Hugh Wolff

Hugh WolffWhat’s on my desk today (and my iPod)?

As the new year begins, I am looking forward to returning to Amsterdam for concerts with the Netherlands Philharmonic in the Concertgebouw. Then the second semester gets underway at New England Conservatory with a program of Ballets Russes music including Ravel's Mother Goose in the rarely performed full ballet version and Strauss' Till Eulenspiegel. (Who knew Nijinsky choreographed Till in 1916?)

In February and March, I'll be on the road again with two giant symphonies: the Shostakovich Tenth with the Malaysian Philharmonic (my first visit to Kuala Lumpur) and Copland's Third with the Utah Symphony. In April, I return to the Stuttgart Radio Symphony with the Shostakovich, and end the school year with Mahler's Ninth Symphony in Boston.

Recent Press

"Mr. Wolff and his young charges closed the concert with a bang-up performance of Shostakovich’s Symphony No. 6. The Presto finale, with the young players reveling in the thrill of collective virtuosity, was sheer joy." – The New York Times

"Wolff's Shostakovich 10 was powerful, three-dimensional and devastating, and the Atlanta Symphony blossomed by his approach. Much of the opening movement builds to an unbearable tension. Wolff paced it tautly and meaningfully, with understated authority. When the music finally crossed that emotional threshold and plummeted into some dark netherworld of a broken psyche, Wolff did not, would not, relent... Credit Wolff with delivering the crucial essence of a harrowing masterpiece of the 20th century."

"Conductor Hugh Wolff presided over one of the Utah Symphony’s most high-spirited programs of the season on Friday. From Beethoven’s ever-popular “Leonore” Overture No. 3 to Saint-Saëns’ playful Cello Concerto No. 1 to Charles Ives’ invigorating Symphony No. 2, the concert was a sheer delight."

"The evening's strength was the conductor, Hugh Wolff, an urbane host who without undue Sturm und Drang made Mendelssohn's Scottish Symphony, the composer's third, an absolute delight."

Click here to read the full review from the Washington Post.