On performing Wolf : problems inherent in the Geistliche Lieder from the Spanisches Liederbuch

The D.M.A. thesis includes three full solo recitals: 25 January 1982 — works by Haydn, Brahms, Debussy, and Argento (accompanist Heather English) 11 April 1983 — works by Schubert, Wolf, Berg, Poulenc, and Britten (accompanist Terence Dawson) 13 February 1984 — works by Schiitz, Schubert, Mendelssohn, Mussorgsky, and Montsalvatge (accompanists Terence Dawson and Ed Norman). The final requirement consists of a document and an accompanying lecture-recital, examining problems for the performer inherent in the ten "Geistliche Lieder" from Hugo Wolf's Spanisches Liederbuch. I propose that the presentation of these songs as a complete cycle of ten does not enhance their emotional impact. A solution to this problem is for the performer to extract and rearrange groups of songs that are dramatically convincing and have the momentum of a small-scale cycle. Two groups that work well in this regard are: No. 3, "Nun wandre, Maria,",No. 4, "Die ihr schwebet," No. 5, "Fiihr mich, Kind, nach Bethlehem!" and No. 1, "Nun bin ich dein"; and No. 9, "Herr, was tragt der Boden hier," and No. 10, "Wunden tragst du, mein Geliebter." The latter group is discussed in especial detail, with attention to character development, images of Christian suffering and pain, and harmonic and melodic structure.Arts, Faculty ofMusic, School ofGraduat