Karl Wohlfart (1874−1943)
Karl Adrian Wohlfart, born on 19 November 1874 in Hycklinge parish in the region of Östergötland and died on 30 April 1943 in Stockholm, was a Swedish piano teacher, organist, conductor and composer. He founded an influential school of music and published a number of music lesson books. As a composer Wohlfart was mainly known for some 30 printed piano and song collections. He became a member of the Royal Swedish Academy of Music in 1930.
(Svenskt Porträttarkiv)
Life
Karl Wohlfart studied at the Kungliga Musikkonservatoriet (the Royal Conservatory of Music) in Stockholm, where he received a degree in organ playing in 1895 and in 1897 completed degrees in church musicianship and music teaching. He then continued his studies in counterpoint and composition with Joseph Dente and Johan Lindgren, orchestration with Ernst Ellberg and Wilhelm Stenhammar and piano under Richard Andersson. He complimented his studies in Berlin from 1905 to 1906 with piano under Heinrich Barth and with Hans Pfitzner in composition.
Wohlfart was employed in 1901 at Richard Andersson’s school of music, where he worked as a piano teacher and later as a teacher of harmony and music theory until 1913, when he founded his own piano institute. In 1911 he became organist at Sundbyberg’s Church and from 1911 until 1915 he served as conductor of the male choir Stockholms sångargille (Stockholm’s song society). Wohlfart also had several positions of trust, and for over a decade was chairman of the Pianistförbundet (the pianist association) that was the predecessor to the Svenska pianopedagogförbundet (the Swedish piano teachers’ association). In 1930 he became a member of the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music) and with his ‘objective and calm contribution’ he was a valued member of the Musikkonservatoriet’s board of directors from 1932 until 1940, as well as the composers grant committee from 1933 to 1940. Karl Wohlfart married in 1907 and was the father of neurologist Gunnar Wohlfart. Karl Wohlfart’s grave can be found in the Skogskyrkogården cemetery in Stockholm.
Music educator
In competition with Richard Andersson’s school of music, Karl Wohlfahrt developed his own music institute, which was to become one of the foremost private music schools in Stockholm. The school was taken over after Karl Wohlfart by his widow, piano teacher Erin Wohlfart, and in 1952 it had 34 teachers. Among those who worked at the school were, for example, Gustaf Nordqvist, harmony teacher 1926−49, and Erland von Koch, a teacher of music theory and composition during 1942−52. The school existed until the mid-1960s, when most private music schools were driven out of business by the local government’s community music schools.
Karl Wohlfart’s music institute became well known for its systematic practical and theoretical training. Directly after starting the school in 1914, Wohlfart published a piano lesson book that became the most widespread of its kind during the first half of the 20th century. Upon its revision in 1933 in a two-volume edition, it sold 100,000 copies. Although the school was meant for beginning level study, it presented a diverse mix of older and newer compositions. In addition to compositions by classical masters and Wohlfart’s own compositions, there were also original compositions by contemporary Swedish composers. Wohlfart’s ambition was to build up ‘the student’s sense of contemporary tonal combinations’, and many of Wohlfart’s fellow students and colleagues wrote thoughtful pedagogical pieces especially for the school. One could for example find pieces by Kurt Atterberg, Algot Haquinius, Bror Beckman, Adolf Wiklund, Nils Björkander, Olallo Morales, Lennart Lundberg and Ernst Ellberg. Contributions from more established Swedish composers such as Emil Sjögren, Wilhelm Peterson-Berger, August Söderman, Ivar Widéen and Wilhelm Stenhammar and others were also included.
Wohlfahrt later complimented his piano lesson book with several pedagogic lesson books that raised the student to higher levels of competence: Klassiska sonatiner och småstycken (Classical sonatinas and small pieces), Klassisk repertoar för mellanstadiet (Classical repertoire for middle level study) and Pianotekniken (The piano technique). He also published personally revised editions of classical masters such as Carl Philipp Emanuel Bach and Muzio Clementi and etude studies by Carl Czerny and Stephen Heller. Most of Wohlfart’s own piano compositions also have a clear pedagogic character. The etudes op. 21 (4 Skogsfantasier − 4 Forest Fantasies) and ‘oktavetyderna’ (the octave etudes) op. 27 were pieces that Wohlfart himself considered to be appropriate practice pieces for the upper middle study level.
Besides piano technique, Karl Wohlfart had a strong interest in music theory. To convey the basics of analysis of traditional forms, he indicated the formal dispositions in the respective works in the editions so that the students would understand the different compositional forms. Wohlfart’s lesson book, Skrivövningar i allmän musiklära (Writing exercises in general music theory), gave the ‘basic knowledge of the degrees of the scale, scales and key signatures, etc.’ and was widely distributed as well as being introduced into most of Stockholm’s music schools. Pianist Greta Erikson, who studied at the school between the age of five and nineteen, has also emphasised the thorough and systematic thinking in her teaching techniques.
Works
In the Kungliga Musikaliska akademien’s obituary for Karl Wohlfart, it was emphasised that at the beginning of his career, he appeared to be a promising composer, but soon went on to dedicate himself entirely to his teaching activities. Opus numbering and publication dates, however, suggest that Wohlfart devoted himself to composing throughout his working life, although some works were probably written earlier than is indicated by the year of publication.
Wohlfart’s musical style was at that time retrospective, anchored in a classical romantic style of Robert Schumann’s and Johannes Brahms’ followers, but with elements of Swedish folk music. The majority of the 30 printed collections of compositions consist of piano music and songs including hundreds of individual shorter pieces. The educational slant is evident not least in the piano music. In tune with romanticism’s character pieces, the music has received lightly programmatic references both in their titles as well as in their musical traits, and has been adapted to the pedagogic situation and the students’ level.
In his songs, Wohlfart shows sensitivity for a natural text/tone declamation. Melody and accompaniment has been smoothly adapted to the character and style of the text, and nuances of meaning are portrayed here with light features of tonal paintings.
In his activities as an organist and choirmaster, Wohlfart wrote a lot of music for use in a variety of constellations; different combinations of soloists, choir (male choir and mixed choir) and orchestra (alternatively piano and organ). Many of Wohlfart’s solo songs were also arranged for use in these contexts.
Judging by the compositional forms, it seems that Karl Wohlfart had greater ambitions as a composer at the beginning of his career. His first opus was a Konsertstycke (Concert piece) for piano and orchestra from 1900, followed then by an orchestral rhapsody, a concert overture and an Andante that evokes associations with a slow movement from an unfinished violin concerto. There are also weightier genres with two piano sonatas and a violin sonata. Most of these works are, however, found only in manuscripts and sometimes even in an incomplete state.
Wohlfart’s greatest success as a composer was the ballad for baritone and orchestra, Den afvundsvärde (The enviable) that was performed at a symphony concert at the Opera House in Stockholm in 1911. The work had the honour of sharing the event with several of the time’s most important Swedish compositions: Franz Berwald’s Symphonie sérieuse, Andreas Hallén’s En sommarsaga, August Söderman’s Värfningen, Wilhelm Stenhammar’s prelude to the third act of Gildet på Solhaug and Hugo Alfvén’s Midsommarvaka.
Bertil Wikman © 2015
Trans. Jill Ann Johnson
Publications by the composer
Skrivövningar till allmän musiklära : En lättfattlig läroplan i allmän musiklära för musikelever, såväl barn som äldre, Stockholm, 1921.
Pianotekniken. Tekniska övningar i två band jämte bihang, vol. 1−2, Stockholm: Abr. Lundqvist.
Klassisk repertoar. För pianoelever på medelstadiet, vol. 1−2, Stockholm: Nordiska musikförlaget.
Bibliography
Friberg, Birgitta: ‘Wohlfart, Karl’, in: Tonkonsten, Stockholm: AB Nordiska Uppslagsböcker, 1955.
Helmer, Axel: ‘Wohlfart, Karl Adrian’, in: Die Musik in Geschichte und Gegenwart, Kassel: Bärenreiter, 1989.
Hilleström, Gustaf: Kungliga Musikaliska akademien: Matrikel 1771−1971, Stockholm: Nordiska Musikförlaget, 1971, p. 119.
Kungliga Musikaliska Akademiens årsberättelse 1943.
Morin, Gösta: ‘Wohlfart, Karl’, in: Sohlmans musiklexikon, Stockholm: Sohlman, 1948 [reprint in 2nd ed., 1975].
Norlind, Tobias: ‘Wohlfart, Karl’, in: Allmänt musiklexikon I-II af Tobias Norlind, Stockholm: Wahlström & Widstrand, 2nd rev. ed., Stockholm 1927−28.
Svensk Musiktidning, vol. 26, no. 17, 15 November 1906, p. 13.
Svensk Musiktidning, vol. 32, no. 6−7, 25 September 1912, p. 46.
‘Karl Wolhfart’, in: Svenska män och kvinnor, Stockholm: Bonnier, 1942−55.
Svensson, Sven E.: ‘Wohlfart, Karl’, in: Bonniers illustrerade musiklexikon, Stockholm: Bonnier, 1946.
Tesch Holmberg, Ingrid: ‘Pianoskolan som tidsdokument: tendenser i svensk pianoundervisning 1930−1990’, Bachelor’s thesis, the Royal College of Music, Department of Music Education.
Uppström, Tore: Pianister i Sverige, Stockholm: Nordiska musikförlaget, 1973, pp. 116, 200, 207, 224.
Wikman, Bertil: ‘Wohlfart, Karl Adrian’, in: Grove Dictionary of Music and Musicians, London: Macmillan, 1980.
‘Wohlfart, Karl’, in: Nordisk familjebok, Stockholm: Nordisk familjebok, 2nd ed., 1921.
Wohlfart, Karl: Papper i MTB. Egenhändigt ifyllt LMA-formulär - nr 64.
Wohlfart, Karl: His own works in autographs, sketches, prints, photoprints. Three works by others. 5 vol. List of works established in January 1997 by Anna Lena Holm. Archive register at MTB.
Summary list of works
Orchestral works (Concert piece for piano and orchestra, Swedish rhapsody and more), vocal works with orchestra alternatively piano or organ (Den afvundsvärde and more) chamber music for violin and piano, piano pieces, songs, choral music.
Collected works
Orchestra
Concert piece for piano and orchestra [C major] op. 1, 1900.
Swedish rhapsody, 1903.
Concert overture [A minor] for orchestra, 1904.
Andante for orchestra [B-flat major] op. 6, 1906 [= Romance op. 6, arr. for violin, piano].
Festival march for wind orchestra. Composed for the 1909 Konstindustriutställning (Art industrial exhibition) opening in Stockholm.
Soli, choir and orchestra (alt. piano or organ)
Bergakungen (‘Där far nu bröllopsskaran’, Gunnar Wennerberg), for soli, choir and piano (1899).
Julsång (‘Det helga barn i Betlehem’, Edvard Evers) for baritone solo, choir and organ.
Kantat vid kyrkoherdeinstallationen i Sundbybergs kyrka den 5:e november 1916 (‘Öppnen för mig rättfärdighetens portar’), cantata for soli, choir and organ.
Sigurd Jorsalfar (‘Och yret piskar och stormen snor’, Gustaf Fröding) for baritone solo, male choir and orchestra (alt. piano) op. 19. Elkan & Schildknecht, Stockholm (cop. 1923).
Sången om Sten Sture (‘Herr Sten, den unge Sture’, Edvard Bäckström) for baritone solo, mixed choir and orchestra (or piano). Printed by Elkan & Schildknecht, Stockholm 1928.
Sången om Sten Sture (‘Herr Sten, den ädle Sture’) for solo, choir and orchestra.
Male quartet/choir
Ballad (Gustaf Ullman).
Biskop Thomas frihetssång (‘Du ädle svensk’) for male quartet. Du svenska land (Bertil Malmberg) for male quartet.
Gryning vid havet (Sten Selander).
Korperal Storm (‘När korperal Storm var i kronans kläder’, Gustaf Fröding) for male quartet.
Ljung (‘Ljung du fagra’, Erik Axel Karlfeldt) for male quartet.
Min kära är fin som en liten prinsessa (Sten Selander).
Plocka rönnbärsblom (‘Vi gingo utmed vågen’, Oskar Hallberg) for male quartet. Stadens löjtnant (Gustaf Fröding).
Sådant är livet (‘Och haren han sitter och äter blå bär’, Gustaf Fröding), printed in Sällskapet för svenska kvartettsångens befrämjande, 45 no. 5.
Sångarmakt (‘Speleman, knäpp på din strängalek’, Kerstin Hed) for male quartet.
Säv, säv, susa! (Gustaf Fröding) for male choir. Printed by Elkan & Schildknecht, Stockholm (cop. 1921).
Vid ässjorna (‘Det flammar en eld’, Bo Bergman) for male choir with piano or orchestra.
Female choir, mixed choir
En gammal vårvisa (‘Maria, Maria, nu stundar det vår’, Oscar Levertin) for mixed choir and piano.
En gammal vårvisa (‘Maria, Maria, nu stundar det vår’, Oscar Levertin) (B-flat major) for mixed choir and piano.
En gammal vårvisa (‘Maria, Maria, nu stundar det vår’, Oscar Levertin) (F major) for female choir and piano.
Hunden skäller och tuppen gal for mixed choir.
Söndagsnatt och söndagsfrid for mixed choir.
Till Sundbyberg vid stadsinvigningen (1927), (‘Du folk vid Bällsta strand’, Fritz Näsström) for mixed choir.
Soli and choir
Bondfiolen (‘En melodi’, Arvid Mörne) for solo and male quartet.
Mitt liv är en sång (Karl-Erik Forsslund), from ‘Storgården av K.E.F.’ for solo and male quartet.
Näcken (‘Kvällens guldmoln’, Erik Johan Stagnelius) for solo and male quartet.
Säv, säv susa (Gustaf Fröding) for baritone solo and mixed choir. Printed by Elkan & Schildknecht, Stockholm (cop. 1920).
Voice and orchestra
Den afvundsvärde (‘Du ryttare, säg smeden’, Verner von Heidenstam) for baritone and orchestra.
Dryckessång (‘Ack, vad vår levnad är flyktig och snar’, Ernst Josephson) for voice and orchestra.
Gryning vid havet (‘Blankt som en blixt ur koppar och stål’) for voice and orchestra.
I musikens förgårdar (‘Jag stod vid den smidda grinden’, Olof Thunman) for voice and orchestra.
Lindagulls namn, (‘Lindagull vare det namn du bär’, Bertel Gripenberg) for voice and orchestra.
Lindagulls tårar (‘Det regnar på mörkgröna mullbärsblad’, Bertil [sic] Gripenberg) for voice and orchestra.
Min kära är fin som en liten prinsessa (Sten Selander) for voice and orchestra.
Saga vid spiseln (‘Det var en gång en konung’, Zakarias Topelius) for voice and orchestra.
Serenad (‘Lindagull, Lindagull lilla’, Bertel Gripenberg) for voice and orchestra.
Sjöfararen vid milan (‘Vid milan har jag vaktat’, Gustaf Fröding) for voice and orchestra.
Spelmannen (‘Jag är spelman’, Dan Andersson) for voice and orchestra.
Vandringssång (orchestrated by Ernst Ellberg for orchestra).
Voice and piano
With opus number
Six ballads for voice and piano op. 2. Nordiska musikförlaget, cop. 1930. 1. Aspens lövverk bävar (Bo Bergman), 2. Saga vid spiseln (‘Det var en gång en konung så grå’, Zacharias Topelius), 3. Min afton har förflutit (Ivar Conradson), 4. Obekanta (‘Hon stod vid stättan’, Erik Axel Karlfeldt), 5. En sjunkande stad (‘Staden är sjunken’, Johan Skog), 6. Jag såg i dina ögon (Robert Höckert).
Four ballads by Gustaf Fröding op. 5. Stockholm: Abr. Lundquist, 1906. 1. En nyårslåt (‘En hvar har sin sorg’), 2. Titania (‘En klang som av små violiner’), 3. Landsvägsmaja (‘En afton, när dagern föll mulen’), 4. Det var dans bort i vägen.
Three poems by Werner von Heidenstam op. 9, Stockholm: Abr. Lundquist, 1908. 1. Jutta kommer till Folk-kungarne (‘Det red en jungfru från Danemark’), 2. Sikta, sikta gullkorn (ur Gullebarns vaggsånger), 3. Natten (‘Du frågar tveksam’).
Five songs op. 10, 1905. 1. En sjunkande stad (Johan Skog), 2. Min afton har förflutit (Ivar Conradson), 3. Sagor vid spiseln (Zacharias Topelius), 4. Aspens lövverk bävar (Bo Bergman), 5. Över granarnas kronor står himmelen blå (Oskar Levertin).
Three songs op. 11. Stockholm: Abr. Lundquist, 1908. 1. Säg, sofva alla toner? (Jane Gernandt Caline), 2. Det är sol (Elisabet Malmerfelt), 3. Ljusa aftonskyar (Daniel Fallström).
Two songs op. 12. Stockholm: Abr. Lundquist, 1910. 1. Kung Lif och drottning Död (‘I aftonrodnans gyllne slott’, Oscar Levertin), 2. Ringsjö-vår (‘Nu blåser ljumma vindar’, Wilhelm Ekelund).
Sjöfararen vid milan (‘Vid milan har jag vaktat’, Gustaf Fröding) for baritone and piano op. 13. Stockholm: Abr. Lundquist, 1910.
Vandringssång (‘Nu vandra våra floder’, Karl-Erik Forslund) for baritone and piano op. 14.Stockholm: Abr. Lundquist, 1912.
Four poems by Sten Selander op. 17. Stockholm: Nordiska Musikförlaget. 1. Min kära är fin som en liten prinsessa, 2. Du var som en stjärna, min kära, 3. Nattglim, 4. Gryning vid havet.
Three songs from ‘Visor och ballader ‘ av Dan Andersson op. 31. Stockholm: Nordiska musikförlaget, cop. 1937. 1. Jag väntar, 2. Spelmannen, 3. Nu mörknar min väg.
Tre Lindagullsånger (Bertel Gripenberg) op. 32. Stockholm: Nordiska musikförlaget, 1939. 1. Lindagulls tårar (‘Det regnar på mörkgröna mullbärsblad’), 2. Serenad (‘Lindagull, Lindagull lilla’), 3. Lindagulls namn (‘Lindagull vare det namn du bär’).
Tio sånger op. 33. Stockholm: Carl Gehrmans Musikförlag, cop. 1940. 1. Spelemansvisa (‘Spela, spela, du spelman Bengte!’, Hjalmar Wallander), 2. Fiolen (Sten Selander), 3. Har jag somnat i doft av klöver (Arvid Mörne), 4. Som ett blommande mandelträd (Pär Lagerkvist), 5. Bön (‘Tala, älskade, tal, orden gör mig väl’, Anders Österling), 6. Morgonsång (‘Vakna, sång i träden’, Tor Hedberg), 7. Ångest (‘Nu ryker blekröd lågan’, Bertel Gripenberg), 8. En gammal vårvisa (‘Maria, Maria, nu stundar det vår’, Oscar Levertin), 9. Ack, vad vår levnad är flyktig och snar (Ernst Josephson), 10. Ur Storgården (‘Mitt liv är en sång’, Karl-Erik Forsslund).
Without opus number
Berceuse (
’Dofta, dofta vit syren’, E. Kléen), printed in the collection Svensk romanssång, Edition A, soprano and tenor, Sveriges Körförbund, Stockholm 1937, p. 17.
Biskop Thomas frihetssång (‘Du ädle svensk’) for voice and piano. Blåklockorna (‘Bing, bång’, Jeanna Oterdahl), children’s song for voice and piano.
Dryckessång (‘Ack, vår levnad’, Ernst Josephson).
En gammal vårvisa (Oscar Levertin).
Hunden skäller.
Högsommar (‘Ut i en högsommarbris’, Arvid Mörne) for voice and piano.
I musikens förgårdar (‘Jag stod vid den smidda grinden’, Olof Thunman) for voice and piano.
I systrar, I bröder, I älskande par (‘Tre systrar de häckla’, Mickael Lybeck), ballad in folk tone for voice and piano.
Nu sommarens luftdrag bränner min kind (Oscar Levertin) for voice and piano. Necken (‘Kvällens guldmoln’, Erik Johan Stagnelius) for voice and piano.
Solen skiner och vit är vägen (Sten Selander).
Songs for voice and piano, 1. Flickan i Gränge (‘Min flicka är hemma’, Erik Axel Karlfeldt), 2. I natten (‘Tyst är lunden’, Viktor Rydberg), 3. Obekanta (‘Hon stod vid stättan’, Erik Axel Karlfeldt), 4. Jag såg i dina ögon (Robert Höckert), 5. Spela du speleman! (Hjalmar Wallander), 6. Jag blickar i dina ögon (Sven Söderman), 7. Hos häxan (‘När den dimmiga natten’, Erik Axel Karlfeldt).
Till havet (‘Kommen, svallande vågor’, Ernst Josephson) for voice and piano.
Two poems by Erik Axel Karlfeldt. 2. Serenad (‘Tallarnas barr’) (1911).
Vid brasan (‘Kom, sätt dig’).
Violin and piano
Romance for violin and piano op. 6 (arr. of Andante for orchestra op. 6). Printed by Stockholm: Abr. Lundquist, 1906.
Fantasy for violin and piano (D minor).
Sonata for violin and piano (D minor), 1900.
Piano solo
With opus number, printed
Sommarminnen. Ten piano pieces op. 3. 1. Beväringssång, 2. Barnens lek, 3. I lekstugan, 4. På kyrkbacken, 5. Natt, 6. På byvägen, 7. Vågornas sång, 8. En bikt, 9. I skogsmon, 10. Farväl till sommaren. Stockholm: Abr. Lundquist, 1903.
Minnen från Jämtland. Five fantasy pieces for pianoforte op. 4. 1. Landtlig visa, 2. Vid bodarne, 3. Vallåt, 4. I fjälldalen, 5. Dans. Berlin: Otto Johasson-Eckermann & Co.
Bilder från landet op. 7. 1. På solbacken, 2. Slåtter-sång, 3. Landtlig melodi, 4. Lek i det fria, 5. Visa, 6. Skogslåt. Stockholm: Abr. Lundquist.
Ten small pieces for piano op. 8. 1. Vallvisa, 2. En gammal sång, 3. Tomtelek, 4. Soldag, 5. Vals, 6. Gammal trall, 7. Mörkt i skogen, 8. Trolldans, 9. Spelemanslåt, 10. Fjärilslek. Stockholm: Abr. Lundquist, 1908.
Småländska stämningar for piano op. 15. 1. Skogsidyll, 2. På heden, 3. Solen dalar, 4. Sommarvind. Stockholm: Abr. Lundquist, 1913.
Klockorna. Fantasy for piano op. 16, 1908. Stockholm: Abr. Lundquist, 1913.
En sommardag. Miniatures for piano op. 20, häfte 1−2. Häfte 1: 1. Vid sjöstranden, 2. Danslek, 3. Småttingarnas dans, 4. Det mulnar, 5. Regnet faller. Häfte II: 1. Sol, 2. Slåttersång, 3. Helgmålsringning, 4. Aftonpsalm. Stockholm: Nordiska Musikförlaget, 1923.
Skogsfantasier. 4 Concert etudes for piano op. 21. 1. Skogsforsen, 2. Necken spelar till dans, 3. Sommarnatt, 4. Morgongryning. Stockholm: Nordiska Musikförlaget, 1923.
Petite Valse, op. 24:1. Berceuse för piano, op. 24:2. Stockholm: Elkan & Schildknecht, Emil Carelius, [627].
Sonata for piano [D major] op. 25. Stockholm: Nordiska Musikförlaget, 1925.
Octave etudes op. 27. Stockholm: Nordiska Musikförlaget, 1925.
Minnen från Rom. Three pieces for piano op. 28. 1. Peterskyrkan, 2. Katakomberna, 3. Fantasi. Stockholm: Nordiska Musikförlaget, 1927. [No 1. Peterskyrkan, printed in Fru musica, vol. 14, pp. 44−45.]
Vid sommarstugan. Small pieces for piano for use in education op. 29. Stockholm: Nordiska musikförlaget, 1927.
Suite for piano op. 30 (1931−33). 1. Prelude, 2. Dance, 3. Intermezzo, 4. Tarantella. Stockholm: Nordiska Musikförlaget, cop. 1933.
Without opus number, printed
Six piano pieces. 1. På landet, 2. I folkton, 3. Vemod, 4. Söndagsstämning, 5. Morgonhälsning, 6. Sorg. Stockholm: Abr. Lundquist 1899.
Tone images for piano. 1. På sjön, 2. Vid kyrkan, 3. Solsken, 4. Gladt lif, 5. Månsken, 6. Biet, 7. Afton, 8. Landtlif. Stockholm: Abr. Lundquist, 1900. [No. 3 printed in Piano-album, Nytt, p. 20.]
Visa. Prtined in Svenskt pianoalbum, p. 27.
In manuscript
Festival march for piano (A major).
Festival march for piano (F major). Composed for the 1909 Konstindustriutställning (Art industrial exhibition) opening in Stockholm.
Småländska folkbilder. No 2; Gammal herrgårdsdans.
Sonata for piano (E minor), op. 10 (see op. 10 for voice and piano).
Sonata for piano (D minor), 1899.
Swedish dances for four hands.
Pedagogical works
Piano school, 1914. New revised edition in two parts, 1933. Stockholm: Abr. Lundquist, 1914 resp. 1933. 2. Printed by Stockholm: Abr. Lundquist, 1916.
Revised editions
Klassisk repertoar för pianoelever på mellanstadiet, vol. 1−2. Stockholm: Nordiska Musikförlaget, 1929.
Klassiska sonatiner och småstycken progressivt ordnade och avseende på frasering, nyansering, fingersättning m.m. reviderade av Karl Wohlfart. Stockholm: Nordiska musikförlaget, 362.
C. P. E. Bach: Sonata (e). Stockholm: Nordiska musikförlaget, Edition musicalia no. 114.
Clementi, Muzio: Rondo.
Czerny, Carl: Etyder ur op. 60, 139, 261, 453, 481, 599, 636, 777, 821 och 823 progressivt ordnade och i avseende på fingersättning, frasering, pedalbehandling m.m. kritiskt genomsedda av Karl Wohlfart, vol. 1−3. Stockholm: Abr. Lundquist, 1919.
Heller, Stephen: Etyder ur op. 45, 46, 47, 90 och 125 kritiskt granskade i avseende på frasering, nyansering, pedalbehandling m.m. samt efter svårighetsgrad ordnade av Karlt Wohlfart, vol. 1−3. Stockholm: Abr. Lundquist, 1919.
