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Fifty mastersonrs by twenty
composers J.j"i? + ^no c.
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33333 02720 7493
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ROBERT SCHUMANN : FIFTY PIANO COMPOSITIONS
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RICHARD WAGNER : SELECTIONS FROM THE MUSIC DRAMAS
Arranged for the piano by Otto Singer
ANTHOLOGY OF FRENCH PIANO MUSIC
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EARLY ITALIAN PIANO MUSIC
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FIFTY MASTERSONGS
FIFTY
MASTERSONGS
BY TWENTY COMPOSERS
EDITED BY
HENRY T. FINCK
(AUTHOR OF "SONGS AND SONG WRITERS," "WAGNER AND HIS WORKS," ETC.)
FOR HIGH VOICE
BOSTON : OLIVER DITSON COMPANY
NEW YORK: CHAS. H. DITSON & CO.
CHICAGO: LYON & HEALY
[PRICE: PAPER, $1.50; CLOTH, $2,S0l
COPYRIGHT, 1903, BY OLIVER DITSON COMPANY
D. B. UPDIKE, THE MERRYMOUNT PRESS, BOSTON
THl TOW T4Wr FWi,T« WKliVt
GWETUI, T,IS114R^ t»F rag PlR.r«Si!',KG iAETS
111 Aili^JRtfDiJJ JiVX. !U(W Y>aJ1100ii3, N.T.
CONTENTS
MOZART, Wolfgang Amadeus ( i 756-1 79 i )
The Violet {Das Feilchen) i
BEETHOVEN, Ludwig van (1770^1827)
Adelaide. Op. 46
SCHUBERT, Franz (1797-1828)
The Erlking {Der Erlkbnig). Op. i
The Wanderer {Der Wanderer). Op. 4, No. I
"â– ^eath and the Maiden {Der Tod und das Madchen).
Op. 7, No. 3
â– -' My Peace thou art {Du bist die Ruh). Op. 59,
No. 3
^ Hark, hark, the Lark {Horch, horch, die Lerch).
Posthumous
•V^t". TPhe Inn {Das IFirthshaus). Op. 89, No. 21
■*' > «Mv.
MyAbode(y^«/^«//w//). "Schwanengesang," No. 5
My Phantom Double(D(?r Doppe/ganger)."Schv/Siit-
engesang," No. 13
y, _)^ CHOPIN, Frederic ( 1 809-1 849)
J . T^ My Delight {Meine Freuden)
TherParted Lovers {Zwei Leichen)
.SCHUMANN, Robert (1810-1856)
i^-Dedication {IVidmung). Op. 25, No. I
The Lotus Flower {Die Lotosblume). Op. 25, No. 7
In the Forest {Waldesgesprdch). Op. 39, No. 3
I '11 not complain {Ich grolle nicht). Op. 48, No. 7
LISZT, Franz (1811-1886)
The Loreley {Die Lorelei)
The King of Thule {Der Kdnig von Thule)
Wanderer's Night Song {Wanderers NachtUed)
WAGNER, Richard (1813-1883)
Dreams {Traume)
FRANZ, Robert (1815-1892)
Request {Bitte). Op. 9, No. 3
For Music {Fiir Musik). Op. 10, No. i
Dedication {IFidmung). Op. 14, No. i
Now welcome, my Wood ! {IFil/iommen, mein
IVald!) Op. 21, No. I
Delight of Melancholy {IVonne der IVehmuth). Op.
33, No. I
The Rose complained {Es hat die Rose sich heklagt).
Op. 42, No. 5
CORNELIUS, Peter (1824-1874)
The Monotone {Bin Ton). Op. 3, No. 3 103
RUBINSTEIN, Anton (1829-1894)
The Asra {Der Asra). Op. 32, No. 6 - 10&
15
24
28
30
34
39
42
47
50
54
56
60
62
66
69
77
83
85
89
93
95
99
lOI
Golden at my Feet {Gelh rollt mir 21/ Ftissen). Op.
34, No. 9 109
BRAHMS, Johannes (1833-1897)
My Queen {Wie hist du meine Konigin). Op. 32,
No. 9 112
Lrbve Song {Minnelied). Op. 71, No. 5 116
Va Thought like Music {IVie Melodien xieht es
mir). Op. 105, No. I 119
JENSEN, Adolf (1837-1879)
Press thy cheek against mine own {Lehn deine
Wang' an meine Wang"). Op. I, No. I 123
When through the Piazzetta {Wenn durch die
Piazzetta). Op. 50, No. 3 126
Row gently here, my Gondolier ! {Leis' rudern
liier, mein Gondolier f) Op. 50, No. 4 131
TCHAIKOVSKY, Piotr Ilyitch
( 1 840-1 893)
" Why? {Waruinf). Op. 6, No. 5 135
^ None but the lonely Heart {Nur wer die Sehnsucht
kennt). Op. 6, No. 6
Disappointment {Deception). Op. 65, No. 2
DVORAK, Anton'in (i 841-1904)
As my dear old Mother {Als die alte Mutter).
Op. 55, No. 4
139
143
146
148
MASSENET, Jules (1842- )
Elegy {Elegie)
GRIEG, Edvard (1843-1907)
From Monte Pincio {I'om Monte Pincio)
The First Primrose {Mit einer Primula verts)
'"A Swan {Bin Schwan)
At the Brookside {An einem Bache)
The Old Mother {Die alte Mutter)
The Mountain Maid {Das Kind der Berge). Op.
67, No. 2
GODARD, Benjamin (1849-1895)
Florian's Song {Chanson de Florian)
PADEREWSKI, Ignace Jan (i860- )
Ah! the Torment! {Ach ! die ^ualen.) Op. 18,
' No. 5
MacDOWELL, Edward A. (1861-1908)
The Sea. Op. 47, No, 7 1 78
STRAUSS, Richard (1864- )
|-^Serenade {Stdndchen). Op. 17, No. 2 180
150
158
160
162
165
168
171
»74
THE NEW YORK PUBLIC LIBRARY
THE BRAiiCH LiGHARiES
INDEX OF AUTHORS
BJORNSON, BjoRNSTjERNE (1832- )
Vom Monte Pincio [From Monte Pincio). Grieg 1 50
BODENSTEDT, Friedrich von (1819-
1892)
Es hat die Rose sich beklagt {The Rose com-
plained). Franz ioi
Gelb rollt tnir zu Fiissen (Golden at mx Feet).
Rubinstein 109
CLAUDIUS, Matthias (1743-1815)
Der Tod und das Madchen [Death and the Maiden).
Schubert 28
COLLIN, Paul
Deception [Disappointment). Tchaikovsky 143
CORNELIUS, Peter (1824-1874)
Ein Ton [The Monotone). Cornelius 103
DAUMER, G. F. (1800-1875)
Wie bist du meine KOnigin [My ^u;n). Brahms i 12
EICHENDORFF, Joseph von (1788-
1857)
WaldesgesprSch [In the Forest). Schumann 62
FLORIAN, J. P. Claris de (1755-1794)
Chanson de Florian [Florians Song). Godard 171
HEINE, Heinrich (1799-1856)
Der Asra [The Asra). Rubinstein 106
Der Doppelganger [My Phantom Double). Schu-
bert 47
Ich grolle nicht [I'll not complain). Schumann 66
Lehn' deine Wang' an meine Wang' [Press th\
cheek against mine own). Jensen i 23
Die Lorelei [The Loreley). Liszt 69
Die Lotosblume [The Lotus Flower). Schumann 60
Warum? [Why?) Tchaikovsky 135
HEYDUK, Adolf (1835- )
Als die alte Mutter [As my dear old Mother).
Dvorak 146
HOLTY, H. (1828-1887)
Minnelied [Love Song). Brahms
116
HOWELLS, William Dean (1837- )
The Sea. MacDowell 178
IBSEN, Henrik. (1828-1906)
Ein Schwan [A Swan). Grieg
1 60
GALLET, Louis (1835- )
Eldgie [Elegy). Massenet
148
GARBORG, Arne (1851- )
Das Kind der Berge [The Mmaituin Maid). Grieg i 68
GEIBEL, Emanuel von (181 5-1884)
Fiir Musik [For Music). Franz 91
GOETHE,JoHANN Wolfgang VON (1749-
1832)
Der Erikonig [The Erliing). Schubert 15
Der Konig von Thule [The King of Thule). Liszt 77
Nur wer die Sehnsucht kennt [J^one but the lonely
Heart). Tchaikovsky 139
Das Veilchen [The Violet). Mozart i
Wanderers Nachth'ed [Wanderer's Night. Song).
Liszt 83
Wonne der Wehmuth [Delight of Melancholy).
Franz 99
GROTH, Klaus (1819- )
Wie Melodien zieht es xd\x[A Thought like .Music).
Brahms 119
LENAU, NiKOLAus (1802-1850)
Bitte [Request). Franz 89
MATTHISSON, Friedrich v'on(i76i-
1831)
Adelaide. Beethoven 5
MICKIEWICZ, Adam (1798-1855)
Ach ! die Qualen. [Ah ! the Torment! ) Paderewski i 74
Meine Freuden [My Delight). Chopin 50
MOORE, Thomas (1779-1852)
Row gently here, my Gondolier ! [Leis' rudem hier,
meiii Gondolier f) Jensen 1 3 1
When through the Piazzetta [Wenn durch die
Piazzetta). Jensen 126
MULLE^R, Wilhelm (1794-1827)
Das Wirthshaus [The Inn). Schubert
39
MiJLLER, Wolfgang (i 816-1873)
Widmung [Dedication). Franz 93
PAULSEN, J. (1851- )
Miteiner Primula \ens[The First Primrose). Griec, 158
RELLSTAB, Ludwig (1799-1860)
Aufenthalt [AAy Ahde). Schubert
42
INDEX OF AUTHORS
ROQUETTE.Otto (1824- )
Willkommcn, inein VVald ! (AW welcome, my
lVood!)Â¥v..\KZ 95
RUCKERT, Friedrich (1788-1866)
Dii bist die Ruh {My Peace thou art). Schubert 30
Widmung {Dedication). Schumann 56
SCHACK, Adolf Friedrich von
(1815- )
Standchen {Serenade). Strauss 180
SCHMIDT, Georg Filipp (1766-1849)
Der Wanderer {The IVanderer). Schubert 24
SHAKESPEARE, William ( 1 564-16 16)
Hark, hark, the Lark {Horch, /lorch, die Lerch).
Schubert 34
VINJE, A. O. (1818-1870)
Die alte Mutter {The Old Mother). Griec 165
An einem Bache {At the Brookside). Grieg i6a
WESENDONCK, Mathilde
TrSume {Dreams). Wagner 85
ZALESKI, BoGDAN (1802-1886)
Zwei Leichcn {The Parted Lovers). Chopin 54
TCHAIKOVSKV
RUBINSTEIN
SCHUMANN
SCHUBERT
lENSEN
FIFTY MASTERSONGS
I
A FEW years ago it was the fashion to
print lists of the best hundred books.
Naturally, no two of these lists were
alike, for men differ widely in taste and
judgment. The same result would follow if a num-
ber of experts and amateurs were asked to make
a list of the best hundred songs — or letus say fifty
— which is as many as can be conveniently printed
in one volume.
The editor of the present colleftion of Fifty
Mastersongs has made a special study of this
branch of music for more than a quarter of a cen-
tury; and while writing his recent volume. Songs
and Song fVriUrs, he had to go over the whole
ground once more carefully. He therefore realizes
vividly the difficulty of making the wisest pos-
sible choice. The chief perplexity arises from the
superabundance of good things. Among Schu-
bert's songs alone, for instance, there are more
than fifty which clamor for admission; but only
a few can be inserted, because room must be left
for other masters.
The aim has been to secure as much variety as
possible without falling below a certain standard.
For this reason Mozart, Beethoven, and a few
other composers are represented, even though
none of their songs quite equal the best by Schu-
bert, Schumann, Franz, or Grieg.
While, for the reasons given, it cannot be
claimed that the songs in this volume are abso-
lutely the best fifty ever written, it may be con-
fidently asserted that they are fifty of the best.
They are all mastersongs, bearing the hall-mark
of genius and originality, and each one is char-
afteristic of its composer. Familiarity with them
will breed more and more admiration; and if you
come across one that you do not like at first,
you may be sure that the fault is yours : either
you do not interpret it correcflly, or your pianist
is a bungler, or vou need to hear it half a dozen
times before you can fathom its charms; for the
beauty of these songs is more than skin-deep.
Fashionable songs please only for a few weeks,
while mastersongs are among the things of beauty
which are a joy forever. It is sad to think how
much time and money are wasted on trashy mu-
sic. Singers go into music-stores and buy pebbles
and glass beads when for the same money, or even
less, they might get genuine diamonds and pearls.
One of the objeds in issuing this coUedion is to
so train the taste of amateurs that they will be
able henceforth to tell real diamonds and pearls
from their worthless imitations.
Some surprise may be caused by the fad that
there are no Italian and only two French songs
in this colledion. The editor has searched far
and wide for an Italian song worthy of being in-
cluded, but without success, for reasons which
cannot be given here, but which may be found in
Songs and Song Writers, pp. 218-227. Liszt has
remarked justly that the lyric art-song, or Lied,
is " poetically and musically a produd peculiar to
the Germanic muse." Nevertheless, of our fifty
mastersongs only twenty-nine are by German
composers — Mozart, Beethoven, Schubert,
Schumann, Wagner, Franz, Cornelius, Brahms,
Jensen, Strauss. The Norwegian Grieg contrib-
utes six; the Russian Rubinstein and Tchaikov-
sky five; the Hungarian Liszt three; the Polish
Chopin and Paderewski three; the French Mas-
senet and Godard two; the Bohemian Dvorak
and the American MacDowell one each. So that
from the national point of view, too, we have
considerable variety. America, it may be added,
would have been represented more liberally had
it not been for copyright difficulties.
Special attention has been given in this volume
to the translations. Most translators sacrifice
sense, accent, and everything else to the foolish
effiart at securing rhymes. Wherever this had
X FIFTY MASTERSONGS
been done in the case of songs here used, new mination to make this volume rirst-class in every
versions have been specially made for this col- detail,
ledtion, in pursuance of the publisher's deter-
HINTS TO SINGERS
Remember that the public likes good music as nor adt as if he were a mere accompanist; for his
well as good singing, and that those vocalists part is usually quite as important as the singer's.
are most likely to succeed in the long run who He should study the text as carefully as the vo-
combine the two. What is wanted to-day is not calist does; because in the songs the piano part
simply songs but mastersongs. is often descriptive and highly emotional, and
A singer may have ever so beautiful a voice, the player is at sea unless he knows what the
and phrase with ever so much taste; if he does poem is about.
not enunciate the words distinctly, he is no bet- Careful attention to the poetic text also makes
ter than a flute-player or a violinist. Most singers it easiei to get the right tempo — a matter of vi-
produce nothing but what has been aptly called tal importance, as a trifle too fast or too slow
"inarticulate smudges of sound," comparable to may utterly mar a song. Nor is it enough to have
the illegible figures on a worn coin. the general pace right. There are constant modi-
Technique is important, but expression is even fications of tempo, and of loudness, and special
more so. The one thing which to-day has artistic accents, which are the very life of the music,
and financial value in the musical world is tem- Take, for instance, that superbly emotional song,
perament — the power to stir an audience with Gntg's The Swan. Unless both singer and player
emotion. To do so, the singer must enter into heed the expression marks — andante ben tenuto,
the spirit of the poem, just as if he were going poco animato, crescendo, agitato, ritenuto,tranquillo,
to speak it on the stage without music. lento — the song becomes like a rose without per-
The pianist should neither drown the voice fume, like a bird of paradise without feathers.
WOLFGANG AMADEUS MOZART (1756-1791)
AND
LUDWIG VAN BEETHOVEN (1770-1827)
While simple folk-songs have always existed, best of the three dozen or more songs written by
the lyric art-song, in which the pianoforte part is Mozart. Goethe's plaintive and dainty poem evi-
as important as the vocal melody, is pradtically dently interested him, and he took pains (as he
a produd of the nineteenth century. Bach and did in the best pages of his operas) to adapt his
Handel wrote no such songs but devoted them- music lovingly to the changing moods of the text
selves, after the fashion of their time, to bigger — the story of the loving violet crushed by the
things — cantatas, operas, oratorios, and pas- foot of the beloved.
sions. Their successors, Gluck, Haydn, Mozart, Adelaide. Beethoven was twenty-five years old
and Beethoven, did write a considerable number when he composed this song. It became popu-
oi Lieder; but unfortunately they, too, reserved lar at once — so popular, indeed, that he was an-
their best melodies for their larger works. Hence noyed and sometimes wished he had never writ-
it is no injustice to this period to admit only two ten it; just as Wagner used to be angered when
of its songs to our limited colledion. he had to listen, for the thousandth time, to his
Das Veilchen — The Violet. This is by far the Lohengrin or Tannhduser mzrch. Adelaide, never-
FIFTY MASTERSONGS
XI
theless, remains by far the best of Beethoven's the poem, which Beethoven considered "heav-
songs. From astridlly formal point of viewit is a enly"; the melody is charming, and no song
solo cantata in the old Italian sense of the word written up to that time had had such an interest-
rather than a Lied; but that need not trouble ing and varied pianoforte part,
anybody. The music always refledls the spirit of
FRANZ SCHUBERT (1797-1828)
Schubert was the first of the great masters who rative, and the singer must modify his tone and
gave his very best in his Lieder, and for this
reason he is justly regarded as the father of the
art-song. He was the most spontaneous and in-
exhaustible melodist of all times and countries;
and whereas the operatic arias of Rossini, Doni-
zetti, and BeUini are now for the most part faded,
because they were written to gratify a transient
fashionable taste, Schubert's melodies, written
simply for his own satisfaction, are as fresh and fra-
grant as on the day when they burst into bloom.
The best of his songs have never been equalled,
not only in melody, but in harmonic modulation,
dramatic realism, and power to stir the emotions.
Liszt confessed that they often moved him to
tears; and many others are affefted by them in
the same way.
Der Erlkonig — The Evoking. Schubert was
style accordingly. The dissonance of the child's
shriek was something new, thrilling, terrible,
epoch-making in music.
Der IVanderer — The Wanderer. This is an-
other one of the early songs thatreveal Schubert's
genius full-fledged. Think of such a song being
written in a paroxysm of inspiration in one even-
ing, by a youth of nineteen ! In popularity and
merit The Wanderer is almost on a level with The
Erlking.
Der Tod und das Mddchen — Death and the
Maiden. No song ever written has so much gen-
ius and emotion condensed into such a few bars
as this. Certainly there is none that conjures up
a sombre mood with such simple means. "After
the poor girl has begged the 'skeleton man' to
pass her by because she is so young, how full of
only seventeen when he wrote that beautiful song, gloomy foreboding are the two bars leading over
Margaret at the Spinning Wheel. In the following
year he composed what many judges consider the
greatest of all songSyThe Erlking, the 178th of his
Lieder. Soaun relates that one afternoon he went
with a friend to call on Schubert. They found him
all aglow reading Goethe's ballad. The Erlking,
aloud. He walked up and down the room sev-
eral times, book in hand, then suddenly sat down
and, as fast as his pen could travel, put the superb
to the second speaker — Death! And while he
asks her in soothing words not to dread him,
since he has come not to punish but to let her
sleep gently in his arms, his monotonous, cav-
ernous tones and the strange modulations tell us
his real intentions." Note the simple but won-
derful modulations from the words " bin nicht
wild" to "schiafen."
Du hist die Ruh — My Peace thou art. This
balladon paper, nearly in its present form, though song belongs to the same year (1823) as the fa-
he subsequently made some changes. This ballad
by the boy Schubert is as splendidly and realistic-
ally dramatic as anything Wagner wrote in his
most mature years. The incessant galloping trip-
lets in the piano part not only impersonate the
horse but conjure up the storm. The coaxing Erl-
king, the terrified child, the soothing father, have
mous cycle of the Miiller-Lieder. It is simple and
meJodious — "one of the most spiritual flights
in all song literature," as William Arms Fisher
has aptly charaderized it.
Horch, horch, die Lerch — Hark, hark, the
Lark. Schubert set to music verses by eighty-
five diflFerent poets. Of his three Shaksperian
all a language of their own, difl^srent from the nar- songs the serenade. Hark, hark, the Lark, is the
XII
FIFTY MASTERSONGS
most famous, although Who is Sylvia? is also de-
servedly popular. Thecircumstancesunder which
the serenade was written admirably illustrate the
spontaneity of Schubert's genius. One afternoon,
as he was sitting with some friends in the gar-
den of a tavern near Vienna, he saw a volume
of Shakspere on the table. He took it up and
turned over the leaves till he came to Hark, hark,
the Lark (in Cymbeline). After looking at it a few
moments he exclaimed: "A lovely melody has
come into my head; if I only had some music
paper!" One of his friends drew a few staves on
the back of a bill of fare, and Schubert, undis-
turbed by the tavern noises, jotted down his de-
lightful song.
Das Wirthshaus — 'The Inn (Cemetery). Schu-
bert once wrote in his diary that those of his
songs which were born of sorrow alone, appeared
to give the world the most satisfaftion. In the
autumn of 1827, a year before his death, he was
for a time unusually depressed and melancholy.
One day he said to his friend Spaun : "Come to
Schober's to-day. I '11 sing you a cycle of weird
songs. They have affedled me more deeply than
any others I have written." When the time came,
he sang his new cycle. The Winter "Journey. His
friends were dumfounded by the gloomy mood
of these songs, and at first did not quite appre-
ciate them. ButSchubert said:"Ilike these songs
better than any of the others I have written, and
you will come to like them too." He was right,
for they all soon became enthusiastic over these
melancholy songs, which prove once more that
the best in art is usually the ineffably sad. In-
effably sad is T)as Wirthshaus, the twenty-first of
this cycle of twenty-four songs; and what makes
this the more remarkable is that it is written in a
major key. It must be played with deep expres-
sion, and poignant but not exaggerated accents.
Aufenthalt — My Abode. The last fourteen
songs composed by Schubert were issued inacol-
ledtion to which the publisher gave the appropri-
ate title of " Swansong." It includes seven of his
very best LzV^«-, beside the most popular of them
all, the Serenade, " Leise flehen meine Lieder,"
which is not so poor as its excessive popularity
might lead one to suppose. But the one following
it — Aufenthalt — is much better. It is one of those
songs which made Rubinstein exclaim raptur-
ously : " Once more and a thousand times more,
Bach, Beethoven, and Schubert are the th-ree high-
est pinnacles of music." Vocalists who know how
to build upaclimaxwill delight in the highGnear
the close; and the pianist has a part as superbly
energetic as in The Erlking. The bass is delight-
fullymelodious,in animitativeway,and theinter-
ludes are of incomparable beauty and eloquence.
Der Doppelgdnger — My Phantom Double. This,
the last but one of Schubert's songs, makes his
death at the early age of thirty-one seem the great-
est calamity that ever occurred in the realm of
music. It is not only one of the most wonderful
songs ever written, but it opens up a new epoch
in the history of the Lied. In its vocal recitative,
its weird, expressive harmonies, the close corre-
spondence of the music with the text, word by
word, it anticipates nearly everything that Schu-
mann, Liszt, Grieg, and the other great song-
writers did after him. "The singer's task here is,
first of all, to represent and interpret the poet,
while to the pianist are intrusted chords as weird,
as thrilling, as modern, as thosewhich accompany
the music of Erda and Klingsor in Wagner's
Siegfried and Parsifal. ... It is the most thrill-
ing, the most dramatic of all lyrics, and in pen-
ning it Schubert helped to originate the music of
the future." When it was written Wagner was
a boy of fifteen.
FREDERIC CHOPIN (1809-1849)
The people of Poland sing many songs which tained in the coUedlion of seventeen published
they attribute to Chopin. The only ones, how- after his death as Opus 74. Rubinstein called
ever, which are certainly known to be his are con- Chopin " the soul ot the pianoforte/' and it is true
FIFTY MASTERSONGS
xm
thathedevoted himself to that instrument almost
exclusively. These songs are, however, a notable
exception. Amateurs will find most of them full
of charm. They were written in the years 1 824 to
1844, and they are for the most part as quaintly
exotic and orchidean as his mazurkas.
Meine Freuden — My Delight. This is one of
the six Chopin songs of which Liszt made such
free and poetic transcriptions for the pianoforte
alone. It is even more charming in its simpler, yet
equally impassioned, original form. The rapture
of a kiss has never been more ecstatically portrayed
than in this song about the lips and their uses.
Zwei Leichen — The Parted Lovers. A more
dismal text has perhaps never been set to music
than this poem about two corpses — one that of
a soldier, dying in the forest amid the croaking of
crows and the howling of wolves ; the other that
of his sweetheart, dying at the same time in the
town to the booming sound of the church bell.
It is no disparagement to the music in this case
to say that it does not quite equal the poem in
grewsomeness. It is simply melancholy and me-
lodious.
ROBERT SCHUMANN (1810-1856)
Love was the chief inspiration of Schumann's
songs, as it has been of so many other works of
art. In the year of his marriage (1840) he wrote
more than a hundred Lieder, whereas before that
he had devoted himself to the pianoforte alone.
He wrote to his fiancee Clara Wieck that he
"laughed and wept for joy" in composing these
songs ; and in other letters : " Without such a bride
no one could write such music." "I could sing
myself to death, like a nightingale." It is under
such conditions that immortal songs are created.
Unfortunately, Schumann did not, after 1 840,
write any more songs till nine years later, when
the brain disease to which he succumbed in 1856
had already begun to reduce his genius to mere
talent and routine. This explains why his later
songs are not equal to the earlier ones. The four
here presented rank with the best ever written.
Widmung — Dedication. This is one of the most
popular of the Schumann songs. Through an ac-
cidental oversight it was omitted from the list
of "starred" songs in Songs and Song Writers; but
it is one of the best of all — full of that buoyant
rhythmic swing and animation so charadleristic of
Schumann.
Die Lotosblume — The Lotus Flower. This, like
Widmung, belongs to the group of twenty-six
songs called " Myrtle Wreath " and dedicated by
the composer to "his beloved bride." Heine's
poem about the lotus flower which dreads the
scorching sun and loves the pale moon is so ex-
quisitely perfed: that to add music to it seems like
painting the lily. But when you hear Schumann's
music, you realize that Wagner was right in main-
taining that poetry and music are more potent in
combination than singly.
Waldesgesfrdch — In the Forest. The legend
of the beautiful sorceress Loreley (which was in-
vented by Brentano in 1 800) is known to most per-
sons through Heine's poem wherein she is repre-
sented as a golden-haired maiden sitting on a
rock overhanging the Rhine and luring the fisher-
man to destruction by her singing (see Liszt's
song in this colledion). EichendorfF's poem,
used by Schumann, makes her roam the forest
on horseback and inform the knight who wooes
her, before he recognizes her as the witch, that
he shall never more get out of the forest alive.
The mystic and grewsome suggestiveness of
such a scene appealed irresistibly to the roman-
tic temperament of the German Schumann and
enabled him to reproduce its spirit admirably in
his music. As sung by Lilli Lehmann, or Lillian
Nordica, this song sends the cold shivers down
one's back.
Ich grolle nicht — 77/ not complain. Of Schu-
mann's two hundred and forty-five songs this is
at once the most popular and the most inspired.
It forms number six oi Dichterliebe, a group of
sixteen songs from Heine's Buch der Lieder. In
XIV
FIFTY MASTERSONGS
these songs the union of the music with the This is particularly so in the case of Ich grolle
poems is so intimate that, as has been aptly said, nicht — a superbly effeftive outburst of woe and
"it is sometimes impossible to rid ourselves of despair which proves once more that the best in
theimpressionthattheyaretheworkofoneman." art is the ineffably sad.
With theexception of opera and chamber-music,
there is no branch of the divine art in which
Liszt did notdooriginal — in fadt, epoch-making
— work. Next to this versatility his most remark-
able trait is his cosmopolitanism. He was equally
at home in Paris, Weimar, Budapest, and Rome;
a wanderer, like the gypsies whose melodies he
adopted. Hungarian,German, Italian, and French
traits and influences can be traced in his music;
but all have suffered
"rt tea-change
Into something rich and strange;"
— so rich and strange that it has taken the world
half a century to learn to appreciate this new art;
the difficulty being increased by the fad that his
forms were novel as well as his harmonies; and
new forms and harmonies are but slowly accepted
FRANZ LISZT (1811-1886)
or about the wild longing which seizes the fisher-
man in the boat below, or about his heedlessness
of the dangerous rocks, and the turbulent waters
which finally engulf him. Liszt, on the contrary,
saw here the possibilities of a miniature music-
drama in which the melody and the expressive
harmonies continually change with the text, as in
a Wagner opera. The result is one of the most
enchantingly realistic and dramatic songs in ex-
istence, replete with sedudive melody, and agi-
tated by a storm worthy of the composer of the
Flying Dutchman. But let no bungling singer or
pianist attempt it !
Der Kdnig von Thule — TheKingo/Thule. Like
the Loreley, this famous and effeftive ballad was
composed by Liszt in 1841, on the quiet Rhine
island Nonnenwerth, in the romantic region near
in music. Of his songs, half a dozen are French, the seven peaks of the Siebengebirge. It has all
and two of them, Isten Veled z.nd The Three Gyp- the beauty and eloquence of a Chopin ballad,
sies, are Hungarian. The other fifty-one were with the added advantage of Goethe's emotional
written to German poems, and have the roman- poetry. It occurs in his Faust.
tic and emotional qualities of German Lieder. JVanderers Nachtlied — Wanderer s Night Song.
Die Lorelei — The Loreley. Before Liszt set The charm of this song lies in its harmonies
Heine's famous poem to music the Germans had rather than its melody; but if the pianist is a
always sung it to Silcher's simple tune,which has genuine artist the effedt is enchanting. Note the
the charadler of a genuine folk-song. It is a pretty molto tranquillo and the sotto voce called for to ex-
melody and adapts itself well enough to the gen-
eral mood of the poem. But it is always the same,
in all the successive stanzas — the same whether
the poet talks about his own melancholy mood,
or about the calmly flowing Rhine at sunset, or
press the lull in the tree-tops, when the breezes
are at rest, the birds silent, and the nearness of
death is suggested. Concerning the wonderful
harmonies of this song. Dr. Hueffer has well
said: "Particularly the modulation from G ma-
about the maiden onthe rockabove,combing her jor back into the original E major, at the close of
golden hair,orabout the enchanting lay shesings, the piece, is of surprising beauty."
RICHARD WAGNER (1813-1883)
Everybody knows that Wagner was a specialist and The Two Grenadiers — were written in Paris
of the opera, as Chopin was of the pianoforte. (1839) as potboilers (he got about four dollars
Yet he, too, wrote a few songs — ten in all. Four apiece for them !). In the following year he wrote
of them — Dors, mon enfant, Attente, Mignonne, Der Tannenbaum. The best of his songs, how-
FIFTY MASTERSONGS
XV
ever, are Traume and Im Treibhaus, two of five
which he composed in 1862. These two are
studies to 'Tristan and Isolde, like the preliminary
sketches which great artists make of their paint-
ings and which sometimes surpass, in details,
the paintings themselves.
Trdume — Dreams. Singers who have never
heard Tristan and Isolde, the most charadleristic
and inspiredof Wagner's operas, will get, through
this song, a glimpse into an entirely new world
of harmonic delights — the thrilling love-music
of what may be aptly called the German Romeo
and Juliet.
ROBERT FRA
Schumann was the first who discovered the
genius of Franz as a song-writer. "Were I to
dwell on all the exquisite details in his songs," he
wrote," I should never come to an end." Manuel
Garcia, the most eminent teacher in the nine-
teenth century of the best Italian method (Jenny
Lind was one of his pupils), declared that of all
German songs Franz's were the best adapted to
the voice. Though usually of the declamatory
order, they can be sung as smoothly as the bel
canto of the Italians. The secret was indicated by
Franz himself: "It is easy to sing my songs if
the vocalist saturates himself with the poem and
thus endeavors to reproduce the musical con-
tent." Liszt repeatedly referred to Franz as the
best of the lyric composers. But the greatest com-
pliment was paid to Franz by Wagner, in the days
of his exile in Switzerland. When Franz visited
him in 1857, he took him to his bookcase and
showed him his colleftion of music. It consisted of
some works of Bach and Beethoven and the songs
of Franz — nothing more. He also sang some of
the Franz songs for the composer in a very dra-
matic way, and to the end of his life had them
sung frequently in his family circle at Bayreuth.
This is the more remarkable, because Wagner,
while worshipping the old masters, had little love
for his contemporaries.
Bitte — Request. Ambros called this song "the
prayer of a deep soul." It must be sung rather
slowly, but with the religious fervor of a hymn
— for it is a hymn to love, to a woman's dreamy,
soulful black eyes.
" For where is any author in the world
Teaches such beauty as a woman s eye?"
An American woman, to whom Franz showed
NZ (1815-1892)
a pidlure of the wife he had just lost, while the
tears were rolling down his cheeks, said to her
companion : " Now I understand why his black-
eyed song is so beautiful."
Fur Musik — For Music. Mendelssohn (whose
own songs are now so stale that none of them was
deemed worthy of inclusion in this volume) once
found fault with the songs of Franz because "the
melody could not be detached from the piano
part." As if that were not one of their greatest
merits ! Franz's songs are melodious not only in
the vocal part but in every part of the "accom-
paniment." Harmony and melody became insep-
arable, as in the polyphonic works of Bach. Of
the two hundred and seventy-nine songs written
by Franz, none illustrates this peculiarity better
than Fiir Musik, which is like a thicket in which
a nightingale sings on every bush. The pianist
must heed the direftions: // canto molto espressivo
— the melody to be brought out with deep feeling.
Widmung — Dedication. Another love-song,
inspired, like Bitte, by a pair of eyes. "Oh, thank
me not for these songs. They are yours, not mine.
I read them in your eyes and simply copied them."
This was one of Wagner's two favorites among
Franz's songs.
Willkommen, mein Wald — Now welcome, my
Woodl The majority of Franz's songs are slow
and sad — andantino and larghetto being his favor-
ite tempi. Of the lively and energetic ones Will-
kommen, mein JVald is a stirring example, with
the exhilarating atmosphere of the forest. Oddly
enough, Franz once remarked to a friend that he
considered this one of his poor songs, and that he
had hesitated to print it. Beethoven, in the same
way, used to wish he could destroy his Adelaide,
XVI
FIFTY MASTERSONGS
which is unquestionably the best of all his songs.
These are eccentricities of genius.
fVonne der Wehmuth — Delight of Melancholy.
Goethe was not the first poet to dwell on the de-
lights of sadness. Fletcher wrote, long before him,
"There 's naught in this life sweet . . . but only
melancholy"; and whole books have been written
on "the ecstasy of woe." Milton coined the ex-
pression "melodious tear," and Franz's song is
such a tear.
Es hat die Rose sich beklagl — The Rose com-
plained. This has always been one of the most
popular of Franz's songs, and deservedly so. If
played with tenderness and delicacy the music is
as fragrant as the rose it immortalizes. Use the
pedal, and notice the exquisitely plaintive effeft
in the pianoforte part of the C following the word
"beklagt."
PETER CORNEL
Cornelius was an intimate friend of Liszt and
Wagner. He composed several operas, one of
which — The Barber of Bagdad — had consider-
able success, though its failure at Weimar so
disgusted Liszt that he resigned his post as con-
ductor. Some of the songs of Cornelius are ad-
mirable. Like Wagner, he wrote his own poems.
He also published a volume of poems without
music.
Ein Ton — The Monotone. This song is one of
the greatest curiosities in all musical literature.
lUS (1824-1874)
The singer has only one tone throughout the
forty-two bars of the composition, and the strang-
est thing about it is that very few persons realize
this fad on hearing it the first time. But while the
song is a monotone, it is anything but monoto-
nous. So ingeniously varied is the piano part, and
so interesting the harmonies, that the piece de-
serves to be classed with the mastersongs. Note
that the poem suggests the peculiar treatment of
the vocal part.
ANTON RUBINSTEIN (1829-1894)
Rubinstein was one of the most fertile and origi-
nal melodists of all rime, and nowhere does the
fount of his melody flow more freely than in his
songs, most of which were written to German
poems. Not a few of them are trivial and will
share the fate of Mendelssohn's. But the best of
them have a unique charm. Amateurs will find
them easier to sing than most modern songs.
words "welche sterben wenn sie lieben" — so ap-
propriate to the romantic story of the Arabic
slave, who grows paler every time he sees the
princess, because he belongs to the tribe of the
Asra, who die when they love.
Gelb rollt mir zu Fiissen — Golden at my Feet.
The quaint Oriental intervals which occur in Der
Asra charafterize also the whole group of Persian
Der Asra — The Asra. Schubert himself might songs (Opus 34) which Rubinstein composed to
have been proud to have written this, one of the twelve of Bodenstedt's Songs of Mirza Schaffy.
most truly vocal, original, and charming songs in The most spontaneous, buoyant, and popular of
existence. What a swing to the melody ! and how them is this love-song, sung on the banks of the
quaint and exotic are its Oriental intervals at the river Kura.
JOHANNES BRAHMS (1833-1897)
Experts are not agreed as to the rank of Brahms. Mendelssohn's were at one time; nor can it be
All, however, admire his chamber-music and some denied that some of them, notably the thtee here
of his songs. In Germany and England the songs presented, are very good, and likely to endure.
of Brahms are at present almost as popular as IVie bist du meine Kbnigin — My Queen. There
FIFTY MASTERSONGS
XVII
is a languor and a sweetness in this song of ec-
static love that suggest the rich fragrance of a
tuberose. In studying this and the other Brahms
songs, remember that, as Mrs. Wodehouse has
well said, in them the accompaniment stands in
the same relation to the voice part as the piano-
forte part stands to the violin in a sonata written
for those two instruments.
Minnelied — Love Song. It may seem odd that
the best two of Brahms's songs should have been
ADOLF JENSE
Although Jensen wrote some admirable piano-
forte pieces, he may nevertheless be classed with
the song specialists, for the best produfts of his
genius are to be found among his one hundred
and sixty songs. In America he has never received
the attention he deserves, but in Germany he is
popular,and someof the experts rank him as high
as Franz, or even higher. His idols were Schu-
mann and Wagner.
Lehn ' deine Wang ' an meine Wang ' — Press thy
cheek againsimine own. This is the first of his songs
which Jensen considered good enough to print.
It is a splendid setting of Heine's famous love-
poem, fijll of emotion, with a touching melody
and stirring voluptuous harmonies. Few songs
are at the same time so good and so popular.
Wenn durch die Piazzetta — When through the
Piazzetta, While Press thy cheek is one of those
songs with which every one falls in love at first
hearing, this andthe followingone are of the kind
which must be studied with devotion before their
ravishing beauty becomes apparent and haunts
PIOTR ILYITCH TCH
In London concert halls the two most popular
composers at the beginning of the twentieth cen-
tury are Wagner and Tchaikovsky. So far, how-
ever, Tchaikovsky is known chiefly as a writer
for the orchestra. Of his one hundred songs only
a few have been brought forward, although there
are manygems among them. Their day will come.
No poet has inspired so many first-class songs
inspired by poems of love, for he was never mar-
ried ; but love exercises its creative spell even over
bachelor composers. The Minnelied [Minne is the
old German word for Liebe, or love) seems to
the editor the most inspired and delightful of
Brahms's compositions.
Wie Melodien zieht es mir — J Thought like
Music. Groth's poem seems to demand a musical
setting,and Brahms has given itonewhich is both
appropriate and beautiful.
N (1837-1879)
the memory. When his genius was in its full ma-
turity, Jensen became enamoured of English poe-
try and he set to music seven poems by Burns,
seven by Moore, four by Cunningham, six by
Scott, and six by Tennyson. So anxious was he to
preserve the spirit and fragrance of these poems
that in composing them he consulted several trans-
lations beside the originals. He considered these,
justly, the best of his lyrics, and referred to them,
in 1 877, as "my last and grandest excursion in the
land of song."
Leis' rudernhier, mein Gondolier! — Row gently
here, my Gondolier! Of the innumerable Venetian
boat-songs this is surely the most delightful.
Arnold Niggli, in his book on Jensen, writes re-
garding these two songs, that "in When through
the Piazzetta,in'w\\\c\\ the guitar-like accompani-
ment emphasizes its charader as a serenade, the
singer's love ardor is touched by a breath of mel-
ancholy; while the second serenade. Row gently
here, floats dreamily on the waters like the soft
light of the moon."
AIKOVSKY (1840-1893)
as Heinrich Heine. The highly concentrated feel-
ing in his poems makes them specially suitable
for musical setting. Warum sind denn die Rosen so
blass? — Why so pale are the roses? is an excellent
example. Note how the poet himself leads up to
the splendid climax in the music, when the ab-
sence of the beloved is made responsible for all
the sadness in nature and life.
xviii FIFTY MASTERSONGS
Nur wer die Sehnsucht kennt — None but the mantic movement."
lonely Heart. Though one of the earliest of Tcha'i- Deception — Disappointment. With the possible
kovsky's compositions (Opus 6), this song dis- exception of Germany, no country has so many
plays the ripest musicianship, and is one of the of the fragrant wild flowers we call folk-songs as
best settings of Goethe's oft-composed poem. Russia. The majority are of a melancholy cast.
"Written with tears at his heart," as James Hune- Tchaikovsky's Disappointment has the charadter-
ker says, "Nur wer die Sehnsucht kennt is fit to istics of a genuine Russian folk-song, and its sad-
keep company with the best songs of Schubert, nessisintensifiedby the poignant harmonies with
Schumann, Franz, and Brahms. In intensity of which the composer of the Pathetic Symphony
feeling and in the repressed tragic note this song knew how to express the "ecstasy of woe,"
has few peers. It is a microcosm of the whole Ro-
ANTONiN DVORAK (1841-1904)
The engagement of Antonin Dvorak as direftor. Songs — are very beautiful too.
for several years, of the National Conservatory Als die alte Mutter — As my dear old Mother.
of Music in New York, by Mrs. Jeannette M. Every one who has heard the slow movement of
Thurber, is a good illustration of the influence the New World symphony knows that Dvorak is
women have so often exerted on musical affairs; a man of deep feeling. This song about the aged
for it led to the composition of the greatest sym- mother gives further proof of that faft; it doubt-
phony and the finest chamber-music ever written less owes some of its fervor to reminiscent filial
in America. It is in the several branches of instru- devotion. Bohemian musicis particularly rich and
mental music that Dvorak hasdone his best work; varied in its rhythms, and the rhythms of this
yetsomeof his vocal pieces — notably his Gypsy song are difficult and need careful study.
JULES MASSENET (1842- )
France has produced no song specialists com- the few Parisian productions to which one can-
parable to Schubert, Franz,or Jensen; and, while not apply Liszt's criticism that French chansons
Gounod, Bizet, Saint-Saens, Berlioz, and other and romances lack the Sehnsucht and Gemiith —
masters wrote a considerable number of ro- the sentimental yearning and romanticism that
mances, they hardly ever put their best melodies are essential to the genuine Lied. Massenet's
into them, reserving these, as the Germans did £//^?V is not only a beautiful "meiodie" as he calls
before Schubert, for their operas and other large it, but it has the true elegiac Innigkeit, or soul-
works. Massenet's fame, too, is based chiefly on fulness. The piano part, also, is made excep-
his operas and choral works; yet he wrote several tionally interesting by imitative touches; that is,
excellent songs. bars in which it echoes the melody. These must
Elegie — Elegy. Of all the songs ever written be played with fervent expression,
in France this is probably the best. It is one of
EDVARD GRIEG (1843-1907)
Just as every European country has its own of Norwegian folk-song. But they are, with very
pifturesque national costumes and customs, so it few exceptions, of his own invention. Even more
has its peculiar folk-music, which an expert easily exotic and individual are his harmonies, which
recognizes. Grieg's wonderful melodies have some are as novel, daring, and fascinating as those of
of the rugged, sombre, irregular, abrupt qualities Schubert, Chopin, and Wagner. Grieg has, in-
FIFTY MASTERSONGS x«
deed, created the latest harmonic atmosphere in out the deeper meaning of Ibsen's poem, the
music. His harmonies are "caviare to thegeneral," varied expression, and, especially, the superb cli-
but musical epicures delight in theirfreshness and max where the swan, after a life-long silence,
piquancy, their surprises, and their avoidance of sings at last. Grieg, in a letter to the editor, has
commonplaces. Grieg's songs are like Wagner's called particular attention to the fad; that the
operas inasmuch as they open up an entirely new words "Ja da, da sangst du" should be sung
world of musical enchantments. "sempre forlissimo, if possible even with a cre-
Vom Monte Pincio — From Monte Pincio. The scendo, and by no means diminuendo and piano."
Pincio, in Rome, used to be known as the "hill An einem Bache — At the Brookside. When
of gardens." Here two thousand years ago were Grieg became acquainted, in 1880, with the
the famous gardens of the millionaire Lucullus, poems of Vinje, he was "all aflame with enthu-
and many memories of mediseval events are as- siasm," to use his own words, and in less than a
sociated with the place, too. At present it is a fortnight he wrote a group of more than a dozen
fashionable resort and drive, and in the evening, songs, to which this and the following one be-
when there is music, it presents a gay scene, long. In both of them we have Grieg at his very
Bjornson touches on the various points of view best, and in his most charaderistic Norwegian
which occur to a poet's observant and reminis- mood. Here we come across melodic intervals
cent mind on avisit to this piduresque place ; and and harmonic progressions so strange that at first
Grieg's music, with a realistic art worthy of both they may seem to some persons almost like mis-
Schubert and Liszt, reproduces all these aspeds prints; but after the ear has become habituated
in his music — the glowing sunset, the swarming to them they assume an unearthly beauty. The
people,the domes of the city below, the mists call- charm of this original musical physiognomy
ing up dim memories of the past and prophe- grows on one like the expression of a face that
cies as to a future awakening of Rome to her indicates charader as well as beauty,
former glory. Note how the opening chords con- Die aite Mutter — T/ie Old Mother. A charm-
jure up the sunset mood; how the music grows ing song of filial love and gratitude, which shows,
funereal at the words "face of the dead"; note like Dvorak's, that the romantic infatuation for
the echo-like sounds of the mountain horns; a beautiful girl is not the only kind of love that
the fine contrast provided by the recurring gay inspires immortal music. Here the music is not
melody (w'w); and many other exquisite details, so inseparably associated with the poem as in
Mit einer Primula veris — The First Primrose. Monte Pincio and A Swan; but what a glorious
This is perhaps the best song for a first intro- melody, and what quaint, original harmonies!
dudion to Grieg. Its ravishing melody enrap- Das Kind der Berge — The Mountain Maid.
tures the senses at a first hearing, and every one Grieg did not write much music in the last decade
will agree that it is the loveliest of spring songs, of the nineteenth century, because of his poor
All the tenderness of a flower, the fragrance of health. A few years ago, however, there appeared
spring, the buoyancy of youth, are in this song a group of eight songs, as Opus 67, under the
of a lover who offers the first primrose of spring general title of The Mountain Maid. It includes
to his sweetheart in exchange for her heart. several gems, and the one seleded for this vol-
Ein Schwan — A Swan. This is not only one ume is one of his most delightfully melodious
of the most popular songs in modern concert and harmonically quaint and original Lieder,
halls, but is also one of the grandest ever com- combining the freshness of youth with the depth
posed. No one should attempt to sing it unless of mature genius, and a touch of the Norwegian
endowed with sufficient dramatic feeling to bring melancholy.
XX
FIFTY MASTERSONGS
BENJAMIN GOD
Just as, in Germany, Franz and Jensen wrote
better songs than Mozart and Beethoven, so, in
France, Godard and Delibes were better in this
line than men of bigger calibre, like Berlioz,
Gounod, and Saint-Saens. Among the hundred
or more songs written by Godard there is an un-
usual proportion of good ones, — songs that bear
repetition well, — including the fine dramatic bal-
ARD (1849-1895)
lad The Traveller and the quaintly exotic Aror-
bian Song.
Chanson de Florian — Florian's Song. The great
popularity of this song is entirely deserved; for
although it is somewhat less weighty than the
other songs in this colledion, it has a masterly
melody, rising in "c'est mon ami" to a splendid
emotional climax.
IGNACE JAN PAD
The greatest of living pianists has heretofore
devoted himself chiefly to composition for or-
chestra and pianoforte. His opera Manru, which
has been produced so successfully in European
and AiTierican cities, contains melodies (like
"Einsam bin ich" and the Cradle Song) which
would have made fine lyrical songs. His only
Lieder, so far, are the six published as Opus i8.
They deserve to be more widely known than
they are at present.
EREWSKI (1860- )
Ach! die Qualen — Ah! the Torment ! At
first sight this seems almost like a cheerful song
written to a plaintive,sentimental text; but if the
singer and the player understand the Polish ru-
bato, and the Polish zal, — a mixture of tender-
ness, agitation, humility, regret, resignation, —
the composition will appear in its true light. It
might be called a mazurka for the voice. The
meno mosso part is enchantingly Paderewskiap
EDWARD MacDOWELL (1861-1908)
Edward MacDowell has placed American most part to English or American poems, some
music, so far as the art-song is concerned, on a of the best ones being by himself His setting of
levelwith the bestthat is done in Europe. Among W. D. Howells's The Sea has been aptly called
his forty-five songs there are only a few (the ear- by James Huneker "the strongest song of the
liest ones) that do not in every bar betray his sea since Schubert's Am Meer." The rare poetic
genius for creating original melodies and harmo- art with which Howells brings before our eyes
nies. He is intensely modern, and "a regiment of the pidture of the lover sailing away to sea, while
soldiers could not make him write a stale melody the beloved stands on the shore and cries; fol-
or a platitudinous succession of chords, such as lowed by the pidture of the wreck, and the lover
constitutethestockin tradeofmostsong-writers." lying asleep, far under, dead in his coral bed —
All singers will remember the day of their first is duplicated in the music, which shows a mar-
acquaintance with MacDowell's songs as one of vellous gift of emotional coloring in its harmo-
the most delightful in their experience. The best nies, and is, in all other respedts, a perfedl song;
colledlion to begin with is the one entitled Eight
Songs,vi\\ich. includes The Robin sings in the Apple
Tree, The West Wind croons in the Cedar Trees, and
others that have become favorites in the home
and the concert hall.
The Sea. One advantage possessed by the Mac-
Dowell songs is that they were written for the
the best, with the possible exception of his Menie,
ever written in America. It is thanks to the kind-
ness of the most famous of German music pub-
lishers, Breitkopf and Hartel, that it is possible
to insert this copyrighted composition in this
colledlion of mastersongs.
FIFTY MASTERSONGS xxi
RICHARD STRAUSS (1864- )
Richard Strauss (who is not related to the Stdndchen — iJ^rifKa^^. Within the last fewyears
"waltz-king") is the best-praised and the best- this serenade has become one of the most popular
abused ofcontemporary German composers. The pieces in our concert halls. If played by a nimble
dispute is chiefly over his symphonic poems; his and intelligent pianist and sung by a vocalist of
songs are admired by all. There are more than the dramatic type, it never fails to produce a fine
half a hundred, and while most of them are diffi- efFedt, and to arouse a desire for further acquaint-
cult to sing and play, they are worth careful study, ance with the works ofthis gifted young composer.
New York, March, 1902.
THE MYSTERY OF SONG
The sound of music that is born of human breath.
Comes straighter from the soul than any strain
'The hand alone can make.
As he sang —
Of what I know not, but the music touched
Each chord of being — I felt my secret life
Stand open to it, as the parched earth yawns
To drink the summer rain ; and at the call
Of those refreshing waters, all my thought
Stir from its dark and. secret depths, and burst
Into sweet, odorous flowers, and from their wells
Deep call to deep, and all the mystery
Of all that is, laid open.
ANON.
FIFTY MASTERSONGS
"1 AJMSWrtniy v.'H \,,/f'^'^**^'W«iRra
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r?\
^
^
^
xi:
A
A
de
la - i
la - i
de.
de!
^
m
\m
â– alando
i
/>p
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i
^
4^44
i
-o-
rsr;
XT
TOT
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E
M 1,-2-10
THE ERLKING
(DER ERLKONIG)
15
JOHANN WOLFGANGvon GOETHE 'i74<i-is32)
Trauslaled by Arthur Wf.slbrnok
Allegro (Sclniell)L iss
(Composed in IS15)
iOriiiiualKey^
FRANZ SCHUBERT, Op.l
(17!I7- 1SS8;
PIANO
| | j > < f M < — aK
y JT ^ ^ ^
> ^ â– f'"^
<* »'
«" i*r .' — -J'
#• i ^. *^
r^
SJJ:t
^- w- w.
m
m^
3^
^^
///?
5CIIii=
331
^
^
?^
Who rid
Wey ret
eth SO
late
sp(if
throug-h night and
duych Nacht nnd
2 2 W ''^^ *• ^ 't
P- • • W^' .^' .0-' -^-'-th
*■%•■%: *
S?=iF==i?^:
gS
^
^
gSJ^
Copyright MCMII by Oliver Ditson ronipany
ML- 3 -9
16
rr
E
^
^
^
*
d=
arm, He holds
Arm, er' fosst
^ ^ -<_^ j^ ^ ^ —if.
him tig^ht - ly, he holds him warm.
i)in si - cher, er halt ihn warm.
JT ' '
i
^ Jr ^
m
^ j r J r <* •
â– roi
f^
>:>:>:>
i^m^
^^~0-
w-i^
3
fiiti
i^ JJ^r fTr-^
y
t=T^
3E^
r^
rxj
MI,-3-9
17
^
;s
ter - ror why
hirgst die so
hid
est
dein
thy
face?
sicht?
Oh,
Siehst
i
^
^
^
The
den
Erl
king dread - ed, with crown
/^n - k'6 - n-ig mit Kron'
and
und
MI.-3-9
18
t9-^
&0
with
me!
I*
.1
Such
gar
mer
sch
ry
ne
^
wwm
I
fc^ti
SFfr^TH
I
7i,'' «[ ^ J ^ ^ y «l y
* i
m
^
r^^Lirr ^j
plays
Spie
ni
play
spirV_
ich
with
mif
thee.
dir;
For
ma Itch'
I
k
S
IFIrfrll
i
^^
t {{ f
ft
3
W
:t
?^
•^ ■»■»■V — :
ML- 3 -9
19
i
— g •
there,
St rami,
^
^
=F=?
h^
te^
^
And my moth
met - nc Mut
er has man- y t;o]cl
/^>- hat niancli giil
en robes for
dc n Ge
m
ff miii i ff
i
ri^i^ff^t
HtJi
m
^7^7 * ^^
^•-' j -'' |-'' Ij
^^
3
F^S
^
^
S
thee." My fa - ther, my fa-ther, apd hear - est
wand:'^ Mcin Va - ter, niein Va -ier, und ho - rest
m
i
I
thou not WTiat the
du nicht, was
d' d' m^-
0'
f
3
! ' \ ( ^hp.
• • 0' 0'
P
Wr^
m
\\HS-
:2zi
r
J r ^^ ^ \[ ^^
-o-
Erl - king whis- pers so soft in
Er - len - ko - nig mir lei - se
^ ^ ^
my ear?
ver - s-prichi?
Je ^ ^ Jf
Be
Sei
*
^
r : ^ i
SEES
^
5
# #
qui
ru
et,
oh, be qui - et, my child;
hlei - be 'ru - hig, mein Kind:
'Tis but the dead leayes stirred by the
in diir-ren Blai -tern sati - selt der
- jf — » n
» '—^
i
9 • ^' • ""
fti: f: f: ft:-
t^
»^- -9'
s
-o-
^m
^
ML-8-9
20
i
i
m
wind.
Wind.
"Come, love
,Winsi, fei
W
M
ly — boy,
ner Kna
wilt thou go with me? My
he, dn mit mir gehn? met - ne
'* i St
a 7 ^ 7 * 7 4
$
i^ i) i J ,n
^
^
^
f^^
=p=
daugh - ters fair shall wait on thee, There my daugh - ters_ lead in the
P^
fe
5
EEB5
i
^
^^^^
^
rev - els each night, They'U sing and they'll dance and they'll rock thee to sleep, They'll
niichi - It - chen Reihn und wie - gen und ian - zen und sin . gen dich ein, sie
' pll^J^lJ^i^Jj'J^'^^J IJJ'^I
w^i~wn
3
-S=Si
fe
^5
Ft
s
^
F P I L r p p ^
^
sing
and they'll dance and they'll
gen und tan - zen und
rock thee to sleep."
sin - gen dich ein"
My
Me in
MI,-3-9
21
i
S
nc ?r ^
-e>-
^
fa - ther, my fa - ther, and see - est thou not
Va - ter, niein Va - ter, und siehst dii nicht dort
^
?
W
the Erl-king's daugh - tersin
Erl -' ko . nigs Toch - icr am
4
f
•r -f
J- ]â– 3- ^ :
f
:^
«f «r *<
if 0f ^ <
azza;
a2=B
S
J - m 2
# • #
# • ^ '
# • #
S
iE
^
^
ICC
^
ii^
t^
:::p=z
f
yon dim
rfjV - s ter 71
spot?
Ort?
My
Mein
son
Sohn,
my s on,
â– mein Sohn,
i^i
<< «^
i
i^t
^^
«K «K < -f
#
i
T
ich
<■«f -f
*• M' M
■0^ — 0-
j^W- ^. ^- ^-
decresc.
m
^
i
i
r I r ^p J^
^
I know
ge - nau,
'Twas on - ly the old - en wil
es schei-nen die al - ten Wei
low so
den
so
gray,
grau.
i
) $ '- $ '• f • i'
^U
i
X
if^=^
rresc.
311
'
0^-0
WW
^^
i
iEE:
21
-&-
JE^
^
"I
Jch
m
^
^
feE=:
ML-3-9
22
'T- 'T r r
love thee so, thy
/iV - be dich, mich
r W Ft'
if
beau - ty has rav ished my sense; And, will
reizt del- ne schii - ni- Ge - stalt, imd bist
£
mg or
dti nichi
"f; h h ^
^
B4=ff?
?
f±=^
>^^"^
/?/;
ir-^
'^
3ce:
CE
fxr
m~
-^
-o-
^
^
E:
*^
^
^
not,
wil
^^-
I
will car
so branch'
thee hence."
Ge - wait!'
My fa - ther, my
Mein Va - ter, mein
^^
r r r
r I
: f^^
3^3E
?
^ L !>• ^
'^^
-«-
^
3
f
^
1^
-p—r
1-^^
i
g
it
;i
fa - ther, now grasps he
Va - ter, J^'^' fasst er
0-~^ ^ ^
my arm,
mich an!
The
Erl
Erl
king
has
ntg
g
^^^
?^
rf " if' ^
m
rr
«(• >» ^
s
-^
^
3
^^
:2=
i=.
A^
r ? I r
E
g
^
-fit-
seized
hai
me,
mir
has done
ein Leid's
me
harm!
than!
^
- >« ^ f*
s
^^
The
Dem
^ *f
^
# # » ^ ' — •^
rt:
g
•^^
./
W V9 W-
^. ?.
T3 J- 3- J-
m^
J J ^ ^
n:
5- *• *•
ML- 3-9
23
i
acct'lrrando
J J- J^ -
^
^
§
fa
Va
ther shud - ders,
ier grail - set's,
he
er
rides
rri
like
tct
the wind,
^^'f - schn'ind.
He
^ • 1 • ^^=^
S
J- ^- J r: Jf j
i
^
?• ?â–
». #•
»
^
> ^ — <^
^ /^J J
5. »• s ■*
cfesc.
VT-v:
^^
J - ^-
«=«
ir- w-
^j^=^
g
^
^
ZZI
f
clasps
halt
to
his
-> < « ^
bos - om
Ar - men
i
i
the pale, sob - bing child;
das dch - zen - de Kind,
^ ^ ^ Jf ^
jj_ 1: |: ji :
:i' «g
^^^^^^
eiT
^
ff
5. 3.
9- *• 5- 3-
ii
*
^^
^^t^
HM
irtf-f
He
er
reach
reich t
es
^ Jf ^
home with fear and
}iof mit Mich! und
i^ j: I: ^
d . Sr
~^' 'W' '^- ^
t -t: r- S-'
if
'^^
T
i
3 EiTl
W^
< ^ ^ ^
^«'r«/.
^
£
O
";i r ,ff ^
*
3^
Clasped in his arms the child was dead.
in spi-)ien Ar - moi das Kind rvar iodt.
Andante
^
P
r\
m.
7 ^ f
^
i
ML- 3 -9
24
GEOKG FILIPP SCHMIDTa-66-iS49)
Ttdnstdted by Arthur Wfstbrook
THE WANDERER
(DER WANDERER)
(Composed in 1S16)
{Orig:iiial Key, t'j/ minor)
FRANZ SCHUBERT, Op.4,N'M
(1797- ISU'S)
PIANO
V > ;v i) ^ J'- i' ff' p
^
W
t3t
I come here from my moun tains lone,
Ich kom - rue vom Ge - bir - ge her,
^gg
Jf JT
^
M. J. J. J^
r^
1^
it^i=«
/^
*. 5^. #.
z'
^j»
^
i
3
3H
S
^CH
■©o-
-^^f
!. ^!V- ^ .i) J. ^
^ I ^ ^f-i^i'hJ /
ts^
?^^=^
The vale is dim,
es damp ft das Thai,
^'^'\k'vi':'k ^
^ » r
The sea doth moan,
es bratist das Meer,
the sea
es hrausi
doth
das
— =J — ^^ — :i I
a
^^^
cresc.
^
^
/•
^
^
2ZO
zacE
m
feE
^ r r7/] i r-''r r' ^m^
^
moan.
Meer.
I wan-der on with pain and care,
Ich wand-le siill, bin we - nig froh.
i
te
\it$' r I-
-^ — •** — "f^
^i i. i -
m' r
j f ^ ^
3EE
^
H^j- i 1 ^
i^
i??
^^
4> -
-o-
E
3=fe;
Copyright MCMII by Oliver Ditson Company.
ML- 4-4
25
i
A
W^
^\ r :>
4t. f«_
P
^/;_
Ik.
i
/^
te
And ev - er asks my sigh - ing-, ''Where?" ev
und im - vter fi'agt der Setif - zer: Wo? _ tin
^
^ ^
Wo? ^
-fL ^
*f «f-
er, 'Where?" The
mer Wo? ^ 0\ Die
-*>« <*
m
<-=— •
^
i^
' <! • S
9 t - •'
'# • #
-ihr-^
>: f :
^
I
pjyp
/O
-o-
is:
3
^
.?
^''1'^" r- [ T L^'r I ^ ^^r- p ir ^"^r r-r ^'U'r p J-- ^
sun to me _seems here so cold, The flow'rs_are fad-ed and life is old. Their
Son - ne diinkt mich hier so halt, die Blii - ihe welk, das Le - ben alt, und
m-
m
m
k
i ii '^
tW
W
^' — *
-0-
FP^r
^-^!i>^r p \ } \
4
5
i
^^
■f ^ L^M^i5« ^' f ^
^m
s
^
jcii>
speech doth seem but emp - ty sound, I feel
was sie re - den, lee - rer Schall, ich bin
a stran-g-er ev'- ry- where.
ein Fremd-ling u - ber-all.
h>ii: hJ
s
i
$
t=t=$^
< s s ^
s
^^ # # a.
^
nm-
:B=e
^
F^g
f
^
i:^
P^VV moHHO (Eftvas geschwinder)
i
r^ if^p r -^'ip ^ ^'F
^
^
£
te
^
W^here art thou, where art thou, My be - lov - ed land? ' In
Wo bist du, wo bist .du,_ mein ge - lieb - ies Land? ge
@
CC
^S
-afijie=M±
i rFF'JJ
i^*«
i
S
it
^
lil
m.
€
m
*=t
3
m
^^M
^m
#
^^
®EE^
:z
^
i
-o-
hope,_
suchf,.
^iHJ' j g /gj'^
I seek,
^p - ahnt.
yet
und
nev
ft
B
pa.
er
£
=t:^
i d:<f
ft
i
f^
^
pp
H
i
• — •— 1»
£
idn
=^
ML-4-4
26
Allegro 'GeschzL-ind
land where
Land so
hope is green,
hojy - mings-griin.
i*
L i i r ^
^
^
FT?lI' i
EEf
?g
E
where
so
i*
I* * i
^
hope is green, The
hdff - iHDii^s gri'tn. das
land where ro - ses
Land, wo met - ne
* P
afaz
±:
gT="=g
f
p
}.±±t n
^
^
4-
M r r "r:^; (^
N^^^^
^
?
E
bloom for me; Where roam the friends so dear to me, Where all my dead will
i?o - sen hliih'ti, zvo mei - iie FrPioi -de rvaii - delnd geh'n, wo met - ne Tod - ten
i^
i
^ijj-^
m^
^j^ f r IS
W
t
cresc.
f
^
±
-G-
^
ktet
^
^f ? i ^ r lJ.
(L r ^fr tt
o^
fe
M r- c/7
E
p:
live a - gain, That land where they my Ian - gimge speak, O land, — where
auf - er-si(h'n, das Land, das mei - ne Spra - che sfricht. o Land, wo
m
I I y i
m
i ; I M^< =^=^
-^s^
r\
1S^
.fp
^
o
E
ML- 4-'i
Tempo, Adagio_ <\Vip anfans^s, sehr lan^sam\
m^^r^^
27
=F=^
m
£
art thou?
.9
I
^^^
a
^
wan - der.
â– wa nd - le
mm
I
s
?
^
?f
-♦- — #-
=^
g:
*=f=f
^
>
^^
P2:
dim.
S
P lSi ^
3zii:
fcz
iztr
>-^
-^
i
t*
^
^^rr-^J*
^
y f ' ' F
Mf p ' ^â– 1.1'
-5^
^
Oil with pain and care,
siiU, hin we - nig froh,
And ev - er asks my sigh - ing,
und im - tner f'*'ogt der Setif - zer:
p\^^- ^:j- - ia.
^^s.
^ H" — ^
i
;^
-o-
-o-
^'^ ^ ^
TT
TT
^»
-?
o>
# ^
^
S
^Pf
^
^
E?
"Where?" ev - er "Where?"
wo? ini - mer wo?
^
^
In spir - it - voice the
hri Gei - sier- hauch font's
ans-wer comes-.
mir zu - riick:
^
^-
^
^^
i
^- ^' J J
^^
W^=*
pj}p
o-
i
4-^
3
2:
^
* -^ I,
^
^^
^
^
vp-^^ *-
s
"There, where thou art not, there is thy rest!"
..Dort, wo du nicht bt'st, dort — ist das Gliick.'"
to
s
^
M
^
&3:
1>*
5'^
^
Z7
1^^
>
w
5
i
fe
^
J
^
-^•j'^-^
ZH2
*
r-f
-4 \P-S>-
17
ML-4-4
28
DEATH AND THE MAIDEN
(DER TOD UND DAS MADCHEN)
MATTHIAS CLAUDIUS M743-1S15)
J'nmslated by A rthur Westbrouk
(Composed in Ihl?)
(Original Key, D minor)
FRANZ SCHUBERT, Op. 7, N'.' W
(1797-18281
Moderate Csi'dssig) =1^54
PIANO
§^
^
-zr
n
rs*
#
rt
^ *
X^
3
ir
â–
* st#
35:
i
I
i
« — « — «
#
^
i
*
iE±
pOCO pin 77loto (Etwas geschzLinder)
W
r ^ ff
^
(^TIIE MAIDEN) Pass on - ward,
{DAS MADCHEN ) Vor - Ji - bcrf
Oh! pass on - ward,
ach, vor - il - her!
Go,
geh'
\^
it i i
4 d d d
M
%
*-^^
V ^ ^ V
i^
"/•iJl^ J J \
i
f=f=^
^^
\0^> y- P f ^
w
^
^3
wild and blood - less man!
wil - der Kno - chen-mann!
I
Ich
am
bin
still young,
noch J'^^'gi
A-
I
m p
%%%%
tZK
»-r
^
tfel
B
cresc.
1^^$^
^f i -m
m
iEE±
M
F r r I r
?
^
way then,
/iV - ber!
and touch me not, I pray>
u->irf rj</i . re inich nicht an,
Oh, touch me not, T pray-
tind riih â– re mich nicht an.
^^
g^^ntn
521
*
^-
^
S
*
Itt
^
i
Copyricht MCMIl by Olivrr I'itsonCompany
ML- 5-2
29
Tempo I
^
r\
^
^
fefc
(DEATH) Give me thy
(DER TOD) Gieb del - ne
hand, my
Hand, dii
fair an4 ten - der
schon uiid zart Ge
J rJ
w
PP dim.
^:
3:
r=ff
* * *
2
m
r\
« — «'
?
1 ; r j
P
E
m
rJ m ^t
12:
-o-
child, As friend I come, and not to chas
hildl bin Freund und kom - me ntcht zu stra
ten.
fen.
Be of good
Set gic - tes
m
Â¥
5=^?^?
=?
* — •â–
r-tt
* *
^ tt
^
^
^
^
O — 0-
^
-6)-
te
JM- J I .I
7 — g
cheer! I bring thee rest; To sleep with - in these fond arms has -
Miiths! ich bin nicht wild, sollst sanft in niei - nen Ar - men schla
^m
m%
te
r^t
r^
2^-fr-?:
V â– *
^
!]# "#
^
S
^^
W J J
i
PP
?^
P
#-^
/C^
•4
ten!
fen!
##=1
1 1
—
1 H
1
1
J
1
— «
â–
— <5
^ f
1
;
r^
— (5
—
m
1
— •
US
—G
^4f
fj.
N
â–
r>-
Ji4_
«
«
f>
(0
r.
^
•
C.
^ m
«
t>
4 fl
5
(*-
MI, -5 -3
30
MY PEACE THOU ART
(DU BIST DIE RUH)
(Composed in 18:23)
•Orifiinal Key)
FRIFDRICH RUCKERT n^visfi,;.
Trnnslatud hy Edward Eotclaitd Sill
FRANZ SCHUBERT, Op.5!sN'.'3
(1797-18281
Larghettn <Langsam>
PIANO
P P g
?
^^
^^
My peace
Du bist
thou art,
die Ruh.
V thou
1 der
i^
f^^^^
5
i
# #
^
^
i
^
^
J I 'j '
y V
f
i
t
2dz
V From thee riiy pain
Y die Sehn - sucht du.
art
Frie
my
rest;
mild,
t
t^
^
i
ffri'''
5S
Ci
s
^^
blest:
V En - ter
V Icit wf i
f
Â¥
±
^^
mine eyes,
hf dir
V this heart draw_
,VoU — Lust — iind .
t
-)n
%^
R>^ >* >
^^
S
^^
-i»
K:
Words used by permission
Oliver Ditson Conip.'iny
ML-B-4
31
^
1^ r ^r p
^
s
near,
Schmerz
V O come, VO dwell
V ziir Woh - nnng hier
for ev - er —
V mein Ai(g' icnd^
here,
Herz,
S^
I*!/ Jd M* *-!-*
;i
for ev - er here.
mein Aug' und — Herz. _
Pi^^^
En - ler, afid
W^
En - ler, and close the
Kehr' ein bei mir, V und
door,
schlie
and
sse
S:
r ; .1
?
£
come
du.
V And be this breast thine end
still hin - tcr dit^ die Pfor
less home;
ten zu.
ML-6-4
32
M
f^' [T ir- ^ i r^^f^
^
,M
^
[^ r gi
Shut out all woe
Treib' an - dern Schmerz.
all— less-er care and woe,
ail!.* die - ser Briist!
V I would thy
V voll sei dies
i
m
IS
k
'iliUJ
?±
^^
?
hurt
Herz
V and—
V ?10U
heal - ing-
dei - iicr-
know,
Lxist, _
V thy_hurt and heal - ing
V vnn — dei - iter
I I I M 1 1
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:ear herht thai
?
Clear light that on
Dies Ati - gen - zelt,
my soul
V von dei
hath shone, my
nem Glanz al -
tei*
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33
i
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m^
m
soul
lein
hath
V er
shone,.
helU, _
^m
!S
Still let- it-
o fmi' ^•S-
shine
I' \n^^
from thee a
V o — Jiill' es.
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toe
?
Clear light that on
Dies Au - gen - zeli,
V von
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soul hath shone, V my soul hath
dei - nem Glanz a I - lein \j er
shone,
hellt,^
Still let it-
n — fiill' es-
i
£
n^O
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shine.
ganz.
V from thee a
V o fair es.
lone.
ganz!
' According to the original edition \ I r
The original M S /ma not been foiitid.
MI.-C-*
84
HARK! HARK! THE LARK
(HORCH, HORCH, DIE LERCH!)
Serenade from"CymbeliTie''
WILLIAM SHAKESPEARE {iSM.-me,
German of first verse by A. W. Schli'gel
Second and third German verses addedby Fr. Red, and
Translated by Isabella G. Parker
(Composed in 1826)
<Ori^inal Keyi
FRANZ SCHUBERT iPosthuinou-
Allegretto
VOICE
PIANO
^
1
^
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Fine
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l.Hark! hark! the
2.Throu,e;h all the
3. If this doth
lark at heav'n's gate sings, And Phoe
si - lent, love - ly night The star
not a - wak - en thee, When love
bus 'gins to
ry hosts on
songs, for thy
?
^
s
7 r F
/.Hnrch. horch. die
2.Wcnn schon die
.?. Und wenn dich
Lerch' itn
lie - he
al - les
Ae - ther
ga n
das
hlau! und
ze Nacht der
nicht rceckt, so
Pho - bus, neu er
Sier - ne lich - fes
wer - de durch deii
Copyri/th» MCMn by Oliver Ditson Company
Ml. 7 5
35
rise, .
high .
sake, .
'^ 1 ^
His
A
Up
^
M r ^
steeds to wa - ter
bove thee watch, in
on the night rise
t
at those springs, On
or - der bright, And
ten - der - ly, O,
*
i
i
s
F r F
vseckt,.
Heer_
Ton
tr'dnkt
hnch
der
u
Min
lie
her
lie
Ros
dir
z'drt
se
im
Itch
tnit
Wech
aiif
dent
scl'
Thau, der
wachi, so
neckt!
fe
5
m
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-â– i:
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5
m
^
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s
chal - iced flow'rs that lies, _
hope, till morn is nigh, _
then wilt thou a - wake,.
On chal - iced flow'rsthat lies.
And hope, till morn_ is nigh,
O then wilt thou a - wake!
And
That
How
i
;s
m
Blu, - men - kel - che
hof - fen sie noch
dann er - wachst dn
d,ckt.
mvhr, .
schon,
P=^4^
t,
W
^
der Blu - men - kel - che deckt.
so hof - Jen sie noch '>nehr,
dann er - wachsl dit schon!
^
Der
dass
Wie
w
£
m^^
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â– =E
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36
^iN^^
Jv
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?
wink - ing Ma - ry - buds
thou wilt wake,- their lii;ht
Love thee to tliy win
To
be - gin-
to greet:_Come,
ope
ope
dow brings, Well knows
i^l
their gold
thy star
he:- ope
:£
en
ry
thine
I,
^35
^^
t
m
Rin
audi
oft
ill in
bin
Au
dirh.
^
mr Knos - pr schleusst die
^eii - stern sic gt-iisst.^Er
a)ts Fen - sler trich, das
cold
7cach!
ux'iss
:£
uen Aeiig - lein
Sic war ien
sie, drum stch'
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eyes,
eyes!
eyes,
With ev
Since thou
And love
'ry thing,
so star
thy sing-
that pret
like art,
er while
ty bin.
so sweet.
he
sings
My
My
My
I
^
P
^
P
fc
P
auf;
draitf.
auf,
Ml l7
weil
iind
al
du
ha
lem, was.
doch ga r .
he dei
da
so
nen
ret
rri
San
zeiid ist-
zoid hist;
ger lieh,
du
du
du
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MI,-7-5
57
^
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P Cr B
la
la
la
dy sweet, _
dy sweet, _
dy sweet,.
a
a
a
rise !
rise !
rise !
With • ev
Since thou
And love
^
1
'ry - thing
so star
thy sing
£
that
like
er
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£
Sll
sii
sii
sse Maid, stc/i' aiif.
sse Maid, shJi' «"_/".
ss^ Maid, sftJi' "'(/.
mii
weil
und
al
du
ha
lem, was-
dnch gar ^
he dei
da
so
nen
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pret
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while
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so sweet,
hp '-insrs!
M
My
My
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la
la
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dy sweet,,
dy sweet,.
dy sweet , .
a
a
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rise !
rise !
rise !
J'' I ri J''
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decresc.
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San
z'end isi-
zend hist;
ger lieb,
du
du
du
Sll
sii
sii
sse Ma id , .
sse Maid,,
sse Maid,^
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rise,,
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rise
a
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My
My
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dy sweet, a
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rise,
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a -
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auf,
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ail
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sse Maid ^
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My la - dy sweet, _
My la - dy sweet,.
My la - dy sweet,_
a - rise !
a - rise !
a - rise !
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auf,.
auf,.
auf.
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du sii - sse Maid,_
du sii - sse Maid,.^
du sii - sse Maid,^
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stth ' auf!
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M 1,-7-5
THE INN
(DAS WIRTHSHAUS)
(Composed in 1S2S)
39
WILHELM ML'LLEK (1794 - iss?)
Tniitslntffi by Alexander Blut'.'^s
iOn^Mial Ki'y)
VOICE
PIANO
i
Adagio {Sehr langsam)
Â¥
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P^i Ft i R
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FRANZ SCHUBERT,Op.89,NV Z\
(1797- 1828)
j Jl ^
S ^ J i
p
* 5 1 *. * ♦
r/vsc.
^^^?=i=^
-» •-
^ V /) I Ji i i' J-' J" ;> ;>
Up
on my end -less wand -'rings a
ei - nen Tnd - fen - a - cker hat
^m
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bg. M? j ' -^ i-^i
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cinirch-vard I he-hold. Here have I thought to rest me, with - in this qui - et fold.
tnicti nivin ^^^i,' ^1 -hracht . All - hier zvill ich vin-kvh - ren, hah' ich }<ei nnr ge-dachf.
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Copyright .MCMII by Oliver Ditson Company
MI. -8
40
i
i_ V /) I :fr±-^ J^ J ;. ;,
O ver-dant wreaths of wel-come! ye
Ihr gril-nen Tod - ten-krdn - ze konnt
&
s^
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P
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5
£
of
â– wohl
fer a
n
re -treat
chen seiu,
To
pil - grims faint and wear
mil - de Wa)i - d'rer la
y, with
de7i ins
3
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bleed -ing hearts and feet.
kiih - le Wirihs - haus ein.
A-
Sind
f Qf LP
fH^
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n
^ir » gg
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ken by
se die
±=±
las! each place seems ta
denn in die - seni Hati
dwell - ers strange - ly mute.
Kam - merit all' be - setzt?
To
bin
ML P-3
41
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death am I ex-haust
matt zum Nie-der-sin
y
r p ^': p
3^:^
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- ed with ij;rief and pain at -cute.
/^e>i, bin tcidt - lichschwer ver-letzt.
Thou
s
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s
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m
£
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p irp ? yr ^
inn, of pit-y bar - ren,yet turnst thou me a-way? Then on, my staff e'er faith- ful, till
tin-barvi-herz'-gc Schen-ke,doch wei-sesi du mich ah? Nun wei - ter denn, nnr wei - ter, niein
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death my care
treu - er Wan
al - lay,
der - stab,
Then on, my staff e'er faith - ful, till
wet - ter denn, nur wei - ter, mein
\
I i hJ^ B J'-ff #^^
death my care al - lay.
treu- er Wan- der- stab !
S
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ML-8-3
42
r.LDWTG RELLSTAB (n99-i86o)
Ti'iiisldlt'd by Lnuis C. El.ton
^I Y ABODE
(AUFENTHALT)
(Composed in 1S38)
'Original Key, E Minor)
Not too quicklV, yet with forcei Nicht zu ^eschiand, dovh kraftig)
FRANZ SCHUBERT
"Schwanengesanff^" N'.' 5
• 1797-18281
PIANO
w
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ife
s
^m
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Swift rush-ing stream,
Rau-schen-der Strum,
loud moaning wood, Rockbleak and scarred, my
bran- sen -ier Wald, star-ren - der Fels, mrii
4
te
e
^
£S
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^
wild a - bode,
Aiif - ent - halt,
Swift rush-ing stream,
rau-schen-der Strom, ^
loud moan-ing wood
hra%i-sen - der Wald, —
Rockbleak and
star - ren - der
^
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scarred, my
Feis, me in
wild a - bode.
Auf - ent - halt.
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ML-9-5
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Bil - lows on bil - lows chase o'er o -ceans breast.
W-ie sich die Wei - le an Wrl - le reiki.
So too are flow - ing my
file - ssen die Thr'd. - nen mir
. I dUjx]
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tears without rest,
e - ti)i^ er - neid,
SO too are flow
flie - sscn die Thru
my tears, my
nuV e - 7t'i^,
fca
fe^
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tears with - out re st ,
e - zi'-ig er - ncui.
so too are flow-ing my tears with-out rest.
J^lte - ssen die Thva-ncn mir e - â– wig er - neitt.
^^
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Winds o'er the tree-tops are
Iloch II! doi Kro - nen
nev - er
wo - gend
t
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at peace, My heart's wild throbbini^, like
sicKs regt, sit ttn - aitf - hor - lich me in
hrn marcafo
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them, will not cease, Winds o'er the tree -tops are
Her â– ze schlagf. hnrh in den Kro . nen
nev - er at peace, My
teo -gend sich's regt, so
T^
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heart's wild throb43irHj, like them,will not cease, The wild, wild throbs of my
itii - auf - h'nr - lich mein Her - ze schliigt, so un - axif - hor - Itch mein
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like
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in the rocldi
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hard vein,
tes Erz,
Ev - er my bo - som
e - wigder - sel - be
it
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hold - eth its |iain,
hU'i - brt nil in Schmerz,
ev - er my bo
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som
he
hold-eth,
hlei - bet,
lei
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hold
blei
eth its
bp< mrin
pain,
Schmerz
ev - er
e - wig
my bo - som hold-eth its pain.
der - sel - be hlci - bef nifin Schmei-z.
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46
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Swift rush -ing^ stream,
ii?(iu - schen - dtr Stroju,
loud moan-ing wood,
braii-sen - der ^''uld.
Rock bleak and scarred, my wild a -
star-ren - der Fels, mcin Aiif-enf-
.tr
^
r f;in)7 irr mtji^
?^^^=^
^^
b(jde, Swift rush _ ing stream,
/i((//, rait-sc/ii'ii - der Strom,,
loud moan-ing wood ,
hrau-se'ii - der Wald,
Rock bleak and scarred,,
star- ren - der Fels,
■»■■»••■#
^
^^^^^
P
S
i^i
i
swift rush-ing stream,
rati - schen- der Strom. ^
loud .
fcraii
moan-ing wood,
- sen- der Wald,
my
mein
^tM
9 .«— **
S
f
m
M
Wzb
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at
al * d •!
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Si
, decresc.
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wild a
Auf - ent
bode.
halt..
M I.-9-S
MY PHANTOM DOUBLE
(DER DOPPELGANGER)
i('omposed in IS^iSi
lOrijitnal Key)
HEIXKICH IIKINE ii7'j9-i!,.-,(;,
Translated by Arthur Wesfbrook
47
FRANZ SCHUBEKT,
"Schwanengesanj^'N'.' \'.\
VOICE
PIANO
MollO adagio {Sehr langsam)
^
E
^
^^^
Still is the night
SUM isi die Nacid,
o'er roof-tree and
es rii - hen die
i
^^
stee-ple;
Gas - sen,
3
g
With - in
in die
^
-m~d-
Efe
ii
jkh
i
izi:
dwell - ins;
Hau - si'
lived my treasure rare.
icohv - te liit'iu Schatz;
â– 9^
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Long since she left —
sie hat schon Idngst-
thrstown and— peo- pie,
die Stadt ver - las - sen.
%T^i^
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m
m
:id
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"2:
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Copyright MCMII by Oliver Ditson Company
ML -10 -8
48
*
^
^
^^ S' ' J r
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But still stands the house
(inch st'ht tinch das Haus —
on the' self - same square.
aiif dcm - sel - ben Platz.
ai
d:~"j
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^^^^^^^^3
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Here stands, too, a man;
Da steht auch (in Mcnsch
towards heav - en he ga - zes,
iind starrt in die Ho - he.
m
te
His hands he
und ringt die
â– cresc.
s
poco a poro
1=
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wring-eth
Ucin - de
in wild
?'^?- Schm-er
est de - spair;
s^ns - g-e - wait; _
I shud - der,
mir granst es,
^
yf=^^
M
^
zs
fjGT
jsr
d'-'rresc.
P
S
S
^
-tSH
"227
H*
J
I' vji h
n r^ r' M r p p I r ^
^^
when now his face he rais - es-
Tvenn ich sein Ani - litz se - he-
The moon-light shows me mine own self is
der Mond zeigt mir 7nei - ne eig' - ne Ge â –
Se
&
y^
5>-=-
CfVSC. -
3e
M=
:a
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ft
-si-
a-
ML- in -3
49
^NP^
±Ei5
£
^
E^5
m' m
there!
stall. _
O pale, sad
Du, Dnp - pel
crea -ture,
giin - ^f-j-,
My ghost and my
dii blci - cher Ge
' r-h 'ii* h i:r
^
te
£
«
]^
decresc.
P i> flCY'*?
lerando
cresc.
j^£i L^^
1
f
4
i^
^
S5
^^^^^^m
d V
^
x^ tt'
doub - le, Why dost thou ape my pas- sion's tears, That haunt -ed me with cru -el
sel - le! -was affst du nach mein Lie - bes-leid, das mich ge.qualt aiif die- ser
S
*te
lE
m
M
ii
jf-
1;
p
F-
W
* ll J |[J M B
^
^
£
troub - le
Stel - le
m
p^
So
50
man
man
YJi night in
c/ie Nachi, in
te:
^ira
old
al
eeX
en
jsr=
jsr=
Z'
^
=1:
s:
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ML- 10-3
.7
50
ADAM MICKIE\\TCZ (1798-1855,
Translated by Nathav ffaxkell DoIk
MY DELIGHT
(MEIXE FREUDENi
("onivosfd ir 1S37
lOrigtnal Kcyi
FREDERIC CHOPIN
(1S09-1S49J
VOICE
PIANO
Allegretto (m.m. •-. isoi
m
^s
..Mi
^
Ul
^
a
^
n
rt
y..
iA
E
i
te
g
^^m
^
t=^
ic
te.
When first the
Wenn dii, Ge
mag
/je6
of thy dear voice
nur be -ghmsi zu
fe
^^
5
f
^
< i -J
m^
^
^
^
t*
:> ^^ ii
^
^
P^E^
~s-
calls
re
me,
den.
I am en
bin ich ge
rap - tured; a won - drous charm en - thrals me!
fan . gen mii tan - send Zati - ber - fa - den!
m
-J I
^
f
i
~o
poco
rresc.
It
c/im.
'm^
^
w^
^
Copyright MCMH by Oliver Uitson Company
Ml- 11 4
51
I dare not
latt â– sche ent
move
ziickt
for fear
una wa
the spell be brok
ge nicht zu sto
-en: Fain would I
re-n : wii n - sche, du
m
i
f
^
f
P
W
^m
^
^
^^
I" f i' J I ^ fe
i
^^
ev - er-more thus_ see thee smil -
plati, - der - test e - wig so hei
ing, Thus hear thine ac -cents, thine
ter und will mein Le - ben, mein
I
fe
w
3* *
?±
f
* 1.2
^r^
m
m
$E^
r^
?IB^
m
i
^
r r I T
fe
?^^^^f^
t; 1^ ff i^d
ac - cents be - guil
Le-ben long nichts wei'
ing, Words soft - ly
ter, als dich mir
spok - en,
ho - yen,
ev- er-more would
dich 7iur ho - ren.
t^
^^
i
i
\ri i
*
rr
nr
TP
m
mE^
^
«-^
\i>f> J =-W7J
G
S5
^
^
hear
thee, Lin - ger - ing
ren, als dich nur
near thee, ev - er-more would hear
ho - ren, dich mtr ho - ren, ho -
)>
theer
ren!
t^
m
r^
rr
w.^
^
cresc.
If'
»
-i»^
]a
-^
ML-ll-4
52
H' f r r
^
^=^r^
^
i
But when thy
Doch wenn die
pas - sion flow- er- like un - clos - es, Bright glow thine
Au - ^f" y<°^' - *'* - ff^^ '^*'' ^^■** " hen, rb - te - re
m
r
f
f
f
f
=g
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-^
IJ
j»6ir<> <:7Tf*ft
^
^i^
^
^
^
^5=^
te
^ i^ i' I J
-15-
M i r
?^
^
eyes and thy
i?o - sen den
cheeks flush with ros
Wan gen er - blii
es, When not
hen, wenn dir
a glance
ent - zilckt
my
die
17
#
i
ll*
"15
t
^
^
^^
^
^
^
.b±=giz
m
atretto
i \i i f \ ^
^^^^
m^
iEt
^
^
kind -ling ar
Bli - eke fol
dor miss
gen miis
es, Ah! then,
sen, ach dann!
Ah! then,.
ach dann!.
fe£
Ah!
ach
ms
m
%
^
If
Tf
^
^
rr
s
p
p
IZZ
-19-^
#
^
£
^
rresc.
^
^
%
then, .
dann.
^^S
^
Be
lov
-^L-^
-« |L
ed. Ah! then, be
te, ach dann. Ge
P (»-
lov - ed, no
lieh - te. dann
^
Pff^
^
r/vsc. t'
^
ML-II -4
53
!*
sempre ^ piu accei. -
i
?
^^
^^*^^^
2
more fain to hear thee,
mocht' ich dich sib - ren,
I, clos - er drawn to thee, bend - ing so
will Idn - ger nicht mehr die Lip - pen dann
^m
^^
w^
w
sempre piu accel. .
^
^
121
g
- ^^
^
T^-^
rail, poco a poco -
:= f f(^- T -P ^
l9-=-
near thee, Stay
ho - ren; will -
thee with kiss
sie nur kiis
es, with kiss
sen, nur kUs
i^^
tEt
^
^
'M u, k' i
^a
rail poco
a poco
m
a tempo
^^
es, with kiss
sew, nur kiis
es,
sen.
with kiss - es!
niir kiis - sen!
S=F
^
m
rr
m
^^
^^
(f tempo
"If
^
UA
2=022
^
^
m
^
#
»
^
^
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.y
-wfr^i
m
m
s
" ^^t^
V 3 — iM~
i
II
1;1;
a
iU
bd^
HF=F
?^
P
^
MI. -II -4
54
THE PARTED LOVERS
•ZWET LEICHEN)
ROGDAN ZALESKIfi8n2-is86)
Tran.sluted by NATHAN HASKELL DOLE
(C'oniposfd in lS4rv'
(Orijiinal Key. D minor)
FREDERIC CHOPIN
(t809-lS4»)
VOICE
PIANO
fe
Allegretto U=ioo)
'ir M i r -r~r^T^
^
1. Two fond young lov - ers, tho'
/. Zwei die sicli lieb - ten, die
faith -fill, tho' true
diirf - ten's nicht ge
heart
ste
rtzi
ti n
p legato
'HWj} r r
^
^
Pi
^
^
ed,
hen.
%
'^-
?
r=r^f j^' ^
Were kept from
muss - ten sich
meet
met
mg, were
den und
from_ each - o - ther
von ein - an - der
m
part
i
♦=at
ed.
hen.
S;
n
^^
g
i
tji*
i' il I ^'-^^^ ^
^
s
^^
^
Years
swift - ly
re ver
glTa~~ed by;
gin - gen,
still their love each
sah'n sich nie - mals
cher - ished;
w ie . der,
fe:
"*" '-0-
^m
poro cresc.
dim.
S^
SjC
^
s:
*
^
Ji J ' I ^ -' M l ; ^' ^' ^'
^
^^— ^J8B^^
Both came at
leg - ten sich
last to_ die,
end - lich
All their sweet hopes per
beid' zii ster - ben nte
ished!
der.
.f
t^^
=5=^
JP
*^
^
5^
W
fcz
Copyright MCMII by Oliver Ditson Company
Mi.-rj
55
=te
^'n-r p p
2 There
3 High
2 Drin -
3 Ldu -
in
in
nen
te -
her
the
im.
ten
kk
^m
r p I rr ^^
own room the
church - tower the
Stub - chen das
Glo - cken im
•^
faith - ful maid was
bells were toll - ing
/ag im
fe von dem
Ma'gd - lein
Dot
^
ly - ing,
sad - ly,
Bet - te,
Thur - me;
*
^
Far in the
There in the
dock der Ko â–
heiil - ten im
S
l i id
IP — *
g
p legato
i
^
Q Ji J^ J' I S
j^ jh^ n
i
for-est ^vild the
for - est the
sak lag an
Wal - de nur
J*
Cos - sack youth was
wolves v^rere howl-ing
wil - dvr Wal - des
Wdl - Jc I ant iin
dy - ing. Grooped round the maid-en's bed,
mad - ly; Priests laid the maid-en's form,
stiit - te. Wein - ten i<m's Mdgd - lein
Stiir - me. Mdgd - lein iin Gra - be
m
3
i
^
^
^
g * J.
poco cresc.
m
^
^
^
^
Â¥
i
t\> c/ ^ J' ^1 r ff •'■i ^j J' i- 1 IQ ^'-' 1 L^ ^' i' ^' I J^^
youthsand girls la- ment-pd, Fierce o'er the Cos-sack^s head ra-vens hung,keen-scent-ed.
in her grave with chaunt ing \\liile raved the rain and storm, oer the Cos -sack vaunt-ing.
Mdd-chen wohlund Kna-ben; um den Ko - sa - ken kracht-teti nur dte Ra -ben.
deck - te Prie-sters Se - gen; dock den Ko - sa - ken bleich-tenWindtfnd Re - gen.
m
m
m
i
^
?3
dim.
?^
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m
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:■— c
7^
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ML-ia-s
56
DEDICATION
(WIDMUNG)
FRIEDRICH RUCKERT (nss-iser.)
Translated by Ali^xaiider BlaeKS
(Composed in IS'id)
(Original Key, Ah )
ROBERT SCHU^klANN, Op.lio, N'.'l
U810 - 1S56)
Animates, affettuOSf) ilnnig, lehhaft)
VOICE
PIANO
^ 'f<JI5. *
^
^3^^
m
^m
^
heart ,
Hers.
Thou both ny joy
du mei-n( Wonn\
and sad-ness art,
o du niPin Schmerz
Thou art my
dti mei-ne
w
*#
^
I
"m
# — ^
;t
JO.
+-
heav'n,.
Welf ^
my match - less lov
in der ich le
er, The world of bliss.
he,mein Him - mel dti,
where - in I
da - rein ich
M
TrJLr ^ Cc\
M— — ij — ^.
:i
^^
f m ^
9E#^
ii
f
r^
Sa. « »rij.
CopyriRht MCMII by Oliver DitsoD Company
M I- 13- 4
57
M^
I
m
hov
sclnve
^
er,Thoii art the i;rave
be. o dii. mcin Grab,
^
^
^^
where- in I cast For ev
til das hin - ab ich e
A
er
wig
W^
i
i
^
f
cm
'fe^.
*
f
^
xs:
'J^ *
^
#Ei
all my sor
r T r
iiffi
fcfe^
lOI
p^
row past .
mcr i^ah!
Thou
bring -est
bist die
i
t? o
-«r-
^
rest
,#
.?
and
(fit
peace
bist
a
der
bid
Frie
den,
t=W =^:
:i
»
^^"
^
ji=ji
-^ -^ -d li -9 ^ ^ -^
tt ttss
^
^
-o-
~Ty~.
r
Tf.
at
^^
"TTT
Heav'n
du
is through thee
fci's/ t)oni Him
me
mel
kind
^flij^j^jl -
^^
I
-^
lE3dl33
3!
dza:
J yj J j
r
1*1
J — J J J. ^
-^
^
Mi.-i:i 'i
^ ^ ^ J^'jl
^
^^
^
s
g^uid - inj:;^; So has tl\^- love
schie - den. Dass diiinich Ucbst,
to me ap - peald.
tnachtmich m-ir werth, .
I see
dein Blick
my
hat
i
f
^jj i ^ =#
^^m
*«
â– =â– =â– =â– =â– =31:
«^-*
a
J
i
m
«— •â–
Z*!*l
^#-»— #•
^ — a' — wl — 4 4*
M
s^
^
^^
^^
i
self.
i
I*
Thou art my life, my soul' and heart,
Dw met -lie See - le, da mein llrrz.
Thou both my
cLu mei-ne
^
^£r
^
^^^
.y \ .
^
^^a
7
33E
* ^
*
t
*
v^ l^c-^, *
Ml. 13 4
59
At
joy -
^
and sad - ness a^rt,
du mein Schinerz,
s
E
:22ii
s
Thou art my heav'n, my match - less
die mei - ne Wdt, i)i der ich
lov - er, The world of bliss.
Ir - he. mein Him - mcl du,
where - in I hov
da - rein ich schwe
atfigend
nnd
eilend
er, g-Qod genius
be, mein gu-ter
rit.
^ *
l9 1^
-n
thou, my bet - te'r self!
Geist, nicin bess' - res Ich!
rif.
,Pi
W®
^
^-r,
M . fT
^
t-M^
T^r/n
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60
HEINRICH HEINE (irjs - issr,.
Tntiuslafed by Art/iur Westbrook
THE LOTUS FLOWER
(DIE LOTOSBLUMEi
'composed in 18401
'Oriniitiil Kfyi
ROBERT SCHUMANN, Op. 25, X'?
(ISIO - 18561
VOICE
PIANO
i
LarghettO (Ziemluh lan^sam)
^^
^^
^
^
^
The Lo - tus flow'r doth Ian - guish
Die Lo - tos - blu - me. dug - stigt
^^M
\m
i
p
^
w*(
3=^
-e^^
"07
*
1^^
1^
i
i
;^
pppp
jEf
f^
a *
iizi]
i\^
Un-der the sun's fierce lif;ht,
sich vor der Son - ne Pracht,
i
With droop-ing' head^ she wait - eth, She
und unit ge - senk - tern Haiip - ie
er
jjj^j-j-j-
^
t-^
^tTM
#^
rfff
# #
-6
-er!
^ ^
■«*■•
j^r^-^
i.j> jt
33E
s:
P^
dream-i - ly waits for the night.
â– war let sie irdu-mrnd die Nacht.
The moon is her_
Der Mond. dcr ist
^Mf? Vf^^
El
l**3
"fe!^
true lov - er, He
ihr Buh â– le, er
H-fff
El
• — r
jjp
m
i
3ee^
j -^ j i j ^
-»^
^
^^
TT-
*:
f y r r r f
^^
Q
i
i^
wakes her with fond_ em - brace
Tveckt sie mil sei - nem Lichi,
For him she glad- ly un-veil - eth Her
und ihm ent-schlei- ert sie freund-lich ihr
I ^ 'f } ^'1 ? f
E
^
^^ ^ ^ Hi
^^
lf3=S=^
i
^
mm
^ ^ ^ ^it it ±
: g- -p- 1»- ^' r y -g
i
-l*^
^
^F=#=f=*=t==t
Copyncht MCMIl by Oliver Ditson Company
MI,- 14-2
p rit.
^
-0 1»-
E£
E
JEEt
r I
weeps and ex - hales and trem-bles
Av,f - tet uitd u'fi - net iiud zit - iert
With love, and the sor - rows of
vor Lie - he x(,nd Lie - bes
i^> n j *"i I
$
t=t
P
i
i i i ^
f=
m
f f 1 # 4-^
/v/.
p
i
i^ 4 ^
m^
■f- ^ ♦T»
/•/>!
6e
3EEE3
:22
s:
love,
^
W
P
^
love, and the sor - rows of love.
Lie - he tnid Lie - bes - weh.
f~f^f -f
fit
/O
-9-<S>-
£
^
M L-14-2
62
IN THE FOREST
(WALDESGESPRACH)
'Composed in IH-ic
^Oniiinal Key)
JOSEPH von EICHENDORFF m:ss-i857(
Trum^ldtt'd by Alf-vandcr Biifii.-'
ROBERT SCHUMANN, Op.39,NV:^
USI0-lS5fil
VOICE
PIAN()<
-iAsrr
Allet^retlO (Ziemlich rasch)
^W
'"f
r-^ij) i
"The hour is
„Es isi schon
pmm
sa
»!f
^^
^^S
I
^m
f^i=*
f
fi
t^y
»=*
f
f-
r
f
i^
} 7 J^ h, J)
5
EfcE5
^
late,
cold grows the night; Dost thou
es ist schon kali,
was reit'si
not
du
rue
ein
thy lone - ly
saw durch den
Â¥^ i jji
1
^
^j-i-j-'^ j^ l
*=^^
«*M
I
i53
^Hfr^^
f
r-
r
r
| |Â¥^ r -/.jSi^ff i ^^j.^;j iiy / -^^ IF- ^ }' 11},=^
ride? Thou art so fair; sad is thy plight;
Wald? Der Wald isi Ic'tg. du hist al - lein,
Oh, fol - low me! and be my
du sch'6 - ne BrauiUchfukr'dich
M
m
i^
m
k-
wn~^tii
^
m
te
|E3
fe
/
^
L V r
^
^
tt
g
e
f
25:
^
^
li
*
T
Copyng-ht MCMTI by Oliver I>itsoa Company
ML-15-A
63
i
—i&^ —
bride!"
heim!"
T^
"Mans
,. Gross
IS
J I J- J"::
plead-ing way
ist der Man
and
ner
lur
Tritg-
. und
m
m^
*=^
m
5=5
^
^E
^^ *
♦ ♦
p
^
7 ^ ' J M — ^ —
X' l >
!
^^
«&^
*
£
5
^^
kiss
List,
Con - ceal
Dor Schmerz
de
mein
ceit
Herz
X
?fqt^
^^
-vv"
^
«=i±ar=ft
^^
;^
:^
^
fice.
ist,
Know'st not
wohl irrt
my pale and
dus Wild - horn
heart
worn face?
_ und hin.
Oh,
o
^
^m
I
-^
^i
3
^}
4
i
^
El^
-i^-g^
-s^
i
s
?
ff
=*?
1
ML-15-4
64
tt
£.
^1 ^ i V }; Ji j^
^
S
En
"Thy comb be - jewelled.
,.^0 reich ge - schvtiickt
o'er snow
ist Ross.
uhite brow,-
und Weib,
*S
m
h }\ M Ji i J^-M^
clasps a wealth of g-old - en hair, of gold
wnn - der-schoii, so wun - der-schijn der jun
M
m
^
»2=»
* *
^m
r
T
M,
a tfmpo
^^
r
r
^(^ X i? I ^r 3 ^' ^' ^j ^ ^
t
^
w4-
s
know thee now! Heav'n
fep7tn' tc/i dich,- Gotl
a tempo
help my soul!
steh' mir bei!
A witch art thou, the Lo
du hist die He - xe Lo
rif.
re
re
f
X
^^
m-
%
s
a
m
W
f
)!*
^
iEEE3t
" jj^ 7 f^-!f 'M ^ ^^
lf= i>
i
A
a tempo
^ < '^ F ' r P
^
;^
ley!''
lei!'-
a tempo
'Thou know'st
Dm krnnst
me
tntch
well,
Tvohl.
From
du
^m
5
/ »â–
^^
k
Z^
m
5
~z
zr
â– d-t
^
'^
Ml.- 15 -4
65
U
m
m n
S
tow'
kennst-
V r p I f. r
:i2z
ring cliff I scan the Rhiile And lure
.mick wold— von ho - hem Stein schatit still
£
-^
^
the skip- per and his
mein Schlossticf in den
The hour
Es ist
IS
schon
late,
spilt,
the night
es ist .
grows
schon
^m
gp
tt"> g » * *
i*^
B^^
ates
^
g
fs
tt^
X
/vC
^ u ^ y
^
< J ^
^5
t:^
£
i:
^ *
*
^^
cold,
halt,
M? — ^
Fair day thou'lt nev-er-more be - IkjM, nev - er
kmnnisi nim- mer - nichr axis die - sent ^Ihld, nim - mer-
I
A
&
Â¥
p- \ r bJ
more, nev - er - more them wilt be - hold!"
tnehr. ntm - nicr - mehr aiiS die - sern Wald!'
MI.-I5-4
66
HEINRICH HFINEfi7'j9-is5«i
Translated by John S. Dicight
I'LL NOT COMPLAIN
(ICH GROLLE NIGHT)
(composed in 1840)
(Ongihiil Key)
ROBERT SCHUMANN, up.48,N97
(iSln- IS36>
VOICE fh (• "
PIANO
i
ModeralO (.Vr/i/ zu schnelU
*J
j^' jl ji hr
-7 ..') J) J) I iJ
^
I'll not com -plain J
Ich grol - Ic iiichf.
tho' break my heart
Jind •i'l-im das Ihrz _
in
aiich
K / L
t tttt^
■W -» -9
''if
^^
m
-•r-d
Sf ss**
i*% i i
i
^f^fftt
5
i
^
g^
rsz
-t5>
twain.
hricht.
O
love for ev
tt'ig' ver - lor'
er lost !
lies Lich,
-9-9^-9 t-9-» -9-9
iiiill'il
j- i * t i ^^=t
^
i
22:
-^
T!
M
fei
^
^
?
^
£
O love for ev
e - xiiis^ ver - lor'
er
nes
lost!_
Lii'h!.
ni
ich
not
rro/
com
j j I I p t E^
S
5
f
-»-
â– 5
tr^
Copyright \i(. Mil by Oliver Ditson Company.
M L- 16-3
67
M
plain,
nicht.
m
I'll
ich
-S>-
s
not_
grol
com - plain.
le nicht.
' d' s'
Howe'er thou
Wie du (inch
^jrn i i iT
^^^i
*â– * # *
*=^^
^»^
V *â–
W If w w ir w
* f f
1
h Ji i N' i
j'^ J^ J'^ I '^ 7j^ ji j-;
shin'st
sfrahlst
in dia - mond splen- dor bright, There falls no
in Di - a - man - ten-pracht, es fdllt kein
ray
Strahl
^^
n
a iiiUiii
in - to thy
i)i dei- lies
^^m
4
^
^-«^
9t
"Â¥
^
frifard.
S
^^
-©-
heart's deep night, I know full well. _
Her - zens Nachi, das weiss ich Idngst.
hi i iii\^^ ^
mn
I
f
Jl
}\ j\ J", I ij
^
-' > }\ i
I'll not com - plain,
Ich grnl - le nicht,
tho' break my heart .
imd wont das Htrz _
m
auch
H-HH
♦ ♦♦♦
Htii
m
i^J
f
M L-I6-3
68
-B-
i' I J- J' f m
3
twain.
bricJit.
In dreams
Ich sah
I saw
dich ja
thee wan - ing,
tin Trail - me.
J^ J^ J^
And saw the
und sah die
i
r/'esc:
i-
^
p /' j' J' r Mf r ^ M M P M P f- P
night with -in thy bos - om reign - ing, And saw the snake that on thy heart doth
Nacht in dei - nes Her - zens Rati - me, und sah die Schlang' die dir am,-. Her - zen
'^M
i
g r g r
I i rff ^
J=J
f=r=r
f=i=i
^ — #
* #
C1VSC.
m
^
-2:
z:
5'
17
/v7
â– ^ ; ;> J' , , ; ;> h /) J
^M P P
i
^E3
^
^^
^^
How all for - lorn thou art, my love. I saw. I'll not com-plain, 111 not com -
ich sah,m(iii Lieb, wie schr du e - lend hist. Ich grol-le nicht, ich gro(- le
tii i r
^
jijj^jj j j
tm
f
i
^
â– *
-&-
M L-16-3
HEINRICH HKINE .1799 i8,o6i
Translated by Arthur Westbrook
THE LORELEY
(DIE LORELEI)
(Composed in 184 1)
lOrt^i/Ml Kfy\
Moderate Non strascinando (NicM scJdeppend)
69
FRANZ LISZT
(IS11-188B)
PIANO
*
Parlaiui(
ntG'Sprficheti)
^
^^
ii3*;i
r J ^i'
s
%
f
iirz^
^
I know not what it be - to - kens That I such sad - ness, such sad - ness
Ich rvriss nicht. was soil's be - deu - ten, dass ich so trau - rig, so trau â– rig
*
J:
;,i i it ^
m
5
^
f^
m
p
S
^
i
w^=%^ — ^
^^
?
^
Allegretto
fc^
jPt-c^ ril.
^
?
^
J^^3
P^
by -gone a-ges
al â– ffii Zei-ten.
So haunts me,
das kommt mir
nor will it go, So haunts me, nor
nicht aus demSinn, das kommt mir nicht
*^
mzm
Tl5
±^
y y ,1
±±:
^=5=
:±
poco rti.
Copyright MCMII by Oliver Ditson Company
ML-17-8
70
smorz.
S
^t=f
^
will it go.
aus dem Sinn.
'^^^
Adagio
Â¥d)i y i yj J^T~JV~?
The air is cool,
Die Luft ist kiihl,
Molto tranqtiillo, ma ncn strascinando
(Sehr riihig, uber nicht schlepfend)
» — *
^'
T^-^
* 'â– U.
^
ii
^
i 1 J- r pi ^ ^ f ^i ^—^ t-^Tt =T^
3E^
f^
day is wan - ing,
U7tii e« dun - kelt
And gen -
U7id rii
^^^^
^^w
s
^
r-rni^
iPi
a
:fc
I
J i» ->-r5>-
?*
Lfl
LQ
m^
^
it r r^ TT^
pg=^:g3
S:^
i
^— -r
*
m
^
^ 'r V r
^
t ri y
-&-^
gen-tly flows the Rhine,
YM - hig fltesst der Rhein,
And gen - tly flows the Rhine,
und ru - hig fliessi der Rhein.
^^
V t fi
Â¥
m^^^
r
M^tZf
S
5
f p^^
*f^«-
zl
.MI.-17-S
71
The moun-tain heights en
im A - bend -so}i - nen
shrine,
schein, .
«-^
gr- £ £ t tr*f ,nt
m
i
^
yj yj y
f
r
1
-mih {pytW
rp .mr
p!
COl/ff VOCi
im
.i4
y^ r .
I*
i
'^
r?Y.
*
'&i
* ^^.
*
^
/ T^ r
^
moun- tain heights en - shrine.
A - bend - son - nen - schein.
SOito voce
i-y i yj J)
W
tea*
^
Up - on the heights is seat - ed A
Die schon - ste Jung - Jrau si - tzet dori
72
p r^ r ^ \ r > -.' J' l J. ^'^ ^
S^Egg
maid - en pass - inj^ fair,
bp>r uniii - der - ha>
Her g;o]d - en ar-ray is shin - ing, She
ihr gold'- nes Ge-schtnei -de hli - tzet, sie
^^
poco rail.
m
fHI
am
^
l^' ^r^r ^ ^
'j^
sempre dolce
e
*
^s
a
â– hi t^*^- d ^ ^^
tr#^^ — v^^dl —
combs her gold -en hair;
hdmini ihr gold- nes Haar,-
With comb of bright gold she combs it, And
sie kanimt es mii gold'- nem Kam - me r<nd
i yy \ ' i
\, }t: J!,£^| >
m
rJr fi^r-
i
fPr. -r>i I
P
jjoro rail
si'mprr do!cistii/no
7'^' iJ H y i ^
4
n-*
£
^£i-^ft^
<&i.
Â¥- 7ii,p y ^ ^
f^-iJ ^ j ^T^rh- ''^ '^ ^'i''" ^''^''J j. i 'i
#s
A*
sings a wondrous song;
aingt eiy>i Lied da - hei
3 5 2 3
5 4 3 2, 1| 1^ \^
In ca - dence so strangely haunt - ing
das hat ei - ne wun-drr . sa - me.
^
5 4 3 2, 1|
#5
JiEES
P
yi'geiipl^ .
I'A.
^
* ' 2 I , hli*^ 58^1
^
ii i Wr .f f ffi /
^
^
y\\f y i
cresc.
W
i
faffT
^r=^
s
^.
'Ici.
11^
ivie^ft molfn
i^* ^ .W r^^-l'^p'r
5
^
The
^
^-^
i
/Mr" r^r'r l
sound is borne a - long,
rvalt' - ge Me - lo - dei,
The sound is borne a
ge - wait' - ge Me - lo
^ ^ M m — -M
^
m
^-XZj^
aEEEt
•J
^r-r-im
string.-
Si ^4
3
•^^e^
^\ y
^.
^^
trr corde
^^
m i y t y
^.
fe
ML- 17-?
Allegro agitato molto
73
i^
long.
dei. _
fri'/fl.
S
ttf:
The
Den
i
±
-? #
g
^ilSUSZL-S
jsr
%
k
ES3
"f
1 i i
^
i
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«&.
»
P
^^^^W
fl I il i)
s
S
$
i^EEt
â– M ^ '^ ^
boat-man
Sch if-fcr
up- on the wa- ters
â– im klei-neii Schif-fe
^
^
^
Is hold -en
er â– grpift es
in long-ing
mit wil-dem
^
w
'*Q'^ v
^rfrrrrrrffT
f
CI_rf
ICT
â– CEJE
V:it _f V ,^0^ f , y^ ^
* |#! tjJ^^^'-"
'Jv ij Ffv^
-^^-y-
*
^f=^
^^^^^^m
^
r I ^r M
dread,
Weh,
He sees not the reef
er schajit nicht die Fel
be
sen
fore him,
rif - 'fe,
m
r^ . rru
''ti'*
He
er
V-\yv_y^
•— »
s
^
tLT
^rrt^
^^ C LJ c£r ''S^
^
7
^
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-wwww
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a
V» ji
IffrW f|7v r^^4vf
i
3
cresc.
%
4
J. i ^^
£
^
sees but the height,
schaxd mtr htn - auf,
the
hin
height
oitf
o - ver
in die
,1
«=^
*
^$ H $ $
9-^
^^^
^^
^
rrrrr r r r?
^
fi
cresc.
\^
niftlto
^=±L
ut
M I. - 1 7 - S
74
* ^
* '^
u^#> ^^^
* 'Ic^
jifrins,:
g^
«*-
boat
Sr/u/
man are gone,
y^r und Kahn.
'M If T < ^l€^^
T» 1»- 1»- 1»- ^ T#- , _-f- _T»- T<
f i iffFrprpf f
r .r.r . r ,
m «i | >
L^i^
sfrhig.
y-4 M I I M 11 III | -
^J ^ J^ J^^J ^J^
g ^i^H^
tl>^>JVt^U
Wfe^
5^^
*.^
Me no
ML- 17- S
75
*
samer) . ■— -^IZT ^'^^- i T t — i
1
2X1
this with her art-ful sing-ing The Lo-re - ley,.
das hat mii ih - rtm Sin - gt')i die Lo - re - lei,
the Lo-re-ley hath done!
die Lo -re -lei ge . than.
n ^ ^i J
i
s
t
=gfcp
j?-ff i H ^^^
^^
a
j£lj
^m
ii
/O
Come prima
espri'sdvo
^
) j? y j^ y 1 V'l O
^
:*=
=H^
////^/ vurdii
And this with
und. das hat
her
mit
S
fc^
3g
i^^^e^
f
w
T~l»"!
S
^
[ g-l^^^
r\
dolcf
T~m n
^
5
«^M^
J ^^^'
i
iEEi
*
^
^
i3h
<.^\
''^i^.
r
%
f- r%
^
:1^
y ^ y .;t 7 ^ y , j i ^
^^
^
art - fill sing
ih. - rem Sin
ing
gen
The
ff r' ^ £
f:
^^
?^
^
Lo
Lo
re - ley,
re - lei,'
the
die
Lo
re - ley
re - lei
hath
done,
than,
the
die
. ^J— i d
i
L^' tjlf Jxf
i
W
M
r
MM^
pmt
L.
I
^r=r
ML- 17- 8
76
^
•" 'J J' I J- < •••i H < -'i w ^'1r'~"rf f ^ ^''
Lo - re - ley
Lo - re - lei .
hath done!
ge - than,
And this with
und das hat
her
mit
:m
i
^TYT V< p
* *«
I
s
I
* *^
^^
^
in»^
'^
scmprc dolcc
^m
^ ,,mr
7 j^ 7
i
* 'J^.
* 'i::^
§
^
7 ^ 7 -J 7 ^
=^
art - ful sing
ih - rem Sin
(ffetij
mg,
gen
The
die
*^
-*:
$ t
I
l«^
^1
»#
^ ^f < "P
P
V^« C-U ^
^
a* #
r7^,fr7f
^^
^
'i;^.
*
i
^
r=^ ^ yt vi i
^\f ^^ r~T p I r' * '^^ ^1^ ^* ^f
^
Lo - re -ley,
Lo - re - lei.
the Lo - re - ley —
die Lo - re - lei.
hath done,
ge - than,
the
die-
i
i
I
i^
'm
^
M^^tim
jEEi
H
r-
f
i -> i v'J-
te^
S
77 j^ 7^ 7
^
77 ^ yj 7
f
'^.â– >
*
i
t
^
^i?
smorz.
U
77-y
:2
^ jT-:^^
^
^
T"
T^
T r
c'
•vl^
Lo - re - ley hath done!.
Lo - re . lei ge - than!-
I
/O
rry
y i y i ^
^E
^±
S
i yt 7
^^
^
^
r\
^
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ML-17-8
THE KING OF THULE
(DER KONIG VON THULE)
JOHANN WOLP^GANG v.m GOETHE (n49-i832)
Tranflntedby Arthur Wextbrook
(From "Faust")
iComposed m IMI'
^Original Key, F Mtnvi
77
FRANZ LISZT
(1811-1886)
PIANO
i
^^^
^
r i rr: r
J r \ w ^
s
There was a King.
Ks war ein Kii
nxg
in Thu - le, Aye
1)1 r/nt - /". p:ay
faith-ful, to the
trru his an sein
f
^ff^^f
m
^^w^m
p
TS-l^
• ^ i ^ ^ n i ^^
i^
3^
^^
r
r
r
f
piKjijyiJL
^^
^
Ji i J^ J' J> J^
fsa^
-i&^
grave
Grab,
To whom his dy-ing
(fern. ster ' fee^ti spt - ne
la - dy
5«/i - le
Tlien a gold- enbeak-er
ei - nen gold'- nen Bc-cher
i
«» f^W/fO
$
J) J) J J
£=3^
^^
fe?
Z7~"
gave
gab.
gave, a g<^'ld - en beak - er
ei-nen gold'- nen Be - cher
a tempo
Naught else he prized so_
Es gi"g ihtnnichts dar
Copyright MCMII by Oliver Ditson Company
MI.-1S-6
78
£
'r^Ti
^
poco rail.
S
H5
P^
mi m — at • S' K
dear - I3-, And drained its g-low - ing-_
u - her, tr leert' ihm je - drn^
draught,-
Sell ma Its.
His eyes with tears were o'er-
die Ah -gen gin - gen ihm
^ IL- ^
m
m
s
m
poet) rail.
33
'ia.
^
\) I J^ J)
a tempo
^^
S
^
^
flow-ing ^\^len - e'er the cup he qnaffd, when
xi - her, su of t er trunk dar - aus, su
e'er the cup he
oji er irank dar
i
4 i ill rii
^^m^
P^^^
a tempo
g
*
^3*
i
al
I
m.
4r
M.
Bgj
J M r g
s
^^
dy - ing,
ster - fee?!,
All his rich
zdhH' er sei
es oer he told,
ne Stddi' im Reich,
A
j ^#=^
^^ L it f
>[i,-in-«
79
m
^^
p^
^
:^
^^
All on his heirs be - stow - ing
guiinC al - Irs sei - ncn Er - ben,
PP
Ex-cept the cup of
drn Be - cher nichi zxi, -
m
^
^^ ^^f^
m
^
iTji
r
i»
iE
:fcr
1^
i
*i
, L I — "^ ■"i' ^ r/'esc.
^
5
gold,
glcich.
All on his heirs be - stow
gonnt al - les sei -ncn Er
ing- Ex - cept the cup of
ben, (it II Br- cher nichi zii â–
phi .^^'f^
^
fc=^
i
^W
r
?=r
i^ i .j » i -
SEteE
^
?EEE
W
^
? -^ J Jl J' ff li
!S
i 7 i) 1) J)
^
^^
gold.
gleich
He sat at roy-al ban-quet
£r sass beim Ko-nigs-mah- le,
A - mid the knight-ly
die Rit - ter mn ihn
m
hS^
^
W •dm-
"www
f
m
— -*
i
I
V -
<^
*
i
^ v i' j'ff r^
^rT ffF r^ l li
^
train,
her,
In his an- ces-tral cas-tle,
ail/" hoh.em Vd - ter-saa- le,
High tow-ring o'er the
dort auf demSchlossam
^'-jL^J-V-rtuLOC
-^Jt
80
m
Allegretto agitato
£
mam.
Meer.
h
^
i
by If |y y
EEft£ff
^
^
J-^N
^^
lErfFF
9 pm/rt
w^
WW
ff
•?5i
^Â¥& i
^
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iE
^
i
^
g
^=
±
''Six
* 5ai
* **â– ?&,
a=fc
marcato
* ^^
'Jfe^
*
s
?=f
s
Up rose t"he a - ged_
Dor/ s.iiind der al - ie
J="iiJ t
^ tf}zL*t£f
(//m.
I
m
1' Ji ii
i^w i r ^
5
Â¥
mon - arch, His life's last glow drank he,
Ze - cher, trank letz - ie ' Le - bens - gluth,
Then hurled
iind Warf
the hal - lowed
doi heiV - gen
-^
W
i
4t *U* ftf
- "if
»
■£&
»
5^
^^
^5
Lv_JlJ)
Â¥^E3^
?^
^
* I *
beak - er For down - ward
Be. - cher hin - un - ter
in the sea,
in die Fluth,
Far down-ward in the
hin - un - ter in die
ML-18-6
81
—0-' —
sea.
Fhdh:
^^^^^^^
m
k
d d d
m
*^
-9-^
"if
^'U J f rrrm
^
dt
J ij ni « II' ' iizi "Ltr
â– â– Se>.
* "fej.
m
v i t
^m
.j^i
He
er
saw it fall
sah thn stiir
zen,
fill
trin
ken
^^
W^F^
(^^
tff f y^*^ j=^
^
i;l l i j ^ j
'&S.
« ^
« 'iJa
f
sea,.
Meer.
n iilr^^irY^
f^
^S
^^
S
^=2iK
gs:^^
^
/7>//
U>^
^
M 1,-18-6
82
i
rit.
^
< M i J I i^' 1 1^' tt^ ^' ^''
Then closed his eyes, ne'er to o
Die All - gen tha - ten ihm sin
t=^
en,
ken.
'H' i t
Hf r> \ f$J^
i^jfr Vj T*^^
m
p rit.
dim.
^
I
-s
3 »'^' ^#-V^S5lb^«J^' W|i^
â– J
ST.
I
J' J^ J'' J^
'}m ' 4
And
Trn nk
nev - er a - gain drank he,
nie ei - nvn Trap - Jen mehr,
'H- itJ tJ i ^
1
EfeES
^
./*?'/
m
i
^^g
u:2:
> "^
Z7"-
V
a tetiipo
j^ J' J' J' I J
nev - er a - gam drank he.
trank nie ei - nen Trap -fin -mehr.
n * •■r 7 fe
^
^
[." 1 V
I
j» a tempo
%
^$
^m
M
t
^
i
/•/■/!
% % % % % ^^-^
T'*p*C"*p" *C" *C" *p" *C" *fa *b"
rir-rrrrrr
itTtr
;!zi
; 7iJ' J. : J ^^
rit.
-G-
^
ML-18-6
WANDERER'S NIGHT SONG
(WANDERERS NACHTLIED-
83
JOHANN WOLFGANG von GOETHE (1749-1832)
Translatedby Arthur Wvstbrook
Lento, molto tranquillo
VOICE
PIANO
= e=
(Composed in 1S4S)
{Original Key, E)
p aotto voce
FRANZ LISZT
ClSll-lSNti)
f) J) j> J' I [' r ^
w^^
Oer the tree-tops all is at rest.
Ue - ber al - len Gip-J'rln isi Ruh.
*
fe
73:
^
PP una rorda
T— I^
F^
I
jch
35=
s;
1^;
^
^
In wood and
lit al - Irn
W^
SM
1717'
-(S>-
r*
SH
S
(Cv /!?>
i
feS
*:
P
^^S
fe
i=^
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val - ley scarce a breath stirs 'mong the leaves,
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Traimlated by Isabella G. Parker
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85
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89
NIKOLAUS LEXAU itso-^-is.v.
*)Translated by Arthur Westbrouk
b) Translated by J. B Johnson
ROBERT FRANZ.Op.i), N'.';h
(1815-1892)
VOICE
PIANO
te?
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a) Turn to
Weil' auf
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w
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EMANUEL von CiEIBEL (isi5 - iss».
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To Frl. Louise von I'laten
FOR MUSIC
(FUR MUSIK)
I Orif^uial A'eyi
91
ROBRKT Fl?AN/„(>p.io, NV 1
Andante raolto sostenuto
VOICE
PIANO'
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DEDICATION
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93
WOLFGANG MULLER (I8i6-i873)
Translated by Arthur Wfstirc/ok
(Orifc'nal Key)
ROBERT FRANZ,0p.l4,N'.>l
(1815-1892)
VOICE
PIANO
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(WILLKOMMEN, MEIN \V:\LD!)
95
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{Onjiiniil K-y)
ROBERT FRANZ, Op.21,N'.'l
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VOICE
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DELIGHT OF MELANCHOLY
(WONNE DER WEHMUTH)
^2
JOHAW WOLFGANG von GOETHF (1749-1832)
Translated by Arthur Westbrook'
(Original Key)
ROHERT FRAN3,Op.33,N':'l
I IS 15- 1892)
Larghetto
VOICE
PIANO
con Pt'dale
^
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nev - er
wi - gen
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Ah! on-ly to eyes half dried from their
-4c7i ujtr ofewi halb - ge - track - ne - fen
dy
Lie
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be!
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weep - ing
An - ge
How bar- ren,how dead the world still must seem!
wie d - di\ wif todl die Wrlf {Jim ir - schi'int!
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THE ROSE COMPLAINED
(ES HAT DIE ROSE 8ICH BEKLAGTi
<Ongin'(l Key\
FRIEDRICH vonBODENSTEDT (I8i9- is9a)
'From the Persian of Mirza Schaff y )
Translated by George L. Osgood
Lart(hettO -Fervent and tender (imng; und zart)
101
ROBERT FRANZ, Op.42,N«?5
'1S15- ISKI
VOKK
PIANO
I
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> 4 i
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The rose com
Es hat die
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plain'd with
i?o - sc
hang
sich
ing head,
he - klagt,.
Her fra-grance all too sooit was
dass gar zu schnill der Duji ver
Copyriicht MCMII by OUver Ditson Company.
ML- 26-3
102
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Her fra-grance through my songs was
dass er diirch mei - ne Lie - der
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float - ing,
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And there would
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find a hfe e - ter - nal!
etc' - rrrs Le - hen ha - be.
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103
THE MONOTONE
(EIN TON)
(Original Key)
Tmii.slatfd hjj C.Hugo Luubach
Words and Musio by
PETER C0RNELIUS,0p.3, N'.' 3
ll>Sa4-lS7'il
VOICE
PIANO
Not too slowlyf£'/a'a5 bezvegf)
^1
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i hear a
Mir klingt ein
M Mr" p ^p^
tone so won-droiis rare;
Ton so wnn - der bar
It fills my
ill Htrz !()!(/
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er there.
mer - dar.
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heart, 'tis ev
Si 71 - nen im
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7s/ es der
m
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be
Hauch,
the last faint breath That stirred thy pal - lid lips ere death?^
der dir ent - schwebt, als ein - mal noch dein Mund ge - bebt? —
T— ]
J J l UiJ
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r r r
p^^^p^
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Oliver Uitson Company
MI,-27-3
104
^
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p M U r
Is it the ten - der
15/ es des Glock-leins
p \ r M ^
mon - o - tone
trii - ber Klang,
Of church-bell
der dir ge -
? r t' vr p ^M^
p ^ r" vr
which for thee made moan?
folgt den Weg ent - lang?
Lo, still it comes, so full, so
Mir klitigt der- Ton so veil und
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clear, As though thy soul were float - ing
rein, als schlbss -er dei - ne See - le
near,.
ein, L
Ml,- 27 -3
105
i
PP
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As though with love
als stii' - irest lie
:? r ? I f p ^' ^ I 7 r
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and yearn-ing deep
bend nie - der Du
You sang my bit - ter pain to
und sang - est mei - iien Schmerz in
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106
THE ASRA
(DER ASRA)
HEIXRICH HEINE <i;99 -iss,;-
Trnnt^l'itti'i by Arthur Wrstbruok
(Original Key)
ANTON RUBINSTEIN, Op. 32, Nv «
(1S:;9- 1894)
VOICE
fe
riAN()<
Modcralo
f
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Ev-'rv dav the won-drous love-ly
Tiig-lich i!,ing die wiin - der-sch'd - ne
h r J' I ff J' f ^
r ^' f ^' 1 ^ ^ ^
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Sul-tans daugh-ter paced the gar-den,
Sill- tans - inch - ter auf nnd nic - der
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In the eve - ning near the foun-tain Wliere the foam - ing
um die A - bend - zeii am Spring-brunn, wo die zvei - ssen
wa- ters whit - en.
Was-ser plat - schern;
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Ev - 'ry day the youth-ful slave stood
ttig- lick stand der jitn - ge Skla - ve
^
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In the eve - ning near the foun - tain,
um die A - bend - zeit am Spring -hriinn,
h
^
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Copyright MCMII by Oliver Ditson Company.
M L-aS-3
107
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WTiere the foam- ing wa - ters whit
XBO die wei - ssen Was - ser plcit
en.
scheri}.
Dai - ly grew he pale and
Tag- Itch ward cr hlrich und
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pale and pal - er.
hletch ujid hlei-cher.
Till one eve
Ei - lies A
ning stept the Prin - cess
beiids irai die Filr - stin
^
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p vr>. J, J' J' J ^
a*
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To his side
axif ihn zu
with hur- ried ques - tion. "Tell me, slave, thy name, thy coun - try!
mit ra - schen Wor - ten: "Dei )ie>i Na - nvn zi'i'll ich wi - ssen.
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Tell me of thy home and
dei - lie Hei-math, dei - ne
kin - dred!"
Sipf - schaft!-'
And the slave re - plied: "Men
Und der Skla - ve sprach : "Ich
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ma NEW YORK Pr-^^ r^ . .^_ , ^^
â– THE BRANCH :, -LIBRARY
t08
Tempo I
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Ma - ho - met,
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bv)i. iind niein Stamm sind jc - ne
As - ra.
As - ra.
Who in lov
zL'el - rhe ster
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GOLDEN AT MY FEET
(GELB ROLLT MIR ZU FUSSEX)
109
' Orti^tnul Kt-y*
FRIEDRICH von BODENSTEDT (isi9-is92)
(from the Persian of Mirza Schaffyi
Translated by Arthur Westbmok '
Andanlr
: f # ^ ^T^
PIANO
•. •- m.
^
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ANTON RUBINSTEIN, Op..U, \V»
( 1829 - 1894)
y
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Gold - en at my feet rolls the Ku - ra in mie;ht.
Gelb rallt niir zii Fii - - sstn di'r hra^i-sen - tie Kiir,
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iSEgg
Foam_ on the
iwt ta)i-zen-den
ding,
he.
waves_ light - ly ri -
Wei - len - s:e - trie
Bright
hell
Iv-
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sat
smiles alL in sun
la - chelt die Son
shine,
ne.
mem-
heart
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Copyright MCHII by Oliver Ditson Company.
110
v-^^
light.
Flnr.
^
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O
0.
I P r ^^ M ^
would this were ev - er a
Tvenn es dock iin - mcr so
^
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0,
would this were ev - er a - bid
â– weiin es dock iin - mer so blie
- ing!
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2 Sparkles red in glass now our Geor-gi-an wine, The wine — from my
JH Roth fun - kelt ini Glas der ka-che - ti-sche \\\in, es fi'l^f 'wiV das
3 Now sets the sun, swift-ly com-eth the night, My heart, like love's
.? Die Son - - ne gehi iin - ier, schon ditn-kclt die Nacht, dock meinHerzgleichtdem,
H
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111
zz
iirf
Love's hands soft glid
Glas 7net - ne Lie
stars so con- fid
Ster - ne der Lie
mg.
he,
be,
1 drink from her eyes _
imd ich sang' viit detn Wein^
Still in deep -en - ing dark
flawmt in tief - sten Dun
The.
ness Aye.
kel in
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lighL
ih
glis
in mine.
eke ein
dow
Bli
tens more bright.
ster Pracht .
o
0,
would this were ev- er a -
wenn es dock im-mer so
m
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O would this were ev-er a - bid
0, wenn es dock im-mer sn hlie
ing!
be!
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112
MY QUEEN
(WIE BIST DU MEINE KONIGIN)
iConiposed in lSfi4i
G.F.DAUMER(isoo-i875)
Trmidnted by Arthur Westbrook
JOHANNES BRAHMS,Op.32,N<?»
H833-1897)
Adagiu
YORK
PIANO
col Pi'd.
M Mr ^
s
H^
'er tliv sub-i
1
*
Ah, sweet my
TV'i'e hist dn
love, my gra-cioiis queen!
met - ne K6 - ni - gin,
As now, I've
di(rch sa nf - tf>
e'er
ly sub-ject
te won - ne -
iTT r •' I ^M Jm > F ^p M P' M ?
been . _
Dost thou but
Du Idch - le
smile, then all a - round sweet Spring^ is smil
nnr, Lenz-ditf-te xveKn durch mcin Ge - mil
ing.
the
Copyrieht MCMI by Oliver Uitson Company
ML-30-4
113
P
;i^^ ^' 1 ^ -' ^ g I Pm ^ \ '^ ^
g
i:
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wear,
Glaiiz,
Yet can it
ver-gleich ich
not
ih:
with thine
corn-pare.
Ml - gen?
Fair - est of
P ^^ M.^' P F? I
^5
?
^
flow'rs thoubring-est joy my soul en - tranc - ing.
al - les was da bliiht, is dei - ne Blii - the
Thou
won
my
ML -30-4
114
m
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queen,
voll.
thou my queen.
won - ne - voll.
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Tho' T might roam in des-erts drear,
Durch to - dte Wii - sten wan-die hin,
All would be changed should'st thou ap -
tind grii - ne Schat - ten brei - ten
Hr^ •/ i'lf; iiJ-' hj) It^i, iii^
r> I ff ^ff i ,i^
I
pear,
s-ich.
Fra-grance and sweet re-fresh-ing shade
ob filrch - ter - li die Schzmi-le dort
Thou_ bring'st me
ohn' En - de
SijA
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ML- 30-4
115
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my queen
ne - voll.
queen,
won
M Mr p i' ^ 1 ^
Â¥^^
f
r ^ F
c^n
f:
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In thy dear arms
Lass mich ver - geh'n
would re - pose,
in dei-nem Arm!
E'en tho' for
Es ist in
aye mine eyes might
ih7n j'a selbst der
"^M
fc,
p i' I J'- rp ^r^" ? V ''^ I 'T r
fc
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close,- Wert thou but near, e'en death's sharp pang would harm me nev - er.
Tod, oh aiich die herb - ste To - des - qual die Briist durch-wii - the,
/T^
fe
^
£
Thou
won
my queen,
ne - voll,
thou
my queen, my queen.
ne z won - ne - voll!
I
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MI.-3n-4
116
LOVE SONG
(MINNELIED)
(Composed in 1877)
(Original Key)
H.HOLTY (18-S-1S87)
Translated by Arthur Wi'stbrouk
JOHANNES BRAHMS,Op.71,N9 5
I isas-isit-ji
With much tenderness but not too slowly
(Sehr innig doch nicht zii langsam)
VOICE
PIANO
i V p r ii
fe
MJJ^i' J J i r- ",7 r i
P
sounds the song of birds When she roams 'the mead ows,When she comes with step so
klingt der Vo - gel- sang, zvenn die En - gel - rci - ne, die mcin Jiing -lings-herz be-
^^
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WfW^
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V- J • ; I « :
f r'r f r f *
:^ rfr \ r r ^
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light,
zwang.
'Mid the wood- land shad-ows.
wan - deli durch die Hai - ne.
i ,^,j: f^ ^
Co])yriirhl MCMl by Oliver DitsonConipany
MI,-31-3
117
P r jN
i
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£
Bright -er is the bloom - ing Spring,
Rb - fher blii - hen Thai tind Aw,
Green - er are
gril - ner wird
its bow
der Ra -
kf^ 3g-f
i
f. T T
r T
^
I !;; p- jil'ir r"^F ^' ^
ers, When, with
SOI, wo die
ten - der fin - gers' touch
Fin - ger met - ner Fran,
She
Mai
doth gath - er
en - bin men-
^f^
^
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W^iM
•~z:
^ ^.
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^
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ii
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flow- ers:
/a - sen.
But for thee all joy were dead, All eartlfs
Oh - ne sie isi al - les iodf, welk sind .
^^
^
^
bright-ness fa - ded
Blilt' und Krdu - ter:
E'en the glow of eve-ning sky
und kein Friih - lings -a - bend - roth
Were for
diinkt mir
S^
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MI.-8t-3
118
Leave, oh! leave
wol - lest mm
me nev
flier flie
er, Bloom sweet bios - soms of thy
hen, dass mein Herz, gleich die - ser
i
m
i
iJJ^J u
ST ir
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f r r
f r r
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love,
In my soul for ev - er, In my soul.
mog' in Won - ne blii - hen, m'dg' in Won
for ev
ne blii
Ml 31-3
A THOUGHT LIKE MUSIC
(WIE MELODIEN ZIEHT ES MIR)
(Composed ill ISSSi
(0 rig) mil Key, A)
119
KLAUS GROTH usis-
Trandated by Isabella G. Parker.
JOHANNES RRAHMS,Op.l05,N91
(1S33.IS97)
Tenderly iZart)
VOICE
PIANO
§
?
^
A thought, like mu
Wie Me - lo - di
SIC,.
en —
hold
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es tnir
f
^
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f
heart
lei
in soft
se diirch
con - trol,
"(ifn Sinn,
Like flow'rs of spring un -
Wie Ftiih - lings - blxi - men
S
w
^
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i
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^^
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fold
bliihi
ing, It
es U7id
thrill
sdhwebt
eth through
wie Dxift
my
soul,
hin,
TTr^-f
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I
s
$
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s
^
m
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CopyriphtMCMn by Oliver Ditson Company
MI. -32 -4
120
1^
It
und
Ji.
thrill
schweht
i
?
t
eth through my soul.
â– wic Drift da - hin.
^^
- P
J^ J. i' l
^
zac
But if a word— be
Dock kommt das Wort und —
Spo
Jasst
ken, Its
es und
beau
fiihrt
ty to
es vor
con-
das
9' jl^r
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spell
Ne
at once
£<:'/ - grau
IS
bro
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van
schwin
ish quite
a
ein
way,
Hauch,
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und
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MI,-.'i3-4
121
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van
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det wie
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way.
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^
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^li
sz
g
m^
In mel - o - dy
Und den - noch ruht-
deep
itn
t
J. l-J- J.
^
^
hid
den, A
me ver
fra
hor
grance lies
geii wohl
con
ein
ceal'd,
Bufi,
That
Den
±1
3
u
rrTrir.
#
W
S
^
bring
eth
^S^^r
m
i
tears
stil
un
I em
bid
den;
me
i
Un
tnr:
dim.
3^
^^
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122
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yield.
rvff.
m^
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ML-33-4
123
HKINRICH HEINE mfts issfv
Tninslutid by Louis C. KL^'iH
Slowly
PRESS THY CHEEK AGAINST MINE OWN
(LEHN' DEIXE WANG' AN MEINE WANG)
(Composed in 1S56 I
(Original Key^
ADOLF JENSEN, Op.l, NV 1
(1S37-I,SS9I
PIANO<
^
^
P
t
i^^A - ^f
rpg^
7 S
^
7
T
:^Z2
7
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p appassiofHffo
S
f^^^
s
^^
^
Oh,
press
(in'
thv cheek
lie IViDiif'
A
^
a- gainst mine own^
aiu mei - ur Wang,'
To-
dann
^
:±
±
S
^
t
^
Elk
^
geth
er our
ssen dir
tears
Thy -a
shall be flow
nen zu
men,
5
S
t=a:
W:
4
^
^S "S
f^
<'opyrie"tit MTMIl b^ chver I'lison CGni[ any
MI, -33 3
124
And
prass tliV heart
an mfiii IJerz
S
r p I f
^
close to m}' heart,
driick' fesi dein Herz,
To - fj;eth
dann schla
er the
^t'U zu -
//;
a
^
^
iS
j»
:S
SEES
flames shall be
saw - men die
glow
Flam
And
Und
when
7venn
in the
•in diV
i
^
^
J=J
■»■•*
TT ■»•
J^
f
-sf^
p p p ^
i I f
» »
■©-
H
i
glow
gro
mg
sse
flames at last. The streams of tears are
Flatn - me flicsst der St mm von un - sern
Hit
f j f f
I
I
i ii 1
^Nv-M
* 9 f $
i
THF
^^
y=r
MI. :i.) .<
12S
PP
g
5Ei5
^m^
^1
f
^ — #
throng
Thrd
IICII.
And, when my
und ivcnn mein
arm shall en - cir
Ann dich gfi - wal
cle thee
iiff^ II m
i
i
^
1 1 1_
W
I
if
=§
*
1^=^
9?Rg^g
JLX^.
i
i
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* *
p
t>^ — #-
t^< ^ y ~J d
^ #
:^
f*^ I like a sweet memory)
g
/O
a
^W
^^m
^E^
Oh, press thy cheek
Lehn' dei - ne Wang'
i
V \ >' â– ^
pp
a-gainst mine
(III met - ne
own! _
Wang'! _
5=
^
p
MI, -33 -3
126
WHEN THROUGH THE PIAZZETTA
(WENN DURCH DIE PIAZZETTA)
THOMAS MOORE 11719-1852)
German trun.slatwnby Ftid. Frfiligrnth
(Composed in 1874)
(Original Key)
ADOLF JENSEN,Op.50,Xi.>3
(1837-1889)
VOICE
*
Con velocitc^
sempri' p e segretamcnfe
PIANO
3E
S
it
J i) 1 ii ii i)
^m
t:
When thro' the .
Wenn durch die.
i^Ej
pi - az - zet - ta night breathes her cool
Pi - az - zet - ta die A - - bend - luft
i
una corda ain' al fine
§
Â¥%-
pdolct
i
^^
St
» 1 1
W*
^
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m
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y-^ — ^
a
s
5±:t
^ V y
^ 'ilS5.
*
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5
3^
f^HT
s
air,
ucht,
Then, dear â–
dann weisst
est Ni
net
net
ta, I'll come
<n, wer war
to thee
fe)z<i liier
'iis^. ^^ 'â– ^'^- * '^ * ^J^
*
'i^jT
*
Oliver I>itson (.'ompany
ML -34-5
127
* 'M
^ '^.
^ ^ 'X^ ^ '^â–
ji^
i
%
s
^
^
i
^
f=^Hr
As Love
^S
^
knows, tho' cloud
mor die Ve
a
ed, His own_
mis am Nacht
eve- ning
Jtr - ma -
^
m
^
f
r==^
^
-i
X
i
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>>
1
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#
* ^
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6Tr
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do
1
£-
'f Mr
^;^
^
star,
â– wcnf.
As
wie
Love
knows, tho' cloud
mor die Ve
ed,
ni(s
His own
rtw Nacht
m
m
m
m
53
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rf^
fr^
seen'
i ^td:
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u
do
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/>
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g
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â– &!.
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s
eve - ning star. .
fir - tna . meni.
% "^.
Ml. -34-5
128
* '^
m
^
^
^^
^
garb
SchiJ' - fer
then re
kleid
sem -
trag'
bling some g'^J-
gon - do -
6j' - gen
^^
^
P
y y
T
ir^
i*
^ y 7
\ 7 7
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Her,
Zeit,
I'll
und
whis
zit
per thee, trem
temd dir ^^g'
bling: Our
tcA: das
ML-;U-5
129
^
S
i^
bark,
Boot
love, is
ist be
near.
reit!.
m
n.
3EEEi
^
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x^
e
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koinml
while there hov
jetzt, wo Lu
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nen noch
a y
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do
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i
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clouds O'er the moon,.
Wol - ken um - ziehn, -
'Twill
lass
waft thee safe o -
durch die La - gu
^^m
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If V .
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m
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do
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ver yon si
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ML-iii-5
130
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ML- 34-5
ROW GENTLY HERE, MY GONDOLIER!
(LEIS' RUDERN HIER, MEIN GONDOLIER!)
131
THOMAS MOORE 11779 -issa)
German translation by Ferd. Freiiigrath
(Composed in 1874)
(Original Key)
ADOLF JENSEN, Op.50, NV 4
I1S37-1889I
Con lenerezza
VOICE
PIANO
sempre p e dolce
i
g
r r I f r
"^F^
^
soft - ly wake fhe tide, That not an ear
Fluth vom Rii - der spriihn so lei â– se lass,
on earth may
dass ste
^]f " ? ?
^^
f^
4— iJ"i
â– sempre p e dolce
^
SF
^
ffl
^
e
» 'Sis.
» L
J I J ^ J
:?z=
izr
^^
hear But hers
i()!S nur ver - iiimmf.
to whom
zit der
we glide!
Tvir zieh'n!-
^#^^^*
Oliver Ditson Company
132
m
m^
crvsc.
'«f
?^^
P Mr J J
^
^^
Had Heav'n but tongues to speak, as well As star - ry
knnn - (e, wie er schau - en kann, der Him - tnel
<-^. *
^m
^
5
-(5^
^
£e£;
^
# #
^
=F^—
_ what tales
^
eyes to see,
re - den, iraun.
O think
er sprd
che
.'twould have,
les wohl _
to
iwn
t^Jy ^i_^y
i \iii
3ffl[
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dhu.
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e
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r?-esc.
''•f.
t
ditn.
i *
^^
s^
tell
dem,
Of
wan-d'ring
Nachts die
youths .
Ster â–
like
ne
me!
schaunl
â–
i
^
1^
^^
2
^
cresc.
*
p
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r
rresc.
^
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3:
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•Sea.
'J^ *
A
i»,
^ ^ ^
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rt' tempo
Now.
Nun-
3^
r^^rT
f
5^
Htnng.e cresc.
^^
i'
i
g
<i£c5.
ML-35-4
133
thee here,
sten hier.
my.
metn^
i
gon
Gon
g
do - lier,
do - lier!
Hush,
In's
i
^
V
3;
* '^.
m
p do Ice
i
-«-
r_f; ' I ^ r r ' I ^ _
^
hush,
Boot
for
up I go.
i?!i - dry
go.
sacht!_
To_
Auf-
i
^:
-tt^
^ T"
zaz
climb yon
2!(>rt Bal
light
bal - CO
schwing'
height,
niich,
f^ I J J
^
F j
f
keep'st
hdltst
watch.
be
ten
low.
Wacht.
Ah!
^S
3P^
g-^^^
g
^r=^
r
^
THE NEW YORK PUBLIC LIBRARY
THE BRANCH LIBRARIES
Mi,-3.';-i
134
*
rtvsc. _
f P ^
g
"^r
^
±1
did
we take for heaven a - bove
ten halh so eif - rig mir
^
fe
r//
///.
But half
dem Him
such pains
lel
niec wir
as
iins
we
rveihu,
I
te
^
:^
^
^=n
s
-.»T» -
"i/
i
dim.
W
3^
^
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^
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s=#
V J' p
^
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^
Take, day_
fl Is scho
and night,
«er Wei
for wo
6er Dien
fe
i ^i ! i
j ^ ^^Ti
mans
ste,
i^
rrt
#
i*
M
1
1 f —I
^
£
^
rtvsc.
Q-
^^
J ^ J
^
love, what
traiiii, wir
an - gels we ,
klitin - ten En
should
gel
be!
sein!
W
i
^
^
fe
f
t^^SZ
^?
^
n^
^
^^^
rresf.
-o-
">f
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ii
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"^ *
•iSia.
*
fe
^m
f
Irntando
%
^. *
F
f
*
^. *
'J^.
M I. -35-4
♦'HEINRICH HEINE (1799-1856)
Translalfd by A'a/atia Mm-farreit
VOICE
Moderato
WH Y?
(WA RUM?)
(Composed in ISi'iIt'
135
PIOTK ILYITCH TCHA'iKOVSKY
Op.ti.N'.T)
(184I)-1S93)
PIANO
*
fc
tSEEE
r r- J ^^v r r
^^
t^i:
^
^
Canst thou an - swer me this, oh, my dear?
s'u - sses Lieb, kaiuisi du sa - gen mir das?
*f
V Why so heav - y with
V Wa - )'iini siJid dinn den
tii % i i t i ii^
iiiiii iiiH i
tt^t^
n \ ' t
r ^^ ;;;;^
^^
^
^~
3=^
^^
:£EE
r ^ r r r,
d' ^J
tear - drops un-shed
Veil - chen hn Gras
1
V Doth the vi - o - let droop her sweet head?
V wie von Thra - nen die Aii - ge - lein nass?
i^<!^< l ^ dmudM_M_^
il l I " i ' " ' 1 I i 11-
^
^PFiF 3J:|;?^
:^=it
^?rT7i1i^
^
m d m
+ ' Tlie retentidn nf Heine's original text is not possible as the composer used a Russian translation in a different metre.
Olner Oitson Company
M I.- 36-4
136
m
^
^
^^
^3i
V Why are ac - cents of sor - row and wrong
V Wi -â– rum font mU so trail - ri - gen Klang
F
^
V Thr ill- ing loud in the
V aus den Liif - ten der
h >vj l^fCTg
m^
s
^=^
g
s
^
^
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cresc.
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Why, oh, why are the green branch - es bent
Wa - rum rauscht in den Ban - men der Wind,
lark's mat - in song? V
Ler - che Gc - sang? V
1
P f pr ff
r ?r ^L^ Jjj :\
^^
^=^^
^
cresc.
^
ff ir f ^^p l r
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1
if t f f tttt .m
t^
i
£
A
< Tf " '
?
S
f ^r P
i
By the wind with a sound of la-ment ?
als oh kla - gen - de Stint - men es sind?
V WTiy so cold shines the
V Wa-rum bltckt denn die
tu yj ^^ ^^ m
a=*
fe
iiiiiiiiii
E^^
(
^
1
-^
p-
^ii j-^ ;- j^ J .
J' J^ I. p J' ;>
s
sun in the sky,
Son ne so halt
V Bring-ing glad-ness nor glow-
y und ver - dros-sen her - at -~^
-^from on
__,^ atif den
I f^f i Q
ft
^^
m
p
dttt
M L-Jtl-
137
F^
'^
^
^
s
high?_
Wald?.
V \\'Tiy so grey
V Wa - rtinx ist
is the earth,
denn die Er -
and for â–
de so
I
Â¥
s
s
s
^
lorn,
grail
V Why so drear - y
so o - de,
wher - ev
wo - kin
^.String.
er
ich
I
auch
fc-af-
g
u
=^
i
dark - en'd by fears?
selhsi denn so weh?
s
?
1.9.
3
i
"Wliy must I too see
Wa - rum Al - les durch
^^m
J j J rr .^ -, - , ^
-* V V * — i — 9 — » -
^
t;^-
^â–
^
M I.-3G-A
138
rit.
^
Ml'710 mosHo
^
^
s
^
Ite
all
things thro' tears?
ncn left
I, s<Jt ?
Oh, my
Sprich 7ca
love,_
rtim. _
VI am
. sii - sses
^E^
i
i i i i
sl=^
^
# ^ 4—m
*
S S S d
I
rit.
m
ff
P
f t i i ^jTTl ^
j«-
\% % % % < =F
l.#^
^^
:^
^
^^
-15'-=-
^
^ ^
part- ed from thee,
Lieb -cheu, o sprich.
•
ktn
sen
V say
V v:a
why hast
ruoi hast
thou
du
for - sa
ver - /as
I ^ < i i Hi A a {^
^^=9
3:
■* 9 W W—9 — W
I f I I < r
*^f^
•r-^ii ^jTl ffl i[g
n n M ^'M M ^
^^ I ^ I I i '
f
r/ tempo
-o-^
me r _
ntich? .
motto rit
a tempo
1
i' ii^mui^
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I
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Ptftffft
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UM.
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M I4-31J-4
NONE BUT THE LONELY HEART
INUR WER DIE SEHNSUCHT KENNT)
139
JOHANN WOLFGANG von GOETHE ii749-i8,S2i
Translated by Ai-thurWvsthroiik
i Composed in 188!* i
(Original Key, D \>)
PETER ILYITCH TCHAIKOVSKY, Op.6,N96
Andante non tanto
PIANO
^
-f-T^
^
p espressjvo
^
m
:i=E
^1
-o-
J J J ^
?^
^^
u J
V=L"i ^P - - ..
Ml
^W
J' r r r p
S
^^
^=^=^
a
P
p es press iro
i
None
Nur
but
the
lone -
Sehn -
ly heart
suchi kenni.
g^
»
f
^^=^
*=*
*^
-^
^
^^=^
-o-
3x:
3x:
35:
-o-
^
fcE£
^
f
^
^
Can know my sad
zveiss, was ich lei
ness;
del —
A
Al
lone, and
lein und
1^^ j I
# 5^ * ^
^
i
fe:
^
F=Â¥=
:t=S;
1^^^
affi
3
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s
v^-
jch
w
Conyrijcht M'~MI! hy Oliver Ditson Company
ML-2101-4
140
t^^^TTT
^
pan - ed far From
ah - ge-ire'}\ni von
joy
al
i^l 7 j J ^
fe
3
and
ler
glad
Freu
ness.
de.
1 i i ^^
^
S
f*
/<
i!t
m
t=t
DDE
T
-&-
w
p
£
t^' J- ^r
i
Heav'ns bound -less
SpK' ich an's
un poro marcnto
221
^
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^
a ^ £
N il I f
it -^ -B.
^
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w
iz:
^
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g
«=p
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5
arch I see
Fir - ma-meni
Spread out a - bove me.
nach je - ner Set - te.
Ah!
Ach!
what a
der mich
S
'±
^
m
X
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^
%l
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tance drear
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To
isi
who
der
loves
Wei
me!
te.
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Can know my
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ness;
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and
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Freu
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ML-2101- 4
142
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jyy molto n't.
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From joy and glad
von al - It r Friu
ness.
Afi.
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My sens - es
Es schwifu-delt
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molto Hi
a tempo •
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fail,
wtir,
burn - ing
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fire
Ein
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m
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Jt? fl- tempo
X
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lone
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sucht kciint, weiss,
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ML-3101- 4
PAUL COLLIN
Translated by Alexander Blaess
Moderate
DISAPPOINTMENT ^^^
(DECEPTION)
(Composed in 1888)
{Original Key, E minor) pjQ^j^ ILYITCH TCHAIKOVSKY, Op. 65, N92
(1840-1893)
PIANO
i
S
^S
p
V^=^
ii
is
i
piu f
n
M
m
T^^
t
^ • ~ — --■-
M
T-
p
S
S^5
r JF=^
* m
m
While the sun shines in wont - ed
Le so - Icil fa - yon - nait en -
e^
i
s
^^
p
V-L l ' | ^1jbJ
gi
^^
ii
i
/JjB
^
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f=T
y:
^^
^//>/
^
"if-
f! N^^r i r (I ^
^
fain would be - hold, \\ here in bliss our
voir !(s grands hois, on mous pro - me
splen-dor,
cu - re
The deep woods I
J'ai voti - hi ra
ggj
^
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&
m
^
«
g
d:
^
^
w,
^^
/
^
F^
lr~^
^5^
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v=
love we first told 'Mid sweet pledg- es and dal - lying: can-dor. Thought I with
nions ait - tre - Jois noire a - niour a sa belle an - ro - re. Jc me di -
SEEf
?=^P
13
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C'opyriflit MCMII by Olivf r Ililsoii romp.nny
ML - 3S - 3
144
iJ*
| 7 • Q
^^S
i' I i- J ' J' J'-
^
cheer;
sal's;
"My love I'll meet be - Iqw the nod-ding beech - tree yon - der,
"Sur le che - min, je la re - irou - ve . rat sa7is dou - ie,
f
— P
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w^^^^m^
A - gain rove through thick - ets dis - creet, Our hands en - twin'd in
ma main se ten - dra vers sa main et nous nous re - met
,*
&
Et
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"if
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Yet I
Je re
si - lent won - der."
irons en rou - te'.'
seek thee, my
gar - de far
love,
tout.
in vain!
En vain!
nt.
Tempo I
5
^
^±ic
^^
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m 9
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call thee!
fel - /e/
but si - lence mocks my
Et Ve - cho scul in'e
fte
i
^^=^
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plead - ing.
con - tel
~^
Dark-ness fall - iftg o'er
0, ^g Pau - vre so â–
^
t
^
ff
5»— =
ZTZL
poco
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44
r> - —
•.^.n.
ML-3S-3
146
±*=
p 1? I r ff n H' ^ ' I ff ff n^
fp^
While my
0. man
heart's to
pauvre a
death slow- ly bleed-ingj That thy trea - son our
niour, quel dom - ma - ge si vi - ie -per
ML- 88- a
146
AS MY DEAR OLD MOTHER
(ALS DIE ALTE MUTTER)
from the Gipsy Melodies
ADOLF HEyDUK(i835- ) (Ori'^iniil K
Translated bi/ Isabtlla G. Parker
Andante con moto
'â– '.n
ANTONIN nV0RAK,0p.3.-),V.' \
(IH41 - 1H01)
fe
PIANO
ItK
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^
i
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m
^
m
^
JciA^
m
W — HH^
m
f ^' m
dim.
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^:,»-^*^.a^ ^
^
J^«=
f^ff f
^
tdlz^
^S:;^*
'^.
^^*
^^.'
'1:^.3
^?
fe
j» mezza voce
p r ji i J <j
^
As
Als
my —
dear, old-
al - te.
moth
Mut
er
ter
M
^
^^
5
^
22
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b
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f-lf
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fe^
Vf I
^&^'
*'^'
^^^.
s pir O I r O I rfT~^jiai g
Taught her ^ chil - dren,_ sing
niich noch lehr - tp -
S
Song-s that
Tlird - ue)i
s
from_ her_
I n di'n _
m^
I
^1^
^
Se
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eve
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ffar
SO oft were bring
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Copyright MCMII by Oliv.-r IiUson Company
MI, -39 -3
tf7
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dren
neii
Those old.
sel - her
songs re
ilb' im .
caU
San
S
Oft
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self's
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flow_ the_ tear
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brown cheeks fall
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♦ Alternative text
\|l. 3i> a
158
ELEGY
• ELEGIE)
LOUIS GALLETa835- >
Translutfd by habella G. Parker
very expressive and dejec(ed
Sadly and slowly [ Tnste et tris lent) . (tres jxpress^f avec accablement)
JULES MASSENET
1S43 . J
VOICE
PIANO
T — rr
E
^
^^
^
O, gen - tie spring-times of yore,
O doux prin - temps d au - ire -fois.
!#s^
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m
y
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nt<'- pru r
5aL
P
3
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nif expressive and sustfdned
(expressif et soutenuj
!*
jC
r p - Ji-
^
^i^jj ^' ji^^
^
^
i
So fresh - ly green,
Ver - tes sat - sons,
mm
mf
How ye for-ev - er are fled! I see no
Voiis a - I'cz fiii pour toxt - jours! Je ni iwis
fe
^
m
^
i:
*
wm
^Ei,
^m^
t^ *
p
pp
i
i
^-n;
^
â– f ^
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espress.
=^
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«£-
1
^
^
songs of the birds full of
les chants joy - eux des oi-
more Heav - en's blue;
plus le del bleu;
I hear no more
Je wen - tends phis
m
^
^
cresc. e animafo
^
^
seaiixl
Bear - ing with thee all my heart,
£71 ewi - par - tani man bon - heur, _
Thou,
my be-
bien - ai
topyrisht MCMII by Oliver Ditson Company
ML-40-8
poro a poco
En rcfenanf heauroup
ditH.i' n't.
149
^
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p
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* — 0-
loved, thou art gone
me, til i'en es —
from me ! Now
al - Iv! Et
all m vain doth the spring-time re â–
c'est en vai)i que re -i' tent le prin-
^
^^
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turn! Yes, gonfe for
temps! Out, sans re
ev - er with thee,
tour, a - vec tot
Sun - light so gay,
le gat so -leil,
m -N J j i
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s=f
a tempo • '"^
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favec d'outeuri
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Bright days of glad - ness are fled. How in my heart all is gloom -y and
Les jotirs ri - ants sont par - tis! Comme en man coeur taut est sombre et gla-
i
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i
Allfirgando
P
m
^
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cold! With
eel Tout
k
ered and dead.
est fie - iril _
ev
Pour_
er - more!
toii - joiirs! .
Allargando
f
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ML-40-S
150
RJORNSTJERNE BJORNSON usss-
Transliited bij F. Cordfr
FROM MONTE PINCIO
(VOM MOXTE PINCIO'
XOCTURNE
(romposed HI ISIOi
EDVARn GRIEG
(IS 13 -1907)
VOICE
PIANO
ife
Poco Andante
JL
s
^^
g^
f^
ho-
IS
-o-
?n=
-o-
-o-
Eve-ning how ten - der!
A - bend wie mil - de!
rresv.
^m
3f=r
^
s
-(9-
^
^
:?:
^
Sun - set how red!
Son - ne wie mth!
^^
Ail with a ro - se - ate
Al Ics er . fiillt sich mit
glow is en - light - ened,
far - hi - gem Glan - ze.
f
-&~
?=f
f
r
m
'W
cresc.
-&-
-o-
9 «-
-O-
-O—
*
*
Bask - ing in
schruel - gend tin
sun
Lich
shine, the
tp ver
moun - tain is briglit
kldrt sich das Gan
to
ened,
ze,
3::
s
f
w=r
i«
"Â¥
pm cresc.
^
-o-
-o-
^
— o-
o
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*
Oliver Ditsori (Vimp-Tny
ML-4I-S
151
prff^
dim.
Rapt and se - rene
kl'dri sich der Berg
as the face of the dead
wie ein Ant - litz im Tod
i
1*1
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i
^^
a
u
-^ A
mm
• t>* 6
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pp%m poco mon.so
^- ^^\:/-
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r ^ \^ - =^^ r [T F
Domes in the sweet-scent -ed dis - tance are gleam-ing,
Xu^ - peln in diif - ti . ger Fer - ne er - glil - hen,
Mists blue and grey o'er the
blau - schwar- ze Ne - bel die
S d d- «• 0-
^
^ j i ii I I
t
^^
i/n vara moHW
f f 'f f-
'^
#=#=^
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^ 'Xc^.
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tpatMfo t' cresc. molto
'^. 'H: '^.
MI, -41-8
152
H
Vivo
m
Gleam-eth all red and warm,
Al - les glUht roth und warm,
J' i J n F r ^
h ^i J i
Eve- ning falls, peo - pie swarm-, Moun-tain horns
A - bend-schein, Vol - kes- schwartn; Al - les gliiht:
%
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pU-ggiero
sa
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poco rail.
n\
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sound a-bove,
Horn - mu- sik,
Flow - er - scent,
Bhi - »ne?i - duji,
looks of love.
het - sser Blick.
^
n\
k<k^
^
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^ '
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m
i
j0&6'<? rrt^//.
fe
fTs
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Sempre vivo
^ o> -
— cA-*
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s
i
?^/^ ^pcro r?/!
E
^
^
AU heart could wish gleams and
Al - les be - gehri, rings um
sounds sweet - ly
strahlt und um
near us, Yearn- ing for
to - net, sehn - lich nach
w
m
m
^
T TT
^^=XX
m
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±
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^
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4
un poco ' rtt.
4=^
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Presto
beau - ty to cheer.
dem., was ver - soh -
us.
net.
m
f f
'-<K
f^
ti
^^^
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p leggier^
1
^ "
^
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^-
ML -51- 8
153
''^ hj J j
r M r E? M :
Gleam - eth all
Al - les gliiht
red and warm.
roth und warm.
Eve - ning falls,
A - bend-schein.
^'H' i A
k Ji hi J 5
^
^
^
peo-ple s^varm;
Fb/ -kes- schwarm:
Moun-tain horns
Al - les gliiht.
sound a-bove,
Horn -mil - sik,
m
J=i
SI
a iJlW
ft
PP
ft
m
i
morendo
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Flow - er- scent,
Bill -tnen-duft,
looks of love.
hei - sser Blick .
n k. f f I
f=t
t=t
^
E
»*
PPP
m
lEt
a
E
hi
#-#
'Jej^'
*
.MI,-4I-S
154
i
kk
Andante
P
^^
E
w^
^=i^^\i^-^
Deep-ens the still-ness, dark-ens the day,
Sfil - ler mill wird es, cs diin-kelt das Blau,
i
f^
ho-
31
FT
^
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p
nf^
PP
^te
-o-
-o-
-o-
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cresc
r r ' ^' r
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rjff p r •J'
^^m
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And, from the ghosts of the past thus be- hold- ing,
und aits «f er ddm - mem-den Vor - zeit Ge - stal - ten
Heav-en is sure - ly the
siehi sich der Him - mel die
te
^
9^K^
-x:
'â– ' 9 O
^
w^
cresc.
^
piu cresc.
-o-
-^
-o-
-o-
-o-
'je^
*
p
^
5
^
dim.
rT~rT
5=
^^
fu- ture un-fold-ing, Shim-mer-ing vague-ly in gath-er-ing gray.
Zu-kunfi eni-fal - ien. iin - si - cher schimmernd in brii-ten- detn Gran.
fe
3
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Ml, -4) -R
155
i
kfe
pp poco mosso
nv^
r/vsti molfo
T'^ r F ^ p ^^^
r r I r r ^^^-^
But, like a bea - con, will Rome one day wa - ken,
Dock, ci - lie Letich - te, wird Ro - via cr - star - ken.
Bright- en the dark- ness of
hel - len die Niicht von I
pi^Uii. kd
m- m
n
f
lEEf
f^^^^
^jp poco mosso
rresa molto
i
f f ^f f
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f f r r
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5
PP sfrcffo (' molto cfesc.
£
WM-
r ^ r
^s
?^^
It - a - ly for - sa - ken; Toe
ta - li - ens Mar - ken; Glo
sms
cken
will ech
ge - Idu
o and
te, Ka
/0\
fr") F r p ^i[j.nr i h'1^,11^11 i^
^
r r F
tt¥
can - non will roar!
no - lien ge -dviilin!
Fierce-ly will blaze out the spir- it of yore.
Flam-mend wird wie-der die Vor-zeit er-stch'n.
^
0^^^^ —
'^^'-"^^^i^-:^ 1^,^.*
M],- 41 - S
156
m
Vivo
^
m m
E
Wed-ding' strain, sound a-main!
To - lie denn Hoch- zeit-sang,
jij n r" r ^ I J) ^ji J /
Flute so gay, zith - er play!
Zi - ther- spiel, Flu - ten - klang!
Out of time's
Gib von der
i
1^
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I
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f %H * ^
I i I
JF=T
f=f
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poco rail
m
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fei
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scroll im-part
Zet - ten Blind
Hope to the
Gldii - bi - gen
trust- ing- heart!
Her - zens-kund!
i
^
^
44-
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u,
p
fezrrs:
W
E±i
r^^^
i
poco rail
2=i_tL
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ff
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un poco rifard.
Fff^
^
tes^
It - a - Iv,
Sehn - sucht I
I, Q
look to the
<a - ZV - as
blest goal un
trail - met vovi
sha - ken; Ten - der - er
Zie - le, wach wer - den
w
V \^ \J
m
*»-
^fe=^
# # »:
s
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m
?/// »(:/ro ritard.
f J J
f
J «-
'^^.
^
'ic^. *
g;^^
Presto
?
feel - ings will \va
sanft' -re Ge - fiih
ken.
le.
157
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imd
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jm 1^
m w — m
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^i Am'
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'^.
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*
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* ^J^.
^''â– i-"7- Tv^' ^^
Jj ^Ji J / 1 jj ^w^
Wed- ding: strain, sound a- main!
To - lie denn Hoch-zeit-saiig:
Flute so gay, zith - er play!
Zi - ther- spiel, Flo - tcn-klaiigt
I
IS'
m
^
^
^
5
^T^
*
*
C\^;
•^.
i^^
^^
^^
ii^
morcndo
%
m
p
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m
Wed - ding strain,
To - ne denn
sound a - main!
Hoch - zeit - sang.
â– Flute so gay,
Zi - ther- spiel,
S
f
ES
5
^
if
morendo
S
s
e
i
^
« — #•
nz
i^t=g
i^^
zith - er play!
Flii - leu • ktaiigl
^»■^- ^1*'
5?:
3W
^
3fc^^:
[[^â– m
m
ppp
s
f=i
m
^
i??^
=^i
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^JSii ^/ Fine
ML-41 - 8
158
J. PAULSEN (ibsi- )
Truiislatrd by F. Cord' r
THE FIRST PRIMROSE
(MIT EINER PRIMULA YERIS)
(composed in 187t; \
[Onuiiiid A'ry)
EDVAKD GRIEG
( 1S43-1907)
VOICE
Allegretto dolcissimo
PIANO
i^ftor^
g OLrj V4i ^^
^
g
â– B
mm
-* Y — ' r ^-9 r * y
O take, thou love- ly child of Spring, This Springes first ten - der
Mag dir, du zar - fes Frith - lings-kind . dies er - sie Bliini - chen
fe
^^^
â– 0
P
^^
^^
T
h
■0- — «
-V
1 ' ^ ^ h
W^
^
fiS,
»
^
;t
r
^EE^
"^
te
s
r I Lr "P
=1
ff r <
;^
^
=;^
flow - er. De
Jroni - riieii. Etti
f^^
spise it
pfang' PS
not
gem,
that
ver
la - ter on
sclimiih' es nichf,
m^
$
^
Fair
4j-^r jv
»5i=^
^r^
— = — '-0 — «#-
TTI^
I
K-
f
^
E
:e
r
P^
» \
^
£
£
£
en charm, In
mer . zeii, der
#N^^
au - tumn hearts are
Hcrhst er - qiiickt das
^hFR
Herz, -
^
^^m
But
der
f >ii^^
:£:
i
♦ ♦
^
^
Oliver Ditson Company
ML-43- 2
159
^m
poco ht.
^
s
;> I J I, J'
Spring is love
Lenz doch -ist
li
der
er
Won
^
than all,
nig - stc
The
mit
1
time of
Lie - bes
IX
:£
love and
Inst und
m
w
s
^
n
^
^
^ r ^ ^ ^ r ^ ^
— # ^-0" 0-
^S
?^
r
f
r
F^
r
/^ ?jp
a tetnpo
g
^^
^^
s
?
^
thee and
uns, o
me,
hoi
O
de
dear
Maid,
t
est maid,
er - gliiht
The
des
az
V
:£
p^^^
a tempo
PP
h^
\-^
^m
X
^
^
9-0-
s
///,
!/â– :
r ^ r-F
Then
E
i
litrht— of Spring: is*
Frilh • li)ti^s M'lr - ge)i
g^low - intj;
son - IIP,-
take the flow'r and
nimm die Blunt' und
W
'^^
i
h
P^
^
3 i ^
f
^
h J 1^
^^EE^
"f^
i
s
p^
ftt
tf|!
r
f:
r
rf/»». ^/ ^orfi* r?'^
P
5=5
^
^
ture yield, Thy heart on
da - fiir dein Herz tnii
^
W ' #
be
me.
sei
^^=#
stow
Won
ing.
ne!
^^
f ^ ^ ^
r//!
7=
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^
^
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ML-4S-2
160
A SWAN
(EIN scm\^\N)
(Composed in tS76)
(Original Key)
HENKIK IBSEN (isas-1906)
Translated by Frederic Field Hullard
Andante ben tenuto
VOICE
PIANO
J
^
^
£
^
5=
£
^
My swan, my treas - ure,
Me in Schwan, mein siil - ler.
^W
P'
^
•^
%
ED YARD GKIEG
'IS43-1907)
^
n
piup
^5
With
mil
^
3
^
Mir r
^
£
^
â– ==Â¥
^
snow-y -white feat h- er, Of his songs sang me nev - er A sin
â– wei-sscm Ge - fie - der, dei - ne won - ni - gen Lie - der ver - rieth.
i
i
E^
gle
kein
S
\PP mnlto
d
^
IS.
q,^
3 r
â– aHo
I*
i
2
^
f^
^
,«?>
^
^
s
s
meas - ure.
Tril - ler.
^j n
J — ^
Shy - ly fear - ing the
Angst -lich sor - gend des
m
^
dolce
poco amniato
PP
^
i
^^
lirf"
-f
^ J' J' i^ J 3
rtt'sc.
g
Mr ^ ' p
elves in the bush - es.
YA -Jen ini Griin - de.
Gli -ded he, list -'ning
glittst dii hor - chend all -
Copyright MrMII by Oliver IMtson rompany
M L-43-2
161
$
p M'' r r
there 'mid the rush - es.
zeii in die Run - de.
J' agitato
t i y p i P' ^ r J'' p
And
Und
yet, when death came And
dock be - zwangst dii zit.
Pi\f
Ty )
^ M J ' r p Jm p "f^ J' r ^
;S
^
/•/^
r>
5
part-ing a-larmed me, With sweet song he charmed me, And
tetzt michbeim Schei-den mit trii-gen-den Ei - den. ja
song-
da.
with death came!
da sangsi diil
^
*
i
r^
piuf
m
:^
i
:zi?
^
* Vk
â– - ^
tranquiUo
i t fh J'i J! J J U ? Tj) | J'i Ji J> J J I v i J^V'f; J^
And, with its ring -ing,
Dit schlo-ssesi sin - gend
His spir- it passed on, then.
die ir - di - sche Bahn dock,
He died While
du starbst ver -
I
2
f
5g
^
^
y?/? tranquillo
-or-
S
^ p
-«
ez2
77
3^
I
i^
i^PK
5l
/O
Lento
m
i i 7 J) I J ^ m
sing-ing.
klin-gend;-
Was he on - ly a swan, then?
citt warsi ein Schwandochl
-9 •-
^
2SZ
o
s
A
a swan, then?
ein Schrvan dock!
^m
Wf
w^^
^wz
ML-43-2
162
AT THE BROOKSIDE
(AN EINEM BAG HE)
(Composed in 1S80)
A.O.VINJE (1818-1S70)
Translated by Frederic Field Billiard
(.Original A'y)
EDVARD GRIEG
OX43-1907 )
VOICE
PIANO
i
r
A
Poco Andante
S
^^
^
5EE5
Fair
Da
treles,
Wald,
that
dcr
hang your heads and bow To
sich hrr - u - her bicgt u>id
U
^
it^ iiiM
p
'Ah'>i
0.
it
m m
ii'i iii^
^^
f fylffyf
f
3
a * * :
c^T? Puddle
J'' J^ J^ f?
^
< M ^ .^ -I' ii J^
33
E5SS
^
kiss the brook, so dark and still,.
kiissi den schivar-zen Bach so still, .
Which un - der- mines your
(/'?â– nagt (in dei - nem
iivi^i^
"TT-
^f^f f f ~r
^
a=s=a:
at=^
Â¥ ;'â– ij
]\ J' H b J' . ^^
poco
^
roots be - low,
Mark ver-gniigt
And to your down-fall bends its
II nd tivf hin - tin - ter zieh'ndich
^i y I y p i p y p
Copyright MCMII by Oliver Ditson Company
M L-44-3
163
piu fflOSSO
r I p F ' r
^
^
Like
gle.ich
you
dir
full
hab'
ma - nya one I've known,
Man - chen ich ge - kannt
Â¥ t i . J.
^^ftff f y f
f f y f f f V f
t
t~y $ i i y $
^^-^ mm^mmammmmmid
M
P '^ F F P ^ F
±1
»^=
^1 r p ^fT p^^
s
£
WTien Life
Im Lphz
was Spring, and hope was fair,
dcs Le - bcns.friscli ii)id rotIi,_
*fc^
3
^
"^ t % y f '^1 ^^
1^^=^
f
I
^^=r
w r
â– ^â– i^HMd
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tf
# #
# #
4
F F P ^ P
i
g
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â– ZE
e=^
ifc^
-^^ »
â– tMHBHMt-
dtM
molto
JL
i J I 'f ff || J^ J'' p I r f^'ir < r
Whose
dey
kiss -
es warm - ly
se driickV aiif
met mine own,
je - ne Hand,
To
die
M L-44-3
164
m
poco rif.
molto
itiolto
A
Pllj^ l j' i? I t^|?l|
^
bring.
Wch' ^
but grief and dkrk de-spair,
ihm hrachV und bid'- ren Tod,
Grief
Wi'h' -
tf
fpiu rif.
^
^
Tempo I
pp '^ri r Up I '^ _ ^
and dark de - spair.
itnfi? hitV - ren Tod!-
i
#-^
cnntabile
^
^Sy
tranquillo
I
JTTJfl^
S
s
g
^r^fi'fr^f
â–¡3^^^
!*W 3 fc'
I'^'TiT %
f
/?/?/ r//!
\^
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y
^
B
' ^^17 3-
3
-p-y
m^-r
mm' m m M ' d
-o-
XT
'^.
'^.
tranquillo
^
P
i»
#
i?/»
fe
-^:
aJtL
-/On
^
3^
33:
3SI
i
^^
Fair trees L
Z)u WaldL
Fair trees L
Pkir trees! Fkir trees L
Du Wald! die Waldf-
Â¥ V]:.] J
i
^
0\
jCfZ
f5
f
aiSs
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ix:
F=^
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-o-
M L-44-3
THP] OLD MOTHER
(DIE ALTE MUTTER)
165
A. O. VINJE(i8is-i8T0)
Tranxlaterl hy KCurder
(Conip()s>'d in ISSO)
{Ori^inul Ki'y')
EDVARD GRIEG
C 184 ;i- 1907)
VOICE
PIANO
Allegretto espressivo
P
n J-' ir r r
5
£
^
5
My dear old mo - ther, poor thou art, And toil - est day and
Uu al - te Milt - ter hist so arm, und schajfst itn Schweiss wte
?>lf
S^^^^
^
P
5
night,.
Blid,_
But
dock
ev
im
er warm re
mer noch ist's
mains thy heart, 'Twas
Herz dir warm, nnd
rresc.
S
P
£
fi
m^^^^
of stur - dy
sen wil - dei
I'"' I f r
thou my cour-age didst im - part, My arm
du gahsi niir den star - ken Arm und die
might
Muth..
f
b J iij.
m^
—6^
^
r tk ' ^f f:
T^-
crest:
.ff
-&^
-G-
Olivf^r Ditson Conipnny
ML-45- 3
166
^
P
i y i ]) I p ^ ^
S
Thoiist wipVl
Du rt'tsch
a - way
test ah
each
m
^
nww ^-
f
5
5
^^^
te
tar?
r
^
si
f
^^
f=
#
^
»^
h y ji
s
s
?
child
Thrd
-m
ish
tear
me J II,
When
was
sore
dis
trest,.
bang,.
^
^
i
5
s
And
Und
w
^^^^^^
r I
$^
m
f
^
i
^
s
rresc.
^
S
^
/
£
^^
f r ^
ban - ish fear From ev
Brusi kin - ein den sie
s
'ry man - ly
gps - fro - hi' II
*
T^-
m
^ ir T T T
mm
fc
breast
Sa ng.
fc
Wf
5^^
-ZT'
ML- 45-3
167
^
I IS JL-^ t. ^ p
^
And more than all, thou'st giv
Z)tt gabst niir, nas br
^
S
en me
ligt mich,
;> J J'
'</
i^ r J^' I r ^
?
3^
true
wet
*
and ten
che • Herz
der
da
heart;.
So,
drtan ,
dear
old
ie,
moth
will
m
1
er
ich
^
S
S
tt*
=55^
**:,
:?:
S
^
A.
S
?^
*
^
rresc.
5
£
^ ^ Lr-^
I'll love thee Where
lie - hen dich, wo
*
eer my
hin mein
foot may
Ftiss aiick
wan
rich
der
tet
free,
sich ,
^^
^
Till
wohl
f
T'
ff
!
crest:
â– ff^
r
^p
f
5
/
^^
3
r r ""'If f^
death our lives shall part.
son - der Rasi und RiiJi..
m
iw^
k5
â– W
^
jT3 JT]
r=»f
-«*-J-
ML- 45- 3
168
ARNE GARBORG MSM- )
German l>>.rt by Eu^en von Ember f
THE MOUNTAIN MAID
'DAS KIND DER BERGE)
'Composed in 1S9S)
'Original Key, E minor)
EDVARU fiRlFG.Op. (;7, N'.'2
1S43-1907'
VOICE
i
PIANO
k
AllegreUo iranquillo
T-TT
E
-=r^
JU fr i^r [^Ir ^^ir F g
^
She is slen - der and young and fair, With fea-tures so clear and
Sie xst sihyndch-iig und zart u-ndbleich, mit Zii-gen so rein und
t^- tT-
P
^fe
^
T~ i ^
-^5^
=^
IS
f=^
^
^
3
^\^ u n I J- j-> ^T^
/^^yriv /â– //
^
a ffimpo
^
^^ijir 1 '-^
white; Tlie_ drooping lids of her eyes But veiltlieir dream-y liqht.-
hlar, die iie -fin Aa-gen lun -s'dumt der Li - der tr'dufnendvs Paai:
I
k^
As
Es
a tempo
3
^
2;
^
g:
#
51
IT*
^«
jeflt"!^ /v/.
V- ^\> ": 3 <
^
IB:
; 1^
-»-
"^ ^?
â– ^*
TT-
e; ^i
i
gi
^
ten.
fe^
f:
^
5
S
?
^^
# J ' I -g*-^
P^
â– G f-
one who wan-ders in sleep
is/, als wdn- del- te sacht
M
She si - lent - ly goes her way,
sic i>n Schla - fe zfohl ini - mer - zu:
ten.
Her
Ge
^
in
Pf
f=T
"rS
f
-i?^:
*3»
r
g^
3x:
zz:
i
^
Olivr I'itson Company
ML-46 3
169
n r^^F p I r' "r r-^
^
A/«.
voice, her mien,
fcaV - de, Mie
her
ne und
look-
Worf.
A strange, gloom - y cahn be
ver - rath die - se diist - re
m
s
fc
li
i*
as
ffi
^
^
tray, gloom - y calm be
R\i}\', die - se diisf - re
^^
j^f
ZTSZ
9-&-
tray.
Rnh'!.
9-»-
L
is;
F^
'Neath her
Uii - ier'm
$
J*
P
^
£
^
fore - head, beau -teous,but low,
dunk - eln lo - cki - gen Haar
W
ff •
1^ i' r ff
#
^
E
Shine her eyes with a veil - ed
strahlt das Axi - ge mit mai - tern
i
^
gleams
Schein;
w
J*
^
±s:
^
J J^ h J i'
^
Some world that we know not she
sie starri wie im Trawm vor sich
sees;,
/it'll
She
^:
^
^
^
^^
■5^ ¥
7 :;^
M].-4ii
170
i*
S^
poco rit.
^
ga - zes as lost in a
an - dre Wcl - ten hin
dream
ei II
-^
t7 ffimpo
But her
Niir der
^
s
rr
^ffi
jjoro n't.
i5-
-f.
r/ tfifipo
i-i ^v
-o-
â– * ^^
m
fen.
S
5EEE5
S
^
5
^^
breath - ing comes hard and slow, She is
3v, - sen gehf hang und schwer, und es
trem - bling- with pas - sion
bebt um den bleich - en
ten.
=M^
f f d
^^
\ P ;
£
2C
^
?^
-iiy
strong,
*
t^
She is maid - en - ly, ten
Ste ist jw'i? - y^tttt - lich. zart.
der and
Txni
sweet, Yea, in
fein, ja ftir
S
^
=^ r-
^
Mr ^r
E^
3
^
m
9i9-
r
i*
i' ff ^r^i r- h J^
^^
^
I
truth, she is fair and young, she is
rvahr: sie ist schon und, jwiig, sie ist
g^^
s
»
fair and
schon und
'Mf
he:
>-o-
young..
:a:
^
1:
"77-
ML-46-.1
J.P. CLARIS de FLORIAN (1755-1794'
Translated by Laura M. Underwnnd
FLORIAN'S SONG
(CHANSON DE FLORIAN)
''Original Key)
171
BENJAMIN GODARD
(lS'i9-lS!)5)
VOICE
vH
Allegretto J-ss)
riANO
m
f}^ j) j^l J, ;. ^
If there's a shep-herd in your par
Ah\ snl est dans vo - ire vil - la
^
ish,
P
^^
^â–
m m \ m
=i2^
^
J I J J J -l-J
f^
m tt m
r r r
r
r 7
^^
^
^^
mm
5
A shep-hefd charm-ing-, good and kind
Un her - ger sen- sible et char- maul.
fe
5=
ST2 rjTi
To whom at
Qu'on che - rissc
JL
i
r=i
^
s
?
d d
m m
r
r
*
£
^
^
(i'exr.
^
./•-
M ^'1 r ri^
tt=3L
^^
once your heart's in- clined,Whoin,lon -t^er known, still more you cher
au pre - mter mo - ment, Qit'on aime en - sict - te da - z'an - ta
ish,
^
I
I
5t
i
^
f~*
w *-
t t t
m
rrese.
s
/:
$
* ~<r
^ ' V
^ V
./^
E
.soatenuto
dim.
^^
E
g=^
^
s
He is my love,
Cesi mon a - nii,
Give him to me!
ren - dez - le mot!
-i ^ O^
I have his
J'ai so n a
'heart; my
moxir, il
^=^
si
i
f^^
9 *
f
h
rr
1
<//»».
3
«/ ■-
f
r
T"
f
r
r
ropyriRlit MCMIT by Oliver Ditson Conipaiiy
MI. 47 3
172
r\ <lim.^=-p
p
^^^
^
Jl J' J^_h
faith has he.
a ma foi.
Are echo-ing woods his songs re - peat
Si par sa voix iendre et plain - ti
S
B
=«=
Ft?
s
zz
p
^^
i
i
^
I
# *
-mi — m
f r
r
r
r
^
^
^
^^
r M M (^
:s!
7JC
Charmed by his voice, that sweet com -plains,
// char- me I'e - cho dc vos bois,
And do his
Si les ac -
fe
mrjT),
-^^
S t
^
g^^^
i
^
atat
atat
r
f
f
r
:zz:
z.-^
a
pipe's mel - o -dious strains The hearts of maid-ens set a -beat
cents de son haxit - bois Rett- dent la ber - ge - re pen- si
ve.
Then 'tis my
Cest en-cor
^=ai
I
^
f
^
f-
It^
* — 9
-^
%
cfesc.
i
g
# 0~(^
ff.
\)
Y
I
Hoatenufo
dim.
rT\ dim. ^::=~p
^
^
;5
^
^
^
5
love!
h(i,
Give him to me!-
ren - dez - le nioi!
I have his
J'-^
I son a
-J7L
^^^^
i^
heart ,_ my faith has he.
tnour il a ma foi.
^
5
S
h
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178
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Si pas - sant prcs de sa chau-mie - re
Who begs a
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yen - dez - le moil
I have his
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ML-47-3
174
To Ladislaus Mickicitia
AH! THE TORMENT!
(ACH! DIE QUALEN)
ADAM MICKIEWICZ (n98-i855i
rra/mlattd by IxabtUu G. Parker
{Original Key)
IGNACE JAN PADEREW^KI, Op.l8,N<'5
lis,-,-,.- )
VOICE
PIANO
Allegretto
k-ggiero
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How my heart with bit - ter pangs is
Ach! die Qua - len die mein Uerz durch
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wUh - lent.
Death were on - ly joy, such pain
Nur der Todt kaiin sip f^^ f
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siil - len: _
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toerf by permission of Charles F.Ti^tbar)
Musia ooprri^ht MDCCCXCIIl by CF-Trdhnr
Translation copyright MCMII by 01i%'rr DItnun Company
ML- 48 -4
175
^
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S
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Dare I ven-ture thee to love
Dilrft' ich dich zu lie - ben mich
SO
er
mad
kuh
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I would give my
Die - srs Wag - niss
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life for thee most glad-ly,.
soil ntetn Herz - bltit siih - nen,
I would give my
Die - ses Wag -niss
life for thee most
soil mein Herz - blut
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Why to thee a - lone must my love be plight-
Wa - rum, mxiss - te ich g'ra - de dich er - wdh
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ML-48-4
177
Tempo I
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Though un-num-bered maid- ens may sur - round me,.
So tiel Mad . chen bliih'n in un - ser'tn Lan - de
Thou a - lone with
Und g'rad' die - se
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hope-less love hast
Jes - seln an - d're
bound me,.
Ban - de, _
Thou a - lone with hope-less love hast
Und g'rad' die - se fes - seln an - d're
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178
WILLIAM DEAN HOWELLS (1S37- )
THE SEA
iLoniposi'd ia IbM;
(Original Key, D)
VOICE
PIANO
Broadly, with rhythmic swing
EDWARD A. MacDOWELL, 0p.47,N07
(isiii-iaus)
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One sails- a - way to sea, to sea, One stands on the shore and
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cries; The ship goes down the world, and_the light — On the sul - len
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at" - ter is e - vil cheer;_ She shall stand on the shore and cry
in vain
â– i'scii hy permixainn of the pi/hlislicrsj
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179
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in vain, Man - y and man - y a year. But the state - ly wide-wing'd
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ML-49-2
180
A.DOLF FRIEDRICH von SCHACK (isi5-isy4i
Translated by Isabella G. Parker
SERE NA DE
(STANDCHEN)
(1886)
(Original Key)
RICHARD STRAUSS, Op 17,N02
(1864- )
Vivace e do Ice
VOICE
PIANO
MA
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Ket-nen vom Schlurn
ber a-wa-ken !
nter zu we-cken.
The
kaum
fh^r-^
Copyright MCMII by Oliver Ditson Company
M L-50-7
181
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brook mur-murs low;
niur - melt dcr Bach.
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the light zeph-yr flies,.
kaum zit - teri im Wind.
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that none a - wake,
dass nichis sirh reist. ^
Lift genily the latch.
mi>- lei - se die Hand_
lest fair slumbers jtou break.
auf die Klin- ke ge-'legt.
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182
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41
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men zu hil - pfen,
O - ver the . flow'rs,
U7n a - her die Blu -
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Haste thou to me,
Flieg' leicht^_ hin - atis
where the
t n die
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183
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moon
Mond
a - loft_
schein - nacht
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irn zii schlil-ffen
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flowVs bv the brook-side,
schlutn - mem dw BUI - then
inslum-ber so deep.
am rie-seln -den Bach.
Breath out their per-fume;_
Hiid duf - ten «n Schlaf,^
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_Love a- lone can- not sleep !
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M I.-50-7
184
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Here rest
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Deep.
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ter den
shade.
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The
die
night
Nach
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in - gale.
<i - gall _
shall our
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MI,-r.0-7
185
^
i
rap -
Hauf -
^
J.._|J JJ • fe
ture
ten
see.
soil .
In dreams our love.
von nn s'ren Kiis
tf
m
fli PT\
ffi
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4 — s
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be
sen
hold
trail.
mrm m \>
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when it a - wakes.
â– wenn sie am Mor
.with de - light,
gen er - wacht,
Shall
hock
ML- 50-1
186
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in the bliss
von den W<)a
ful
ne
^^
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1^ ^>l
beau
scha
ty of night!
cm der Nacht!
^ '^
* '^
^ ^^.
ML-50-7
Ijiliiiiiiliijiii^^^
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