12 Lieder from the Italienische Liederbücher Nos.1 (1890–91) and 2 (1896)

Auch kleine Dinge (Book 1)

Mein Liebster ist so klein (Book 1)

Wer rief dich denn? (Book 1)

Mein Liebster hat zu Tische mich geladen (Book 2)

Du denkst mit einem Fädchen mich zu fangen (Book 1)

Mein Liebster singt am Haus (Book 1)

Wohl kenn ich Euren Stand (Book 2)

Wir haben beide lange Zeit (Book1)

Schweig' einmal still (Book 2)

Ich hab in Penna einen Liebsten (Book 2)

Wolf was not the first composer to set Paul Heyse’s German translations of Italian folk lyrics – Brahms was well ahead of him in that respect – but he was much the most thorough. Having worked on seven of them towards the end of 1890, he then, in a characteristically obsessional burst of activity between 29 November and 23 December 1891, wrote the remaining 15 of the set of 22 that was published the following year. The second book, including 24 settings in this case, was written in a similar rush of creative energy between the end of March and the end of April 1896 and was published a few months later.

Although he put the seven settings of 1890 near the beginning of the first book, Wolf chose to open the collection with the later and exquisitely wrought Auch kleine dinge as though to condition his listeners to the fact that the followiing songs are miniatures, some less than a minute in length, but no less precious for that. Mein Liebster ist so klein also takes delight in the diminutive, teasingly but affectionately. There is little overt affection in Wer rief dich denn (one of the 1890 settings) but much under the surface, as the last line confirms. The meagre hospitality of Mein Liebster hat zu Tische mich geladen allows no softening of the heart and Du denkst mit einem Fädchen mich zu fangen is a brilliantly executed demonstration of the art of rejection.

Unlike the Spanisches Liederbuch, its Italian counterpart is not rich in local colour. The sad serenade running through the piano part of Mein Liebster singt am Haus is, however, a necessary exception. In contrast, the harmonically and texturally complex Wohl kenn ich Euren Stand seems curiously detached until the emotional clarification towards the end. After its sullen beginning, Wir haben beide lange Zeit makes its harmonic point at an earlier stage. In its burlesque serenade style Schweig’ einmal still is another reminder of the Italian background – where, as Ich hab in Penna einen Liebsten vividly demonstrates, you don’t have to be a Don Giovanni to keep a catalogue.