigkeit
Poet: Hesse
Dedication: Herbert Fromm
Initial Tempo: Mit innerer Unruhe
Publication Information: unpublished
Date of Composition: 1969
Length: 36 mm
Range: C4 -!^ 5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
pX - £ — f ... - .....K . s l> «*• — I* t f * - - - - - - - e : ^ c p r r ^ r - 4 - 4 - -
- D ■ »
^..... "tfJi _ J — e .------ t u L
' 1 . . . . . . . . . . .
Ich kann nichtschla - fen. Das Ster - nen - licht machtal - le Fen-ster blau.
191 Title: Ich fragte dich
Poet: Hesse
Dedication: David Evitts
Initial Tempo: Ruhig
Publication Information: unpublished
Date of Composition: 1969
Length: 24 mm
Range: B*® - E^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
158
192 Title: Der Tag war lang
Poet: Vring
Dedication: Hernando Jimenez
Initial Tempo: Ruhig, gleichmassig
Publication Information: unpublished
Date of Composition: 1969
Length: 31mm
Range: C * -E b5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
--A-S- ■ > - j....J - c r y - 7 — ~f~ttt) .... ------J cT * ----- ft!!.
Der Tag war lang, und oh - ne dich
193 Title: Meine Heimat
Poet: Hesse
Dedication: JohnRuggieri
Initial Tempo: Einfach ( J = 80)
Publication Information: unpublished
Date of Composition: 1969
Length: 19 mm
Range: C ^ - D ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
1- - *-1T l .1p __— y Y f 4= i i----- !— J .. . . .J J e i—
■ —J* - JI ..... m---- —d ----
Wo mag me i - n e He i - m a t s e i n? Me i - n e He i-m at ist k l e i n ,
194 Title: Der Enttauschte
Poet: Hesse
Dedication: Stefan Mengelberg
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1969
Length: 29 mm
Range: D^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
“1 -----P-ga-Ba:— *h— J- —#
Vie! bm-te Fal - t r cfecht1 ich mr zu fan gen,
159
195 Title: Tag der Landschaft
Poet: Alfred Margul-Sperber (1898-1967)
Dedication: Anton and Muriel Wolf
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1969
Length: 46 mm
Range: Ab3 - G#5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
- f / -3 --— K - p ------ v - j - -f=*\ 3 -1*—r1- - - f e r r 1—
Der Mor -gen stand im Brand der Mor- gen-ro - ten.
196 Title: Auf meines Kindes Tod
Poet: Eichendorff
Dedication: Richard Foster
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1969
Length: 29 mm
Range: C^-E3
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
im
Von fern die Uh - ren schla-igen,
197 Title: Alte Laute
Poet: Justinus Kemer (1786-1862)
Dedication: Richard and Donna Belanger
Initial Tempo: Sehr ruhig
Publication Information: unpublished
Date of Composition: 1969
Length: 30 mm
Range: F^-G3
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
mHorst du den Vo - gel sin-gen? Siehstduden Blu-ten-baun?
160
198 Title: LosdesLebens
Poet: Li Yii (trans. Hausmann)
Dedication: Joel Holmberg
Initial Tempo: none
Publication Information: unpublished
Date of Composition: 1970
Length: 25 mm
Range: D ^ -
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
1 —a —-J -BO „ W==t--- —1-----(1h i — U— J ft -1
An zu strell ve'~v£t der Duft des Friih-1 i ngs
199 Title: Schweigen
Poet: Gustav Falke (1853-1916)
Dedication: Angelika Forsberg
Initial Tempo: Sehr ruhig bewegt
Publication Information: unpublished
Date of Composition: 1970
Length: 35 mm
Range: Bb3 - E5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
V— )— M M ------------------- - f i -
— # • — 41— i H ~ f,
Nun wir mich her d i e Schat - t e n s t e i - g e n
200 Title: Schone Junitag
Poet: Detlev von Liliencron (1844-1909)
Dedication: none
Initial Tempo: Sanft bewegt
Publication Information: unpublished
Mit - t e r - n a c h t
Date of Composition: 1970
Length: 55 mm
Range: C^-G#5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
i e Gar - t e n l a u - s c h e n ,
161
201 Title: Orpheus Date of Composition: 1970
Poet: Bertram Length: 40 mm
Dedication: Momme and Katharina Mommsen Range:
Initial Tempo: Fliefiend, zart © The Felix Wolfes EstateUsed By Permission Of The Publisher
Publication Information: unpublished Sole RepresentativeTheodore Presser Company
tHP - ^ ... r-I 7 » y i t — (P ■ .Wg--
...... ..
) '-*f— , PfL / ...VEr war ganz jung. Sein f t - temging nr L e i - e r so l e i c h t :
202 Title: Sterbende Liebe
Poet: Claudius
Dedication: Lois Vaccariello
Initial Tempo: Massig, einfach
Publication Information: unpublished
Date of Composition: 1970
Length: 30 mm
Range: C ^ -G ^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
jkW--- p >- i— r 9— rr J— 1 Wf*" |» 1 h r r h »—€ ‘7 d ^—*—j J "d-4>«—a " j r ... t z : r -— r (tfld>7 ■■■'1
S t e r - ben-de Li e - be ist wie eh L i c h t, dbs flck-tetd z e r - b r i c h t .
203 Title: Verganglichkeit
Poet: Hesse
Dedication: Fritz Doenecke
Initial Tempo: Ruhig, fliefiend
Publication Information: unpublished
Date of Composition: 1970
Length: 44 mm
Range: C ^ -F # 5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
•ft.; _qpP P P
V o m Baum des Le -bens f a l i t in i r B l a t t u m B l a t t
162
204 Title: Ein kleines Lied
Poet: Gertrud von LeFort (1876-1971)
Dedication: Richard and Judy Aslanian
Initial Tempo: Schlicht
Publication Information: unpublished
In mei -nemHaus dient ei - ne Maid, Die
Date of Composition: 1970
Length: 30 mm
Range: A*® - F*®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
ist ge-heis-sen Her - ze-le id
205 Title: Du meine Mutter
Poet: LeFort
Dedication: none
Initial Tempo: Ruhiges Tempo
Publication Information: unpublished
Date of Composition: 1970
Length: 42 mm
Range: C^-G*®
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
4 ^ — p— v= ^_-------- =, ,= t
— el—■Du m e i - n e M u t - t e r , f r i i - h e - s t e ,
206 Title: Schlafe du Kind
Poet: LeFort
Dedication: none
Initial Tempo: Gleichmassig, wiegend
Publication Information: unpublished
£
Date of Composition: 1970
Length: 80 mm
Range: C^-G^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Schl a - f e d u K i n d i n me i - ne m Sc ho s s
163
207 Title: Nun lost mir Kleid
Poet: LeFort
Dedication: none
Initial Tempo: none
Publication Information: unpublished
Nun lost mir kleid ird Schu-he
Date of Composition: 1970
Length: 37 mm
Range: C ^ -F # 5
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
mcht midi w i e - d e r arm- und b l o s s :
208 Title: Aphorismus
Poet: Busch
Dedication: "my friends"
Initial Tempo: Mit etwas maliziozen Uebenswiirdigkeit
Publication Information: unpublished
Date of Composition: 1970
Length: 16 mm
Range: F^-F^
© The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
-[>:T )— ) l - f L. P 'fo "! yfy ------ •— —JfJ- 1— - = 7 = —
Es ist halt schon, Wenn wir die Freun-de kcm - - men sehn.
REFERENCES
W orks about W olfes and His Music
Claghorn, Charles Eugene. Biographical Dictionary of American Music West Nyack, New York: Parker Publishing Company, Inc., 1973.
Dumm, Robert. "About the Songs of Felix Wolfes." M ercury Music Corporation, Pamphlet, n.d.
Rectanus, Hans. "Unsterbliche Melodie: Die Lieder von Felix Wolfes." Mitteilungen der Hans Pfitzner Gesellschaft 28 (1972): 18-22.
Steinberg, Michael. "Felix Wolfes." Vol. 20 of The New Grove Dictionary of Music and Musicians, Stanley Sadie, ed. London: Macmillan Publishers, Ltd., 1980.
Weiner, Marc A. "Der Briefwechsel von Hans Pfitzner und Felix Wolfes, 1933-1949." In Exilforschung II. Munich: Text und Kritik, 1984.
Wolfes, Felix. Papers, letters, diaries, and manuscripts. Wolfes Collection. H oughton Library. H arvard University.
Related W orks
Bauer, W.A., O.E. Deutsch and J. H. Eibl, eds. Mozart: Briefe und Aufzeichnungen, Vol. 3. Kassel: Barenreiter Verlag, 1963.
Brody, Elaine, and Robert A Fowkes. The German Lied and Its Poetry. New York: New York University Press, 1971.
Browning, Robert M. German Poetry: A Critical Anthology. New York: M eredith Publishing Company, 1962.
German Poetry in the Age of the Enlightenment. U niversity Park, Pennsylvania: The Pennsylvania State University Press, 1978.
Eichendorff, Joseph von. Werke. Munich: Carl Hanser Verlag, 1966.
164
165
G arland, H enry and Mary. The Oxford Companion to German Literature. Oxford: Oxford University Press, 1986.
Gilliam, Bryan, ed. Richard Strauss: N ew Perspectives on the Composer and His Work. Durham , N orth Carolina: Duke University Press,1992.
Gode, Alexander and Frederick Ungar, eds. Anthology of German Poetry through the Nineteenth Century. N ew York: Frederick Ungar Publishing, Co., 1972.
Liebmann, Judith, ed. Hermann Hesse: A Collection of Criticism. New York: McGraw Hill Book Company, 1977.
M ersm ann, Hans, ed. Letters of Wolfgang Amadeus Mozart. London: J. M. Dent and Sons Ltd., 1928.
M iddleton, Christopher, ed. Goethe: Selected Poems. Princeton, New Jersey: Princeton University Press, 1994.
Mileck, Joseph. Hermann Hesse: Life and Art. Berkeley and Los Angeles, California: University of California Press, 1978.
Osborne, Charles. The Concert Song Companion. New York: Da Capo Press, Inc., 1974.
Otten, Anna, ed. Hesse Companion. A lbuquerque: University of New Mexico Press, 1977.
Rilke, Rainer Maria. Selected Poems. Translated by Albert Ernest Flemming. New York: M ethuen, Inc., 1986.
Schwartz, Egon. Joseph von Eichendorff New York: Twayne Publishers,Inc., 1972.
Stein, Deborah J. Hugo Wolf's Lieder and Extensions of Tonality. Ann Arbor, Michigan: UMI Research Press, 1985.
Stein, Jack M. Poem and Music in the German Lied from Gluck to Hugo Wolf. Cambridge: H arvard University Press, 1971.
Stevens, Denis, ed. A History of Song. New York: W.W. Norton and Company, 1960.
166
Wiese, Echterm eyer von. Deutsche Gedichte von den Anfangen bis zur Gegenwart. Diisseldorf: A ugust Bagel Verlag, 1962.
W ilpert, Gero von. Deutsches Dichterlexicon. Stuttgart: Alfred Kroner Verlag, 1988.
Youens, Susan. Hugo Wolf: The Vocal Music. Princeton, New Jersey: Princeton University Press, 1992.
Interview s and Conversations
Aslanian, Richard. Professor of Music, Baylor University and Music Editor of Felix Wolfes Ausgewdhlte Lieder, Vols. I-V and Felix Wolfes Selected Lieder, Vols. VI- . Telephone interview s and conversations w ith the author since July 1993.
Dorff, Daniel, Director of Publications, Theodore Presser, Co. Telephone interviews by the author, 17 A ugust 1994 and 7 February 1995.
Forsberg, Angelika, Executor, Felix Wolfes Estate. Conversation w ith the author, 8 March 1995, and telephone conversations and letters since A ugust 1993.
APPENDIX A: ALPHABETICAL INDEX TO CATALOGUE
Abendgesprach (Hesse)................................................................................................145Abschied von Leben (Zweig)...................................................................................... 108Allein (Hesse)................................................................................................................. 102Alleinsein (Frank)..........................................................................................................155Alte Laute (Kerner).......................................................................................................159Alter M ann (Schroder)................................................................................................. 112Am Gartenfenster (Goes) ..................................................................................... 118Am Ziele (W einheber)..................................................................................................107An * (Rausch)................................................................................................................. 138An das ungeborene Kind (Sachs).............................................................................. 143An eine Strophe (Bertram).......................................................................................... 114An eine Tote (W einheber)..................................................................... 125An einen Dichter (Schaeffer)......................................................................................135An einen Schmetterling (W einheber)...................................................................... 107Andenken (M edhat).................. 130A phorism us (Busch)..................................................................................................... 163Auf dem See (Bertram).......................... 100Auf ein Adagio (Bertram) ..................................................... 95Auf eine Lampe (Morike)............................................................................................150Auf meines Kindes Tod (Eichendorff)............................................. 159Auf W anderung (Hesse)..............................................................................................102A ufgehender M ond (Vring)........................................................................................143Aufhorchen (Hesse)...................................................................................................... 153Aus der Kindheit her (Hesse).................................................................................... 157Ballade des ausseren Lebens (Hofmannsthal)......................................................... 98Bei M ondaufgang (Sao-Han, trans. Bethge)............................................................102Bliihender Kirschbaum (W agner).............................................................................118Blume, Baum, Vogel (Hesse).................................................. 105Brunnen Inschrift (Scholz).......................................................................................... 101D am m rung senkte sich von oben (Goethe)...........................................................108Das Ende des Festes (Meyer)...................................................................................... 136Das Ferngesprach (Roth)............................................................................................. 137Das Glasperlenspiel (Hesse)........................................................................................ 119Das Kloster (George)............... 151Das letzte H aus (Wiechert)......................................................................................... I l lDas M andelbaumchen (Kastner)............................................................................... 142
167
168
Das trunkne Lied (Nietzsche).................................................................................... 127Den Toten (W einheber) .....................................................................................109Der Bliitenzweig (Hesse)........................................................................................... ...156Der Bruder (Rausch).......................................................... 139Der Dichter (Hesse)....................................................................................................... 140Der Einsiedler (Eichendorff)....................................................................................... 109Der Enttauschte (Hesse)............................................................................................... 158Der Feind (Brentano)....................................................................................................100Der Hecht (M orgenstern)............................................................................................ 138Der Tag war lang (Vring)............................................................................................ 158Der Tod (Marwitz)........................................................................................................ 139Die beiden Esel (M orgenstern)...................................................................................137Die Birke (Hesse)............................................................................................................105Die Birke 2 (Hesse)........................................................................................................ I l lDie Frauen von Ravenna (Hesse)..............................................................................128Die Fuchsien (Kastner) ...........................................................................................138Die Fuge (Bertram)........................................................................................ 99Die Heimat (Eichendorff)..............................................................................................95Die Holle (Hausm ann) ......................................................... 134Die Inschrift (Bertram)................................................................................................. 135Die kleine Passion (Keller)..........................................................................................110Die Liebenden (Vring)..................................................................................................122Die Nachtigall (Storm)...................................................................................................96Die Schritte (Goes).............................................................. 125Die stille Stadt (Dehmel)..............................................................................................106Die Zeder (Bertram)....................................................................................................... 96Die zwei Bruder (Pfitzner).......................................................................................... 122Doch heimlich dursten w ir (Hesse)..........................................................................147Du meine M utter (LeFort)...........................................................................................162Du schlank und rein wie eine Flamme (George)..................................................101Ecce Homo! (Koskenniemi, trans. Ohquist)........................................................... 123Ein helles Klingen (Claudius).....................................................................................126Ein kleines Lied (LeFort)..............................................................................................162Ein Monch spricht zu Gott (Scholz)..........................................................................144Ein Traum ist unser Leben (Herder).........................................................................116Ein W interabend (Trakl).............................................................................................. 106Eine Melodie singt mein Herz (Huch).....................................................................132Eingelegte Ruder (Meyer) .....................................................................................135Eisnacht (Stehmann)..................................................................................................... 110Erdgewalt (Binding)......................................................................................................117Es geht eine dunkle Wolk' herein (unknown)......................................................109Es ist ein Schnee gefallen (unknown)...................................................................... 133Fiiih im Wagen (Morike).............................................................................................148Friihling auf alten Grabern (Schnack)......................................................................153
169
Friihlingslied (Kempner)............................................................................................. 143Gefunden (Goethe)........................................................................................................119Gelassenheit (Wang We, trans. H ausm ann).......................................................... 115Gelbe Rose (Strauss)..................................................................................................... 118Gesang eines gefangenen Amsel (Trakl).................................................................144Gleichnis (Dehmel)....................................................................................................... 117Grabschrift eines Mannes (Binding)......................................................................... 120Gute Nacht (Bertram).....................................................................................................95Heim in den Anbeginn (Bergengruen)................................................................... 115Herbst (Rilke)..................................................................................................... 103Herbstbild (Hebbel)...................................................................................................... 125Herbstliche Trostung (Bergengruen)................................................................. 114Herbstvogel (Hesse)...................................................................................................... 155H eute M orgen im Garten (Claudius).......................................................................145Hingabe (Hesse).............................................................................................................155Ich fragte dich (Hesse)..................................................................................................157Im Alter (Eichendorff)....................................................................................................97Im Grase hingestreckt (Hesse)....................................................................................130Im Nebel (Hesse)............................................................................................................. 98Immer wieder (Rilke).....................................................................................................98In den Nachmittag gefliistert (Trakl).......................................................................132In der letzten Stunde (Pfitzner)................................................................................. 123In ein altes Stammbuch (Trakl)..................................................................................144In einer Dam m erstunde (Scholz)..............................................................................113Inschrift auf eine Uhr mit den drei Horen (Morike)........................................... 142Jahraus-Jahrein (W einheber)...................................................................................... 121Kindheit des Zauberers (Hesse).................................................................................156Kleiner Gesang (Hesse)................................................................................................ 140Kleiner Rat (Mozart).....................................................................................................127Knabe (Wegner).............................................................................................................129Knarren eines geknickten Astes (Hesse).................................................................141Leise wie die Gondeln... (Hesse)................................................................................150Letzte Bitte (Dehmel)..................................................................................................... 99Liebe (Hausm ann).........................................................................................................129Liebeslied (Billinger).................................................................................................... 149Lied (Klemm).................................................................................................................117Lied der jungen M utter (Siepen)............................................................................... 123Lied Kaspar Hausers (Verlaine, trans. Dehmel)..................................................... 94Limerick (Peiser)............................................................................................................137Los des Lebens (Li Yii, trans. H ausm ann).............................................................. 160Manche Nacht (Dehmel).............................................................................................147M arzsonne (Hesse)........................................................................................................141Meine Heimat (Hesse)..................................................................................................158Melusine (Bertram)................. 122
170
Mit dem betenden Knaben (Wiechert)....................... 152M ondnacht auf dem Meer (Li-Oey, trans. Bethge).................................................94M owenflug (Meyer).....................................................................................................104M utter singt (Wegner)................................................................................................. 133Nachklange Beethovenacher Musik (Brentano).....................................................107Nachricht vom Tod (Hesse)....................................................................................... 154Nacht (Bo Djii, trans. H ausm ann)............................................................................ 124Nacht (Hesse)................................................................................................................. 146Nachtlied (Vring)...................................... 132Nachts auf hoher See (Hesse)....................................................................................149Nachtwache (George)...................................................................................................151N un leuchtet schon wieder (unknown)................................................................. 106N un lost mir Kleid (LeFort)....................................................................................... 163Oase El Djem (Rausch)................................................................................................113O rpheus (Bertram)....................................................................................................... 161O rpheus (Binding).................. 124Regenbogen (Bertram)................................................................................................. 121Relief (Schmitt)..............................................................................................................128Requiem (Wolmyong)................................................................................................. 152Rote Pantoffeln (Heine).............................................................................................. 131Rotkehlchen (Busch).................................................................................................... 141Ruhender Hermes (Bertram)......................................................................................126Schattendam m erung (Bertram)...................................................................................96Scheidende Seele ( Schaeffer)..................................................................................... 114Scherzo (Claudius)....................................................................................................... 139Schlaf ein! (Bernus).......................................................................................................145Schlafe du Kind (LeFort).............................................................................................162Schlaflied (Strauss)....................................................................................................... 146Schlaflos (Storm)...........................................................................................................154Schlaflosigkeit (Hesse)................................................................................................. 157Schlussworte des Todes (Hofmannsthal)................................................................154Schneefall (Bischoff).....................................................................................................120Schone Junitag (Liliencron)........................................................................................160Schweigen (Falke)......................................................................................................... 160Septembermorgen (Morike)........................................................................................112Spatblau (Hesse)............................................. 140Sprache des Friihlings (Hesse)...................................................................................152Spruch (Bertram)............................................................. 131Spruch (Hesse)............................................................................................................... 150Spruch des Engels (Hofmannsthal)..........................................................................101Spruch fur eine Sonnenuhr (Binding).................................................................... 120Sterbende Liebe ( Claudius)....................................................................................... 161Still zu wissen... (Weinheber).................................................................................... 126Stimme der M utter (Wiechert)..................................................................................103
171
Sybille im Dom (Bertram)...........................................................................................113Sylphide (Weinheber).................................................................................................. 112Symphonie (Hesse).................. 142Tag der Landschaft (Margul-Sperber)...................................................................... 159Tausend Male (Wagner)..............................................................................................119Thanatos (Rausch).................................................................. 136Tief in den Himmel verklingt (Huch)..................................................................... 108Todeslust (Eichendorff)............................................................................................... 100Todesmusik (Schober)..................................................................................................124Totengraber und M adchen (Schnack)......................................................................104Traumboot (Hausm ann).............................................................................................. 129Traumlied (W eisenborn)............................................................................................. 133Traurigkeit (Hesse)....................................................................................................... 146Trost (Seidel)...................................................................................................................128liber die Felder (Hesse)................................................................................................105Um rahm te Fernsicht (Bertram)................................................................................. 131Und wie manche Nacht (Carossa)............................................................................ I l lUnter den Sternen (Meyer).........................................................................................104Venedig (Nietzsche)................................................................... 127Verfall (Trakl).................................................................................................................110Verganglichkeit (Hesse)................................................................. 161Vergiss, vergiss (Rilke) ..................................................................................... 115Verklarter Herbst (Trakl).............................................................................................. 97Verlorenheit (Hesse)......................................................... 148Verlorener Klang (Hesse)............................................................................................130Verschneiter Fluss (Lin Dsung-Yuan, trans. H ausm ann)..................................116Verwelkende Rosen (Hesse)...................................................................................... 151Volkslied (Hausm ann)................................................................................................. 136Vorfruhling (Hofmannsthal)......................................................................................103W aldlied (Lenau)...........................................................................................................149Was ist die Welt? (Hofmannsthal)............................................................................134Weg in die Einsamkeit (Hesse).................................................................................. 148W eihnachten (Eichendorff).......................................................................................... 97W einende Frau (Schnack).............................................................................................99Weisse Rose in der Dammerung (Hesse)................................................................147Weisse Wolken (Hesse)...............................................................................................134Wie eine Welle (Hesse)................................................................................................156Wir Alten (Ham burger)...............................................................................................153Zigeunerlied (Goethe)..................................................................................................116Zu Musik (Huch)...........................................................................................................121
APPENDIX B: CHRONOLOGICAL LIST OF SONGS
1926 Lied Kaspar Hausers (Verlaine, trans. Dehmel) M ondnacht auf dem Meer (Li-Oey, trans. Bethge) Auf ein Adagio (Bertram)Die Heim at (Eichendorff)
1927 Gute Nacht (Bertram)
1928 Die Zeder (Bertram)
1929 Schattendam m erung (Bertram)
1930 Die Nachtigall (Storm)
1932 Im Alter (Eichendorff)
1940 Verklarter Herbst (Trakl)W eihnachten (Eichendorff)
1941 Im Nebel (Hesse)Immer w ieder (Rilke)
1942 Ballade des ausseren Lebens (Hofmannsthal) Letzte Bitte (Dehmel)
1943 W einende Frau (Schnack)Die Fuge (Bertram)Auf dem See (Bertram)
1944 Todeslust (Eichendorff)Der Feind (Brentano)Du schlank und rein wie eine Flamme (George)
1945 Brunen Inschrift (Scholz)Spruch des Engels (Hofmannsthal)Allein (Hesse)
172
1946 Auf W anderung (Hesse)Bei M ondaufgang (Sao-Han, trans. Bethge)
1947 Vorfriihling (H ofm annsthal)H erbst (Rilke)
1948 Stimme der M utter (Wiechert)Unter den Sternen (Meyer)
1949 Totengraber und M adchen (Schnack)
1950 M owenflug (Meyer)
1951 Blume, Baum, Vogel (Hesse)Uber die Felder (Hesse)Die Birke (A Study) (Hesse)Die stille Stadt (Dehmel)N un leuchtet schon w ieder (unknown)
1952 Ein W interabend (Trakl)N achklange Beethovenacher M usik (Brentano) Am Ziele (W einheber)A n einen Schm etterling (Weinheber)Abschied vom Leben (Zweig)Tief in den Himmel verklingt (Huch)
1953 D am m rung senkte sich von oben (Goethe)Der Einsiedler (Eichendorff)Es geht eine dunkle W olk' herein (unknown) Den Toten (W einheber)Verfall (Trakl)
1954 Eisnacht (Stehmann)Die kleine Passion (Keller)Die Birke 2 (Hesse)Das letzte H aus (Wiechert)Und wie manche N acht (Carossa)Alter M ann (Schroder)
1955 Septem berm orgen (Morike)Sylphide (W einheber)In einer D am m erstunde (Scholz)
Oase El Djem (Rausch)Sybille im Dom (Bertram)
1956 Herbstliche Trostung (Bergengruen)A n eine Strophe (Bertram)Scheidende Seele (Schaeffer)Gelassenheit (Wang We, trans. Hausm ann)Heim in den Anbeginn (Bergengruen)Vergiss, vergiss (Rilke)Verschneiter Fluss (Lin Dsung-Yuan, trans. Hausm ann) Ein Traum ist unser Leben (Herder)Zigeunerlied (Goethe)Gleichnis (Dehmel)
1957 Lied (Klemm)
1958 Erdgewalt (Binding)Gelbe Rose (Strauss)Bliihender Kirschbaum (Wagner)Am Gartenfenster (Goes)G efunden (Goethe)Das Glasperlenspiel (Hesse)Tausend Male (Wagner)Spruch fur eine Sonnenuhr (Binding)Schneefall (Bischoff)
1959 Grabschrift eines M annes (Binding)Regenbogen (Bertram)Jahraus-Jahrein (W einheber)Zu M usik (Huch)Die Liebenden (Vring)M elusine (Bertram)Die zwei Bruder (Pfitzner)In der letzten Stunde (Pfitzner)Lied der jungen M utter (Siepen)
1960 Ecce Homo! (Koskenniemi, trans. Ohquist)Nacht (Bo Djii, trans. Hausmann)O rpheus (Binding)Todesm usik (Schober)Herbstbild (Hebbel)Die Schritte (Goes)An eine Tote (Weinheber)Ein helles Klingen (Claudius)
175
1961 Still zu wissen... (Weinheber) R uhender Herm es (Bertram)Das trunkne Lied (Nietzsche)Venedig (Nietzsche)Kleiner Rat (Mozart)Die Frauen von Ravenna (Hesse) Relief (Schmitt)Trost (Seidel)Knabe (Wegner)Traum boot (Hausm ann)Liebe (Hausmann)
1962 Im Grase hingestreckt (Hesse) Verlorener Klang (Hesse)A ndenken (Medhat)Spruch (Bertram)U m rahm te Fernsicht (Bertram)Rote Pantoffeln (Heine)In den Nachmittag gefliistert (Trakl) Eine Melodie singt m ein Herz (Huch) N achtlied (Vring)M utter singt (Wegner)Traum lied (W eisenborn)Es ist ein Schnee gefallen (unknown) Was ist die Welt? (Hofmannsthal) Die Holle (Hausmann)
1963 Weisse W olken (Hesse)Eingelegte Ruder (Meyer)Die Inschrift (Bertram)An einen Dichter (Schaeffer) Thanatos (Rausch)Das Ende des Festes (Meyer)Volkslied (H ausm ann)Limerick (Peiser)Das Ferngesprach (Roth)Die beiden Esel (Morgenstern)Der Hecht (Morgenstern)Die Fuchsien (Kastner)An * (Rausch)Der Tod (Marwitz)Der Bruder (Rausch)Scherzo (Claudius)
1964 Der Dichter (Hesse)Spatblau (Hesse)Kleiner Gesang (Hesse)M arzsonne (Hesse)K narren eines geknickten Astes (Hesse) Rotkehlchen (Busch)Symphonie (Hesse)
1965 Das M andelbaumchen (Kastner)Inschrift auf eine Uhr mit den drei H oren (Morike) Friihlingslied (Kempner)An das ungeborene Kind (Sachs)A ufgehender M ond (Vring)Gesang eines gefangenen Amsel (Trakl)In ein altes Stammbuch (Trakl)
1966 Ein Monch spricht zu Gott (Scholz)Schlaf ein! (Bernus)Abendgesprach (Hesse)H eute Morgen im Garten (Claudius)Nacht (Hesse)Schlaflied (Strauss)Traurigkeit (Hesse)Doch heimlich diirsten w ir (Hesse)Weisse Rose in der Dammerung (Hesse)
1967 M anche Nacht (Dehmel)V erlorenheit (Hesse)Friih im Wagen (Morike)Weg in die Einsamkeit (Hesse)Liebeslied (Billinger)W aldlied (Lenau)Nachts auf hoher See (Hesse)Leise wie die Gondeln... (Hesse)
1968 Auf eine Lampe (Morike)Spruch (Hesse)Verwelkende Rosen (Hesse)Das Kloster (George)Nachtwache (George)Sprache des Friihlings (Hesse)Requiem (Wolmyong)Mit dem betenden Knaben (Wiechert)A ufhorchen (Hesse)
177
Friihling auf alten Grabern (Schnack) W ir Alten (Hamburger)Schlaflos (Storm)Schlussworte des Todes (Hofmannsthal) Nachricht vom Tod (Hesse)Alleinsein (Frank)
1969 Herbstvogel (Flesse)Hingabe (Hesse)Wie eine Welle (Hesse)Kindheit des Zauberers (Hesse)Der Bltitenzweig (Hesse)Aus der Kindheit her (Hesse) Schlaflosigleit (Hesse)Ich fragte dich (Hesse)Der Tag war lang (Vring)Meine Heimat (Hesse)Der Enttauschte (Hesse)Tag der Landschaft (Margul-Sperber)Auf meines Kindes Tod (Eichendorff) Alte Laute (Kernel-)
1970 Los des Lebens (Li Yii, trans. Hausmann) Schweigen (Falke)Schone Junitag (Liliencron)O rpheus (Bertram)Sterbende Liebe (Claudius) Verganglichkeit (Hesse)Ein kleines Lied (LeFort)Du meine M utter (LeFort)Schlafe du Kind (LeFort)N un lost mir Kleid (LeFort)1 A phorism us (Busch)
1 The fair copy of this song found at the H oughton Library at Harvard U niversity contains a notation by W olfes which indicates that it w as the last in the complete cycle, Dreiklang, 17 August-27 September, 1970. According to Angelika Forsberg, the three songs, set to texts by Gertrud von Lefort, were not meant to be sung strictly as a cycle. However, they represent the only such grouping that can be found in Wolfes's manuscripts.
APPENDIX C: LETTERS OF PERMISSION
M USIC PUBLISHERS SINCE 1783
February 16, 1995
Ms. Viola Dacus1419 North Benjamin StreetStillwater, Oklahoma 74075
Dear Ms. Dacus:
We have been authorized by the Estate of Felix Wolfes to grant you permission to include the scores to 9 songs from Volumes 1 thru 5 of AUSGEWAHITE LEIDER in your doctoral monograph as these publications are permanently out of print. Please note on the first page of each song "Used By Permission Of The Publisher" near the copyright credit line.
We also grant you permission to use brief excerpts (8-10 mm.) from one song from Volume 6 of SELECTED LEIDER in your paper. You must include the copyright credit line as shown below with each excerpt, not on a separate acknowledgement page:
This permission is granted with the understanding that no commercial use whatsoever shall be made of your monograph. Commercial use would require additional clearance and the payment of the appropriate fees.
We thank you for your interest in our publications and wish you much success for the future.
Sincerely,
( c j 1991 The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
TTiomas Broido Executive Vice President
mkc
cc: John Bowman - Felix Wolfes Estate
I Presser Place, Bryn Mawr, Pennsylvania 19010-3490FAX (610)527-7841 (610)525-3636
178
<L'jfico$o r<tftwwr%MUSIC PUBLISHERS SINCE 1783
April 13, 1995
Ms. Viola Dacus1419 North Benjamin StreetStillwater, Oklahoma 74075
Dear Ms. Dacus:
We have been authorized by the Estate of Felix Wolfes to grant you permission to include from 1-5 measures of each unpublished song in your doctoral monograph on the songs of Felix Wolfes.
Please include the below listed credit line with each excerpt:
Again, this permission is granted for non-commercial useage. Commercial use would require additional clearance and the payment of the appropriate fee.
(c) The Felix Wolfes Estate Used By Permission Of The Publisher
Sole Representative Theodore Presser Company
Since:
Thomas Broido President
mkc
cc: John Bowman - Felix Wolfes Estate
1 Presser Place, Bryn Mau/r, Pennsylvania 19010-3490FAX (610) 527-754 T (610) 525-3636
180
/■
MUSIC PUBLISHERS SINCE 1783
May 15, 1995
Ms. Viola Dacus1419 North Benjamin StreetStillwater, Oklahome 74075
Dear Ms. Dacus:
As agent for the Estate of Felix Wolfes, we grant you permission to include from 1-5 measures of each published work in your doctoral monograph on the songs of Felix Wolfes.
Please include the copyright credit line as it appears on the printed music along with "Used By Permission Of The Publisher".
All other terms and conditions apply as outlined in our April 13th letter.
Thomas Broido President
mkc
V 1 Presser Place, Bryn Mawr, Pennsylvania 19010-3490FAX >610) 527-7841 1610) 525-3636
181
MUSIC PUBLISHERS SINCE 1783
June 1, 1995
Ms. Viola Dacus1419 North Benjamin StreetStillwater, Oklahoma 74075
Dear Ms. Dacus:
This letter amends our letters of February 16, April 13 and May 15th covering the use of works by Felix Wolfes in your doctoral monograph:
We do grant to University Microfilms permission to make single copies of your monograph on a demand basis.
resident
rake
] Presser Place, Bryn Mauir, Rennsp/uanla 19010-3490rrx ttm sn -rm uioisss-ws
VITA
Viola R. Dacus was bom September 15, 1962 in H untington Park,
California. She grew up in Yazoo City, Mississippi, where she attended high
school at Manchester Academy. After graduation she attended the
University of Mississippi, where she completed her Bachelor of Music
Education in 1985. She continued her studies at Louisiana State University
w here she received her M aster of Music in vocal performance in 1988. She
began w ork on her doctorate the same year. While at LSU she studied voice
w ith Sandra Kungle, Patricia O'Neill, M artina Arroyo, and Robert Grayson.
She enjoys perform ing opera, oratorio, and particularly, recitals. She
currently teaches voice and related classes at Phillips University in Enid,
O klahom a.
182
DOCTORAL EXAMINATION AND DISSERTATION REPORT
Candidate:
Major Field:
Title of Dissertation:
Date of Examination:
Viola R. Dacus
Music
AN INTRODUCTION TO THE SONGS OF FELIX WOLFES (1892-1971)WITH COMPLETE CHRONOLOGICAL CATALOGUE
Approved:
jor Profd^so: id Chairman
Graduate Schoollean of tl
EXAMINING COMMITTEE:
May 1 , 1995