In 1890, Hugo Wolf set six poems by the Swiss poet, Gottfried Keller, with the intention of presenting them as a tribute on Keller’s 71st birthday. However, Keller died four days before his birthday. Wolf was unable to complete the songs before the poet’s untimely death, despite composing at his usual breakneck speed, and thus Keller never saw the musical settings of his poetry. The penultimate song, “Das Köhlerweib ist trunken” (“The charwoman is drunk”), tells of a drunken charwoman singing in the forest. Once she drew the attention of rich and poor men alike, each seeking in vain to be her husband. But, then she was “tricked by wine,” and now her singing is mocked by the echoes of the forest. Wolf’s setting is energetic, and effectively captures the satire of Keller’s poem. The sardonic opening motif heard in the piano’s introduction is a central element of the song, which is heard again during the first stanza and effects the transition back into the opening music at the start of the final stanza.The middle stanza, set to slightly different music, creates the song’s tripartite form. A steady, rhythmic pulse and semitone tremolandi underpin the music during this central episode, and never allow the satire to fade, even when Keller recalls the former beauty and elegance of the woman.Joseph DuBose
Classical Music | Mezzo-Soprano
Hugo Wolf
Das Köhlerweib ist trunken
PlayRecorded on 08/11/2011, uploaded on 09/26/2011
Musician's or Publisher's Notes
In 1890, Hugo Wolf set six poems by the Swiss poet, Gottfried Keller, with the intention of presenting them as a tribute on Keller’s 71st birthday. However, Keller died four days before his birthday. Wolf was unable to complete the songs before the poet’s untimely death, despite composing at his usual breakneck speed, and thus Keller never saw the musical settings of his poetry. The penultimate song, “Das Köhlerweib ist trunken” (“The charwoman is drunk”), tells of a drunken charwoman singing in the forest. Once she drew the attention of rich and poor men alike, each seeking in vain to be her husband. But, then she was “tricked by wine,” and now her singing is mocked by the echoes of the forest. Wolf’s setting is energetic, and effectively captures the satire of Keller’s poem. The sardonic opening motif heard in the piano’s introduction is a central element of the song, which is heard again during the first stanza and effects the transition back into the opening music at the start of the final stanza. The middle stanza, set to slightly different music, creates the song’s tripartite form. A steady, rhythmic pulse and semitone tremolandi underpin the music during this central episode, and never allow the satire to fade, even when Keller recalls the former beauty and elegance of the woman. Joseph DuBose
More music by Hugo Wolf
Elfenlied, from Gedichte von Eduard Morike
Wohl denk ich oft, from Drei Gedichte von Michelangelo
Alles endet, was entstehet, from Drei Gedichte von Michelangelo
Italian Serenade in G Major
Fühlt meine Seele, from Drei Gedichte von Michelangelo
Neue Liebe
Lebe wohl
Die Spröde
Als ich auf dem Euphrat schiffte
Die Bekehrte
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Anzoleta avanti la regata, from La regata veneziana
Anzoleta co passa la regatta, from La regata veneziana
Anzoleta dopo la regata, from La regata veneziana
Als ich auf dem Euphrat schiffte
Das verlassene Mägdlein
Die Zigeunerin
Ich hab' in Penna einen Liebsten
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