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Fifty mastersongs by twenty
comjjosers *).J-t? + T^wri n
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MY
P
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EIGHTY VOLUMES ISSUED
SONG VOLUMES"
JOHANNES BRAHMS : FORTY SONGS
EJitcJ by Jamci HioieUr
ROBERT FRANZ : FIFTY SONGS
Edited by ll^Utiam Foster Apthorp
EDVARD GRIEG : FIFTY SONGS
Edited by Henry T. Finck
GEORGE FRIDERIC HANDEL
VOL. I. SONGS AND AIRS FOR HIGH VOICE
VOL. II. SONGS AND AIRS FOR LOW V01C£
Edited by Ebenezer Prout
ADOLF JENSEN : FORTY SONGS
Edited by IVilliam Foster Apthorp
FRANZ LISZT: THIRTY SONGS
Edited by Carl Armhruster
FRANZ SCHUBERT : FIFTY SONGS
Edited by Henry T. Finck
ROBERT SCHUMANN : FIFTY SONGS
Edited by IV. J. Henderson
RICHARD STRAUSS : FORTY SONGS
Edited by James Huneker
P. I. TCHAIKOVSKY: FORTY SONGS
Edited by James Huneker
RICHARD WAGNER : LYRICS FOR SOPRANO
Edited by Carl Armbrusttr
RICHARD WAGNER : LYRICS FOR TENOR
Edited by Carl Armhrusli r
RICHARD WAGNER : LYRICS FOR BARITONE AND BASS
Edited by Carl Armhruster
HUGO WOLF : FIFTY SONGS
Edited by Ernest Neu-man
FIFTY MASTERSONGS
Edited by Henry T. Finck
FIFTY SHAKSPERE SONGS
Edited by Charles Vincent
MODERN FRENCH SONGS
VOL. 1. BEMBERG TO FRANCK ; VOL. II. GEORGES TO WIDOR
Edited by Philip Hale
ONE HUNDRED ENGLISH FOLKSONGS
Medium VoiCL-
Edited by Cecil J. Sharp
ONI: HUNDRED FOLKSONGS OF ALL NATIONS
Medium Voice
Edited by Granville Bantock
ONE HUNDRED SONGS BY TEN MASTERS
VOL. I. SCHUBERT, SCHUMANN, FRANZ, RUBINSTEIN & JENSEN
VOL. II. BRAHMS, TCHaIkOVSKY, GRIEG, WOLF, AND STRAUSS
Edited by Henry T. Finck
ONE HUNDRED SONGS OF ENGLAND
Edited by Grattz'ille Bantock
SEVENTY SCOTTISH SONGS
Edited, avith accompaniments, by Helen Hopekirk
SIXTY IRISH SONGS
Edited by William Arms Fisher
SIXTY PATRIOTIC SONGS OF ALL NATIONS
Medium Voice
Edited by Granz'ille Bantock
SONGS BY THIRTY AMERICANS
Edited by Rupert Hughes
SIXTY FOLKSONGS OF FRANCE
Medium Voice
Edited by Julien Tier sot
SONGS FROM THE OPERAS FOR SOPRANO
SONGS FROM THE OPERAS FOR MEZZO SOPRANO
SONGS FROM THE OPERAS FOR ALTO
SONGS FROM THE OPERAS FOR TENOR
SONGS FROM THE OPERAS FOR BARITONE AND BASS
Edited by H. E. Krelibiel
PIANO VOLUMES
JOHANN SEBASTIAN BACH
VOL. I. SHORTER PIANO COMPOSITIONS
VOL. II. LARGER PIANO COMPOSITIONS
Edited by Ebenezer Prout
LUDWIG VAN BEETHOVEN : VOLS. I & II. PIANO COMPOSITIONS
Edited by Eugen d' Albert
JOHANNES BRAHMS : SELECTED PIANO COMPOSITIONS
Edited by Rafael Joseffy
FREDERIC CHOPIN : FORTY PIANO COMPOSITIONS
Edited by James Huneker
FREDERIC CHOPIN : THE GREATER CHOPIN
Edited by James Huneker
S. COLERIDGE-TAYLOR : TWENTY-FOUR NEGRO MELODIES
Transcribed for the piano
EDVARD GRIEG: LARGER PIANO COMPOSITIONS
Edited by Bertha Feiring Tapper
EDVARD GRIEG : PIANO LYRICS AND SHORTER COMPOSITIONS
Edited by Bertha Feiring Tapper
FRANZ JOSEPH HAYDN : TWENTY PIANO COMPOSITIONS
Edited by Xaver Scharivenka
FRANZ LISZT : TWENTY ORIGINAL PIANO COMPOSITIONS
Edited by August Spanuth
FRANZ LISZT: TWENTY PIANO TRANSCRIPTIONS
Edited by August Spanuth
FRANZ LISZT : TEN HUNGARIAN RHAPSODIES
Edited by August Spanuth and John Orth
FELIX MENDELSSOHN : THIRTY PIANO COMPOSITIONS
Edited by Percy Goetschius
WOLFGANG AMADEUS MOZART:TWENTY PIANO COMPOSITIONS
Edited by Carl Reinecke
FRANZ SCHUBERT: SELECTED PIANO COMPOSITIONS
Edited by August Spanuth
ROBERT SCHUMANN : FIFTY PIANO COMPOSITIONS
Edited by Xanier Schar-ivenka
RICHARD WAGNER : SELECTIONS FROM THE MUSIC DRAMAS
Arranged for the piano by Otto Singer
ANTHOLOGY OF FRENCH PIANO MUSIC
VOL. I. EARLY COMPOSERS ; VOL. II. MODERN COMPOSERS
Edited by Isidor Philipp
ANTHOLOGY OF GERMAN PIANO MUSIC
VOL. I. EARLY COMPOSERS ; VOL. II. MODERN COMPOSERS
Edited by Moritz Moszkowski
EARLY ITALIAN PIANO MUSIC
Edited by M. Esposito
MODERN RUSSIAN PIANO MUSIC
VOL. I. AKIMENKO TO KORESTCHENKO
VOL. II. LIADOFF TO WRANGELL
Edited by Constantin njon Sternberg
* All song volumes are issued for both High and Low Voice, except where otherwise stated.
Price of each volume, paper, cloth hack, $.1 .'^o; full cloth, gilt, $2.50. Prices include postage.
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
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CONTENTS
^l^i^l^^^
e
28
30
34
39
42
MOZART, Wolfgang Amadeus( 1 756-1 791)
"*■ The Violet {Das VeUchen) i
BEETHOVEN, Ludwig van (1770-1827)
Adelaide. Op. 46
SCHUBERT, Franz (1797-1828)
The Erlking {Der Erlkonig). Op. i
The Wanderer {Der Wanderer). Op. 4, No. I
"■^eath and the Maiden {Der Tod und das Madchen).
Op. 7, No. 3
■-' My Peace thou art {Du bist die Ruh). Op. 59,
No. 3
^ Hark, hark, the Lark {Horch, horch, die Lerch).
Posthumous
. Tphe Inn {Das IVirthshaus). Op. 89, No. 21
■"My Abode (y^«/cn//!a/f)."Schwanengesang," No. 5
My Phantom Y}o\xh\e{Der Doppe/ganger)."Schw?Ln-
engesang," No. 13 47
CHOPIN, Frederic (i 809-1 849)
My Delight {Meine Freuden) 50
ThyParted Lovers {Zwei Leichen) 54
I SCHUMANN, Robert (1810-1856)
l^-Dedication {IVidmung). Op. 25, No. 1 56
The Lotus Flower {Die Lotosblume). Op. 25, No. 7 60
In the Forest {Waldesgesprdch). Op. 39, No. 3 62
I '11 not complain {Ich grolle nicht). Op. 48, No. 7 66
LISZT, Franz (1811-1886)
The Loreley {Die Lorelei) 69
The King of Thule {Der Kdnig von Thule) 77
Wanderer's Night Song {Wanderers Nachtlied) 83
WAGNER, Richard (1813-1883)
Dreams {Traume) 85
FRANZ, Robert (1815-1892)
Request {Bitte). Op. 9, No. 3 89
For Music {Fiir Musik). Op. 10, No. I 91
Dedication {Widmung). Op. 14, No. i 93
Now welcome, my Wood ! {Willkommen, mein
Wald!) Op. 21, No. I 95
Delight of Melancholy {Wonne der Wehmuth). Op.
33, No. I 99
The Rose complained {Es hat die Rose sich beklagt).
Op. 42, No. 5 loi
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 -* lofr
Golden at my Feet {Gelb rollt mir %u Fiissen). Op.
34, No. 9 109
BRAHMS, Johannes (1833-1897)
My Queen {Wie bist du meine K'onigin). Op. 32,
^o. 9 112
Ifove Song {Minnelied). Op. 71, No. 5 116
VA Thought like Music {Wie 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. 1 123
When through the Piazzetta {Wenn durch die
Piazzetta). Op. 50, No. 3 126
Row gently here, my Gondolier ! {Leis^ rudern
liter, mein Gondolier!) Op. 50, No. 4 131
TCHAIKOVSKY, Piotr Ilyitch
( 1 840-1 893)
- Why? {Warum?). Op. 6, No. 5 135
~ None but the lonely Heart {Nur wer die Sehnsucht
kennt). Op. 6, No. 6 139
Disappointment {Deception). Op. 65, No. 2 143
DVORAK, Antonin ( 1 841-1904)
As my dear old Mother {Als die alte Mutter).
Op. 55, No. 4 146
MASSENET, Jules (1842- )
Elegy {Elegie) 148
GRIEG, Edvard (i 843-1 907)
From Monte Pincio {I'om Monte Pincio) 150
The First Primrose {Mil einer Primula veris) 158
'•-A Swan {Ein Schwan) 160
At the Brookside {An einem Bache) 162
The Old Mother {Die alte Mutter) 165
The Mountain Maid {Das Kind der Berge). Op.
67, No. 2 168
GODARD, Benjamin (1849-1895)
Florian's Song {Chanson de Florian) 171
PADEREWSKI, Ignace Jan (i860- )
Ah! the Torment! {Ach! die ^alen.) Op. J 8,
' No. 5 174
MacDOWELL, Edward A. (1861-1908)
The Sea. Op. 47, No, 7 1 78
STRAUSS, Richard (1864- )
|-^Serenade {Stdndchen). Op. 17, No. 2 180
THE NEV/ YORK PUBLIC LIBRARY
THE DriAiiCt-J L-iGHARiES
INDEX OF AUTHORS
BJORNSON, BjoRNSTjERNE (1832- )
Vom Monte Pincio [From Monte Pincio). Grieg 150
BODENSTEDT, Friedrich von (1819-
1892)
Es hat die Rose sich beklagt {The Rose com-
plained). Franz ioi
Gelb rollt mir zu Fiissen [Golden at mv 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 (i 824-1874)
Ein Ton [The Monotone). Cornelius 103
DAUMER, G. F. (1800-1875)
Wie bist du meine KOnigin [My ^te,n). Krahms 1 1 2
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
GALLET, Louis (1835- )
Eldgie [Elegy). Massenet
148
GARBORG, Arne (1851- )
Das Kind der Berge [The Mountain Maid). Grieg 1 68
GEIBEL, Emanuel von (1815-1884)
Fijr Musik [For Music). Franz 91
GOETHE,JoHANN Wolfgang VON (1749-
1832)
Der ErlkOnig [The Erlking). Schubert 15
Der Konig von Thule [The King of Thule). Liszt 77
Nur wer die Sehnsucht kennt i^one but the lone.l\
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 mir [A Thought like .Music).
Brahms 119
HEINE, Heinrich (1799-1856)
Der Asra [The Asra). Rubinstein 106
Der DoppelgSnger [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 i 78
IBSEN, Henrik (1828-1906)
Ein Schwan [A Swan). Grieg
160
LENAU, NiKOLAus (1802-1850)
Bitte [Request). Franz 89
MATTHISSON, Friedrich von(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 !) Jensen i 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 (1816-1873)
Widmung [Dedic/iti on). Franz 93
PAULSEN, J. (1851- )
Miteiner Primula \ tr\s[The First Primrose). Grieg i 58
RELLSTAB, Ludwig (1799-1860)
Aufenthalt [My Abode). Schubert 42
INDEX OF AUTHORS
ROQUETTE, Otto (1824- )
Willkommcn, meiii VVald ! [Now welcome, my
/Vood.')¥KAK'/. 95
RUCKERT, Friedrich (1788-1866)
Du bist die Ruh {My Peace thou art). ScHUBERT 30
Widmung {Dedication). Schumann 56
SCHACK, Adolf Friedrich von
(1815- )
Standcheii {Serenade). Strauss 180
SCHMIDT, Georg Filipp (1766-1849)
Der Wanderer {The IVanderer). Schubert 24
SHAKESPEARE.WiLLiAM (1 564-1616)
Hark, hark, the Lark {Horch, liorch, die Lerch).
Schubert 34
VINJE, A. O. (1818-1870)
Die alte Mutter {The Old Mother). Grieg 165
An einem Bache {At the Brookside). Grieg 162
WESENDONCK, Mathilde
Traume {Dreams). Wagner 85
ZALESKI, Bogdan (i 802-1 886)
Zwei Leichcn {The Parted Lovers). Chopin 54
TCHAIKOVSKY
RUBINSTEIN
SCHUMANN
SCHUBERT
lENStN
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 collection of Fifty
Mastersongs has made a special study of this
branch of music for more than aquarter of a cen-
tury; and while writing his recent volume, Songs
and Song JVriters, 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 correftly, or your pianist
is a bungler, or you 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 objedts in issuing this colledtion 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 collecflion. 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,
leftion, in pursuance of the publisher's deter-
HINTS TO SINGERS
Remember that the public likes good music as nor ad 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 distinftly, 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 Gneg'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, agitatOyritenutoJranquillo,
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-
of 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 Tatinhduser murch. Adelaide, never-
FIFTY MASTERSONGS
XI
theless, remains by far the best of Beethoven's the poem, which Beethoven considered "heav-
songs. From astridtly 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 satisfadiion, 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 reaiism, and power to stir the emotions.
Liszt confessed that they often moved him to
tears; and many others are affeded by them in
the same way.
Der Erlkonig — The Erlking. Schubert was
style accordingly. The dissonance of the child's
shriek, was something new, thrilling, terrible,
epoch-making in music.
Der Wanderer — "The Wanderer. This is an-
other one of the early songs that reveal 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 songs,The Erlking, t\\e 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 "schlafen."
Du bist die Ruh — My Peace thou art. This
ballad on 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 charafterized it.
Horch, horch, die Lerch — Hark, hark, the
Lark. Schubert set to music verses by eighty-
five difl^erent poets. Of his three Shaksperian
all a language oftheir own, difl^erent from the nar- songs the serenade. Hark, hark, the Lark, is the
xn
FIFTY MASTERSONGS
most famous, although IVho is Sylvia? is also de-
servedly popular. Thecircumstancesunderwhich
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 '1! sing you a cycle of weird
songs. They have afFedted 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. But Schubert said : " I like 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 Das 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 in a col-
lection to which the publisher gave the appropri-
ate title of " Swansong." It includes seven of his
very best L/V^«-, 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 Rubinstei-i 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 znd 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)
tained in the coUeftion of seventeen published
after his death as Opus 74. Rubinstein called
Chopin " the soul of the pianoforte," and it is true
The people of Poland sing many songs which
they attribute to Chopin. The only ones, how-
ever, which are certainly known to be his are con-
FIFTY MASTERSONGS xiii
that he devoted himself to that instrument almost than in this song about the lips and their uses,
exclusively. These songs are, however, a notable Zivei Leichen — The Parted Lovers. A more
exception. Amateurs will find most of them full dismal text has perhaps never been set to music
of charm. They were written in the years 1 824 to than this poem about two corpses — one that of
1 844, and they are for the most part as quaintly a soldier, dying in the forest amid the croaking of
exotic and orchidean as his mazurkas. crows and the howling of wolves ; the other that
Meine Freuden — My Delight. This is one of of his sweetheart, dying at the same time in the
the six Chopin songs of which Liszt made such town to the booming sound of the church bell,
free and poetic transcriptions for the pianoforte It is no disparagement to the music in this case
alone. It is even more charming in its simpler, yet to say that it does not quite equal the poem in
equally impassioned, original form. The rapture grewsomeness. It is simply melancholy and me-
of a kiss has never been more ecstatically portrayed lodious.
ROBERT SCHUMANN (1810-1856)
Love was the chief inspiration of Schumann's scorching sun and loves the pale moon is so ex-
songs, as it has been of so many other works of quisitely perfed: that to add music to it seems like
art. In the year of his marriage (i 840) he wrote painting the lily. But when you hear Schumann's
more than a hundred L/Wifr, whereas before that music, you realize that Wagner was right in main-
he had devoted himself to the pianoforte alone, taining that poetry and music are more potent in
He wrote to his fiancee Clara Wieck that he combination than singly.
"laughed and wept for joy" in composing these Waldesgesprdch — hi the Forest. The legend
songs; and in otherletters:" Without such a bride of the beautiful sorceress Loreley (which was in-
no one could write such music." "I could sing vented by Brentano in 1800) is known to most per-
myself to death, like a nightingale." It is under sons through Heine's poem wherein she is repre-
such conditions that immortal songs are created, sented as a golden-haired maiden sitting on a
Unfortunately, Schumann did not, after 1840, rock overhanging the Rhine and luring the fisher-
write any more songs till nine years later, when man to destrudlion by her singing (see Liszt's
the brain disease to which he succumbed in 1856 song in this colledion). EichendorfF's poem,
had already begun to reduce his genius to mere used by Schumann, makes her roam the forest
talent and routine. This explains why his later on horseback and inform the knight who wooes
songs are not equal to the earlier ones. The four her, before he recognizes her as the witch, that
here presented rank with the best ever written, he shall never more get out of the forest alive.
Widmung — Dedication. This is one of the most The mystic and grewsome suggestiveness of
popular of the Schumann songs. Through an ac- such a scene appealed irresistibly to the roman-
cidental oversight it was omitted from the list tic temperament of the German Schumann and
o{"%X.zxx^^" %oVig?,\Vi Songs and Song Writers; but enabled him to reproduce its spirit admirably in
it is one of the best of all — full of that buoyant his music. As sung by Lilli Lehmann, or Lillian
rhythmic swing and animation so charaderistic of Nordica, this song sends the cold shivers down
Schumann. one's back.
Die Lotosblume — The Lotus F/ower. Th\s, like Ich grolle nicht — /'// not complain. Of Schu-
IVidmung, belongs to the group of twenty-six mann's two hundred and forty-five songs this is
songs called " Myrtle Wreath " and dedicated by at once the most popular and the most inspired.
the composer to "his beloved bnde." Heine's It forms number six oi Dichterliebe, a group of
poem about the lotus flower which dreads the sixteen songs from Heine's Buck 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.
FRANZ LISZT (1811-1886)
With the exception of opera and chamber-music, or about the wild longing which seizes the fisher-
there is no branch of the divine art in which man in the boat below, or about his heedlessness
Liszt did not do original — in fad:, epoch-making of the dangerous rocks, and the turbulent waters
— work. Next to this versatility his most remark- which finally engulf him. Liszt, on the contrary,
able trait is his cosmopolitanism. He was equally saw here the possibilities of a miniature music-
at home in Paris, Weimar, Budapest, and Rome; drama in which the melody and the expressive
a wanderer, like the gypsies whose melodies he harmonies continually change with the text, as in
adopted. Hungarian,German, Italian, and French a Wagner opera. The result is one of the most
traits and influences can be traced in his music; enchantingly realistic and dramatic songs in ex-
but all have suffered istence, replete with sedudtive melody, and agi-
"(7 sea-change tated by a Storm worthy of the composer of the
Into something rich and strange;" Flying Dutchman. But let no bungling singer or
— so rich and strange that it has taken the world pianist attempt it 1
half a century to learn to appreciate this new art; Der KonigvonThule — TheKingo/Thule.h\ke
the difficulty being increased by the fad that his the Loreley, this famous and effedive ballad was
forms were novel as well as his harmonies; and composed by Liszt in 1841, on the quiet Rhine
new forms and harmonies are but slowly accepted 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 Fe led and 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. Wanderers 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 efl^ed is enchanting. Note the
the charader 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- press the lull in the tree-tops, when the breezes
eral mood of the poem. But it is always the same, are at rest, the birds silent, and the nearness of
in all the successive stanzas — the same whether death is suggested. Concerning the wonderful
the poet talks about his own melancholy mood, harmonies of this song. Dr. Hueffer has well
or about the calmly flowing Rhine at sunset, or 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 inspired of 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 hiscolledion 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."
Flir Musik — For M«J/V. 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: il canto mollo 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
IVood! 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 Wald 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, such a tear.
These are eccentricities of genius. Es hat die Rose sick beklagt — The Rose com-
IVonne der Wehmuth — Delight of Melancholy . plained. This has always been one of the most
Goethe was not the first poet to dwell on the de- popular of Franz's songs, and deservedly so. If
lights of sadness. Fletcher wrote, long before him, played with tenderness and delicacy the music is
"There 's naught in this life sweet . . . but only as fragrant as the rose it immortalizes. Use the
melancholy"; and whole books have been written pedal, and notice the exquisitely plaintive effeft
on " the ecstasy of woe." Milton coined the ex- in the pianoforte part of the C following the word
pression "melodious tear," and Franz's song is "beklagt."
PETER CORNELIUS (1824-1874)
Cornelius was an intimate friend of Liszt and The singer has only one tone throughout the
Wagner. He composed several operas, one of forty-two bars ofthe composition, and the strang-
which — The Barber of Bagdad — had consider- est thing about it is that very few persons realize
able success, though its failure at Weimar so this fad on hearing it the first time. But while the
disgusted Liszt that he resigned his post as con- song is a monotone, it is anything but monoto-
duftor. Some of the songs of Cornelius are ad- nous. So ingeniously varied is the piano part, and
mirable. Like Wagner, he wrote his own poems, so interesting the harmonies, that the piece de-
He also published a volume of poems without serves to be classed with the mastersongs. Note
music. that the poem suggests the peculiar treatment of
Ein Ton — The Monotone. This song is one of the vocal part,
the greatest curiosities in all musical literature.
ANTON RUBINSTEIN (1829-1894)
Rubinstein was one ofthe most fertile and origi- words "welche sterben wenn sie lieben" — so ap-
nal melodists of all time, and nowhere does the propriate to the romantic story of the Arabic
fount of his melody flow more freely than in his slave, who grows paler every time he sees the
songs, most of which were written to German princess, because he belongs to the tribe of the
poems. Not a few of them are trivial and will Asra, who die when they love,
share the fate of Mendelssohn's. But the best of Gelh rollt mir zu Filssen — Golden at my Feet.
them have a unique charm. Amateurs will find The quaint Oriental intervals which occur in D^r
them easier to sing than most modern songs. y/jr(2chara6terize 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 rime; nor can it be
All,however,admirehischamber-musicandsome denied that some of them, notably the thiee 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 hist du meine Kdnigin — 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 produds 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 IVang ' an meine Wang ' — Press thy
cheek against mine 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.
ff^enn durch die Piazzeita — IVhen 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
inspired by poems of love, for he was never mar-
ried; but love exercises its creative spell even over
bachelor composers. The Minnelied {Mi nne is the
old German word for Liebe, or love) seems to
the editor the most inspired and delightful of
Brahms's compositions.
IVie Melodien zieht es mir — /I Thought like
Music. Groth's poem seems to demand a musical
setting, and Brahms has given it one which 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."
Lets' rudernhier, mein Gondolier! — Rowgently
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\v 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."
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 many gems among them. Their day will come.
No poet has inspired so many first-class songs
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 She mantic movement,"
lonely Heart. Though one of the earliest of Tchai- 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 — Js 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 t\it 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
inAmerica.lt is in the several branches of instru- devotion. Bohemian musicis particularly rich and
mentalmusicthatDvofak hasdonehisbestwork; 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 produdlions 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"caviaretothegeneral," 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 faft 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 fortissimo, 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 mediaeval 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 pidturesque 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 aspects 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 thecity below, themistscall- 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 character as well as beauty,
former glory. Note how the opening chords con- Die aite Mutter — The 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'i'o); and many other exquisite details, so inseparably associated with the poem as in
Mit einer Primula ver is — 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!
duftion 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 Ara^
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 colleftion, 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 Afanru, which
has been produced so successfully in European
and American 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 1 8.
They deserve to be more widely known than
they are at present.
EREWSKI (1860- )
Jch! 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, znd 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 Paderewskian
EDWARD MacDOWELL (1861-1908)
Edward MacDowell has placed American
music, so far as the art-song is concerned, on a
level with the best that is done in Europe. Among
his forty-five songs there are only a few (the ear-
liest ones) that do not in every bar betray his
genius for creating original melodies and harmo-
most part to English or American poems, some
of the best ones being by himself. His setting of
W. D. Howeils's The Sea has been aptly called
by James Huneker "the strongest song of the
sea since Schubert's Am Meer." The rare poetic
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
constitutethestockintradeofmostsong-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 respedls, a perfedt song;
colleftion to begin with is the one entitled Eight the best, with the possible exception of his Menie,
So>igs,v/hich. includes The Robin sings in the Apple ever written in America. It is thanks to the kind-
Tree, The West Wind croons in the Cedar Trees, and ness of the most famous of German music pub-
others that have become favorites in the home lishers, Breitkopf and Hartel, that it is possible
and the concert hall. to insert this copyrighted composition in this
TheSea. One advantage possessed by the Mac- collection of mastersongs.
Dowell songs is that they were written for the
FIFTY MASTERSONGS xxi
RICHARD STRAUSS (1864- )
Richard Strauss (who is not related to the Stdndchen — .S'^rfwad'd'. 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 of this gifted youngcomposer.
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 fowers, and from their wells
Deep call to deep, and all the mystery
Of all that is, laid open.
ANON.
FIFTY MASTERSONGS
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TftT^
%%%%
i
felEf
U^
**§*
H'^'i'i
^-^-r
THE ERLKING
(DER ERLKONIG)
15
JOHANN WOLFGANGvnn GOETHE 'i74ii-is:«i
TiHUslaled by Arthur WcKtbroak
(Composed in KS15)
(OrifiiiKtlKf^y)
FRANZ SCHUBERT, Op.l
(n!i7- isiis;
Allegro iSchnell) } -. \zz
PIANO
iiii4i^i
f
^^
%
^
m
-T^-^
'f T ■** .f
»* — <
iPif^
?r^s
■*■• -^
p
^i
£e=
^
-^
^E=ii=
#*
.>"
* TT
ij^
St*
^^
?^
/v
un
P
;S
s
^
^
<r <*•
Who rid - eth so late
Wer rei - tci so sput
throug-h night and
dvrch Nacht und
-»^—** * if
■f .f .f ^
<«— *t
Ji^^
IS
4?*
♦•.*:*: *
*■•*
Copyright MCMII by Oliver Ditson ronipany
ML- 3 -9
16
^^m
3f
^
^^
P
arm,
Arm,
He holds
fosst
him
ihn
^ .f ^
ti^ht - ly, he holds him warm.
St - cher, er halt ihn warm.
J^ >j* »« *«-
aj .di-r-»-i-»-
Jr Jr '^T^'^
i±4
^ jr Jr
W^=f
r. *:^
-/>^- j:^^'rr-:3
z
*^^
r=f^
r^
3E^
rT>
MI,-3-9
17
^^
cresc.
^fEEE
15>-^
^
^
The
den
Erl
king dread - ed, with crown
len - ko - nig mit Kron'
and
und
^Hriririr
K« <t
S
^m^
jr^
-o-
m^
-^
#
5
rj «
robe!
Schweif?
My
Mein
son,
Sohn,
'tis
but
ist
m^ 1^-— ^
a streak of mist.
etn Ne - bel - sireif.
^
• ~mr»'
^
m
liiii ii- 5
*• — *«— *•— *t
*• *• ♦• *
JO"
*• — *« — *«^
aziar3
*• — *t
1^1
^
-»-
MI.-3-9
18
"My dear
•■Dii lie
^
est
bes
child,
Kind,
come,
komm,
•f f f >
^^
^ jy jjyjj^
irn
d'/ct'esc.
PP
JJ ** 1*
i^
^
^^
#r^"^ d
:5±=;i
rrTi
-• ^ < ^ ml m-
£
with
mit
me!
-?
Such
gar
mer
sch 6
ry
ne
^^
^
-#-•- ♦-* ■#-■#- -•-■•»•
'^•1.'^ #^^^^ y J V
it i it it
fe
i
zz:
S^
plays
ni
play_
spiel'
with thee.
ich mil dir;
For
niaiicK
t
ms
±
W
^
*( — y 1^— ^ I"
ItTf ftfl
JJ ii « tt
ti.
^r
3
a 7 *z / •
n ^' j^l
it
i i i ^
r^:
=± =z z:
MI.-3-9
19
i
=§
i
^ ^ 1^'" ^
f~^^ g^.^
^^
^
there,
Strand,
And my moth
wei' - ^tr Mut
er has man- y v^f'^d
te<r hat nianch giil
en robes for
den Ge
Wi
H
:t
^
±
^
i^
1
Fi flnrt
tTr%
j-fr
7 V
i>i« iff
I^
-+ * ¥■
1? • — '■ 0 ' 0 ' 0-
3
77-
^^
^
^^i
ft
^
thee."
zfa^id'.'^
My fa
Mo in Va
ther, my
<er-.
wieiM
m
i
fa -ther, apd hear - est thou not WTiat the
Va - ier, tend ho - rest dii nicht, was
i
i
i
at'
W« J*" ^^
0' 0
'3
^ 7 ^Ep,
tS^
p
21
il^-
s
■Irfi-
r
f
i
r ^r r 'r ''f^
-o-
i-
Erl - king whis- pers so soft in
Er - len - ko - n ig mir lei - se
^ >» > *r
i
my ear?
ver - sprichi?
> *K *K «f
Be
Sei
*^S
^^
*• «
^
di'Ci'esc.
^
i
il^
:|
r»
;:^
1^^ fff
i
^
^
?^^^^
5
r r M
J J'li
qui
et, oh, be qui - et, my child;
/it^, hlei - he ru - hig, niein Kind:
'Tis but the dead leaves stirred by the
in diir - ren Blai - tern sau - selt der
Lif •' 0' hf^
y- *•
r. 1. *• *•
■9' -9
irir^j^Hr
3
-o-
ii a
"^
i i
UL-i-9
20
i
i
m
w
m
\vind.
Wind.
"Come, love - ly — boy, wilt thou go with me? My
,Willst, fei - ner Kna - be, du niit mir gehn? met - ne
^ i iv^
■9 • -9
ppp
JTjJJjJJjJjJ
m
jy'^jijj'jii
3
5 *
i
J^ J) I J y;-^r^
s
^
^
=F
daugh - ters fair shall wait on thee, There my daugh - ters_ lead in the
Toch. - ter sol - leyi
dich war - ten schbn; met - ne Toch - ter Jtih - ren de
F^
te
its^
^
m
^£^
^
rev - els each night, They'll sing and they'll dance and they'll rock thee to sleep, They'll
ndcht - li . chen Reihn und wie - gen und tan - zen tend sin . gen dich ein, sie
'Pnj::^^
jijj-j-j ijjj-j^
^^^^W^
2.
.s=±
m
k
*E55
rt
^
^
P P I L-.r p p^
^
sing and they'll dance and they'll
wie - gen xind tan - zen und
rock thee to sleep."
sin - gen dich ein."
-anr
* J .J. 0 ^f ^
Md
My
Me in
»• 0- S' S
f
^
^
1^
MI,-3-9
21
p I c? r ^
-s-
^
fa - ther, my fa - ther, and see - est thou not
Va - ter, mein Va - ter, iind siehst du nicht dort
?
i
f T
J- J' 0
'^U4
«r *<
-f T
^ ^ ^ <
axza
r r 'M
the Erl-king's daugh - tersin
Erl - ifeo . m^s Zo'c/i - ter am
< «r
i
iP=¥
#• #• #• 0
0' 0
m
I
*
p tf. p ijt
^
^
f^
I
331
^
;:?z
yon
du
dim
stern
spot?
Ort?
My
Mein
f f f t
«< ^
ti
T-±
tt
son,
Sohn,
*^ -f «r
my s on,
mein Sohn,
5^
I
ich
<■ -C -f
S
*• ^- 4
^^^F^
j^W- ^- ^- J-
S
^
IM?
r I r ^;t j^
^
I know
^e - naxt.,
'Twas on - ly the old - en wil
es schei-nen die al - ten Wei
low so gray.
den so grau.
^
aa
i
la
^;
i
J J J* J
rresc.
rx5i
tE^
-O-
iEES
»r -r
i
•f *r
i
ifat
"I
„Ich
<^' ^- <^
ih — r^ — «• #
12^
^-^
2
^
^
^
^
ML-a-9
22
±M1
^^
r ''FT p p
1^1^ ■
love thee so, thy
lie - be dich, mich
beau - ty has rav ished my sense;
reizt dci - ne scliii - nc Ge - sialt,
And, will
n)id hist
£
mg or
di( nicht
^
< r iT
fe
£
g
not,
wil
^^
I
will
so
car
branch'
thee hence."
Ge - wali."
My
Mein
fa
Fa
^4:^
i
ther, my
<er, mein
^
^^
S^
^^=r
iR=r
*^=^
^^
f:
*:
I? 2:
2:
f
f
#
^rr > r
^
fa - ther,
Ya - ter,
¥
now
jeizi
grasps
fassi
he
my arm,
mich ail!
The
Erl
Erl
king
has
nig
m
p
^
k r ^- P
«^ *f *< >
^- r h-
tt
*r *r
•^
^ ^ o^«^ «^
2
222=
:2i
i:=.
4^
^^
^^
seized me.
has done
ein Leid's
e=f=
IOC
tt
^
2/"
-^ >
s
-J^
■)/
is:
me
harm!
than!
J 0 d 4
^
,/
*•»•»»"•
i. 9.
-< J. J, J-^-
HIS. i.
^
The
Dem
fir <
S. 5. #. i.
-rrjJT^J J
ML- 3-9
23
M
accflrrando
^m
J J. J--
^
^
g
*
fa
Fa
ther shud - ders,
ier grail - set's,
he rides
er rri
like the wind,
ii't ge - schrvindy
.7 >■
^^^
^
J- J- >: ^■.
^m
He
1. S.
m
V. #•
3
>* <r
4- 4' i-
-msp^ J
(■/•esc.
^
/Tj;^j J
»• y-
V- *■•
ij^=^
#
g
^
g
:?2=
f
clasps to his
hdlt
m
^ — * €-
^
bos - om
Ar - men
the pale, sob - bing child;
das dch - zeit de Kind,
^
t^=r
^^=\;. L- !i
_fj_ f: i- ft
^J^^ J
jr
^
ff
i^
*
^^m
^^
tZK
t^fe^
I
He
> -^
reach
rpich t
es
den
home with fear and
Hof mit MiiK und
d- m-
1 1 ^^;
^i»^ ^f^^ ^jL^ ^
J. i. i.
^^
^aEE^
"^ w~^
Tr
^«*.
r?iJ^ i
s
/O
3ee^
fe*
? r ^ ^
$
dread;
Noth;
Clasped in his arms the child
tv set- lien Ar - men das Kind
was dead.
war todt.
jl^ \>d' J- J. J»
I
r\
*-r
S
Se3z^
-T*-* #^ f*-"
jf > ^
-yzt
PP
«
/»
V / jiJ'l
Andante
r:\
f
3
^
^
^
%^
ML- 3 -9
24
GEOKG FILIPP SCHMIDTa-66-is4i»)
Translated by Arthur Wt'sthrook
Lcnlo (. = 63)
THE WANDERER
(DER WANDERER)
(Composed in 1SI6)
{Orif:inal Key, C'J^ minor)
FRANZ SCHUBERT, Op.4,N';>l
(1797- ISi'S)
PIANO
^1 > i^i'- ^^^
+-
^=Z
^32
I come here from my moun tains lone,
Ich kovi - me I'om Ge - hir - ge her,
^' jiMA
I
^
al. m. J. -J^ —
m
*i*
m
^
p
pp
^
-xsi
^
1^=*
OTTT
■««-
iS>0-
te < yj. J. ^\r i w^
¥
M
^
-^
The vale is dim,
€s dampft das Thai,
|^lhH;:>: >:^:
The sea doth moan, the sea
es bravst das Meer, es brausi
doth
kt
^
^
^
%
^
moan.
Meer.
Ite
I wan-der on with pain and care,
Ich wand-le still, bin we - nig froh,
f f f , ^ ^
^
m
ES
>* ^ i**-
^
^ < H*
^
i
I- f- I
5^^
^
^-^^i^'i.^^- ^1 ';
i^
^^^^
4E=i:
-o-
5^
^=P
¥
Copyright MCMH by Oliver Ditson Compnny.
ML- 4-4
25
$
^^
r I f r
^
p/^
-if — #-
/C\
^^
?
And ev - er asks my sigh - ing, 'Where?" ev - er, 'Where?" The
xind im - wer fraet der Setcf - zer: Wo? ^ im . mer Wo? ^ 0\ Die
^ — $: ^ ■« -^ J* . — -f — ^ J^ — ^ , j« — €■ —
> >
»r "f
m
1
i
*-'— *
rifririr
pjyp
\9- •• «
'^i' #•
^
I
/O
-»-
is:
is:
w
.?
% ^- ^ cli'r u^fflr- f ir^'^F H^'\h r^m.
sun to me _seems here so cold, The flow'rs_are fad-ed and life is old. Their
Son - ne diinkt mich hier so kalt, die Blii - ih£ welk, das Le - ben alt, und
m
^
i ii *-^
< i « «
1=^
W
p C I
5
m
^
* » 3 *
I
iS
^^
^
m
£i^
^^
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.
%
I
£
te
«"r^
m
t t i /i
^
m 0 0 a
^
^
> — g
^
S
^
^
±F^
/*/// moHHO (Etwas geschwinder)
^
n \r'':> r j'\p i vp
m
^ ^Mi r r
i^
^
Where art thou, where art thou, My be - lov - ed land? ' In
Wo bisi du, wo bist .du._ mein ge - lieb - ies Land? ge
^m
ft
i
i i-ffli
w ^^,it
t-£;g^
W
la
I
///,
'f
m
*=*
*t
mi
^^.
^m
'M
^m
i^r^
zz
^
i
-o-
e^
#
hope,_
sticht,.
^
I seek,_
^^ - ahnt,-
yet
und
nev
if
B
Hiirf
^
fV-'i'-FN'y
fe
er
£
^#1
J
m
f
it
i'l
I
H.»:f«>
1
£
S
i
• — •— 1»
£
g
^13
air
i^
^=5^
0 — 0-
ML-4-4
26
fe
Allegro < Geschwind]
y !! J y i
(? ir r ^ r
^^
Eli
=>^
know.
/b(7)i ni!
That
land,
La ml.
(9 ''I* H
S
that
das
L-
land where
Land so
hope is green,
hr^ - mings-griln.
f
fT^t i T:
H J *
=§^
-# 0-
fp
nmt
*^
tii j
#
E^
t*
^
E
^
5I
^
E^
E
where
so
i
j5 « » j ;■
hope is screen, The
hitfj - iititii^s - ^riin, das
land where ro - ses
Land, wo met - ne
' p
a^
f
T
a^'-a
f
te^rrj ^ -'i
f * ^ ¥
jw
e£
s
f^
i
ff J Mr rrjr Fir -g-r mt ^-^
r^
bloom for me; Where roam the friends so dear to me. Where all my dead will
Ho - sen hluh'n, zvo niei - ne Fretcn -de wan - deind geh'n, wo met - ne Tod - ten
fe
m
m
m
s-
^EEt*
^^m
^s
cresc.
f
^
m
-±L
-<S-
f> 1^# il^fH
^^^^
O^
^^
ff •
nr^iT?
?
live a - gain, That land where they my Ian - g^nage speak, O
auf - er - sieh'n. das Land, das met - ne Spra - che sfrichf. o
land, where
Land, wo
ML- 4- '1
Tempo, Adagio_ <Wtc (mfaus^s. sehr langsam\
pw^ ? y-r^
27
^§
art thou?
bisi (ill?
mm.
=ti
M
I
Ich
wan - der.
wand - le
mm
I
^
f
^
:t
^^
Iff:
f
>
i^^
g^^
^:
dim.
^
Ff
i
^^rr-^J"
t*
^
^
!>" T" T
Mr- F ' ^''i'
-s^
^
oil with pain and care,
siill, bin we - nig froh,
And ev - er asks my sigh - ing,
und im - nier J^ogi der SeiiJ - zer:
t\^^- H -U
f r ^
**• — i-K
1
a^rai:
#•■ #
^»*-
:^
1^
g
-o-
-o-
W^
XT
XT
PP
3
r>.
^^
i
^Pf
?
^
"Where?"
wo?
ev
er "Where?"
nier war
^
^
In spir - it - voice the
hti Gei - sier- hauch ioni's
ans-wer comes-.
mir zu - riick:
^
W^^
H- H- H I
$
^^^
^
^^
^
^
-i^^' <^
^^^
i
o.
s
is;
* -^ t"
^
fe
Sfe
^
F^
'There, where thou art not, there is
..Dort, wo dn nicht bisi, dart — ist
S
thy rest!"
das Gliickf"
Mo
i
^
} r.-
3
w
22=:
^=i^
S
• .w
"F
-«»-
^
^
^=^
i^
-9-
ML-4-4
28
DEATH AND THE MAIDEN
(DER TOD UND DAS MADCHEN)
(Composed in ISl?)
MATTHIAS CLAUDIUS M743-isi5)
T/imslati'd by A rthur Westbrook
(Original Key, D minor)
FRANZ SCHUBERT, Op. 7, Nv :{
(1797-1828)
Moderate (Massig) J ^54
PIANO
^B
^ ^— *
^
I
* w
zp- i
m
~t
m
* * #
i
i^
f
s
^S « — «
* — W
^
m
i
poco pin moto (Eta-as gesdminder)
^
tE^
i
^
^
^TIIE MAIDEN) Pass on - ward,
(DAS MADCHEN) Vor - ii - berf
Oh! pass on - ward,
ach, vor - u - feer/
Go,
geh'
^
^
i
¥^1^
Hr^^ J J
< i I
f=f=i
-«■
^=^
±3
^ptr- pr- P
g
^^
w
wild and blood - less man!
wil - der Kno - chen-mann!
I
/c/i
am
bin
still young,
Moc/i j'wig,
A-
^3
^
I
1»-#-
CEZB
0 0 0
90-^
m=.m
%%$%
t)
«< — ♦-
cresc.
^
W
»♦*
i
fe^^ffi
SEES
*f «
^
#
p r r I r ^
^
?
wav then, and touch me not, I pray>
Zte - her I iind riih . re 7mch nicht an,
Oh, touch me not, I pray.
und riih - re mich nicht an.
-xkkr b* * * *.
.Fir '/.»-^-^-^
Z2I
ni
¥
PEEi
5-^=*^
^
is
1^
*
It44
^
^^
\f — r
Copyrisrht MCMII by 0\i\*-r I'ltsonCompaoy
ML-5-2
29
Tempo I
^
rr\
riz.
atz:
^
B
(DEATH) Give me thy hand,
(DER TOD) Gieb dei - ne Hand,
my fair an4 ten - der
du schon iind zart Ge
ZSt
=i=
PP dim.
^:
f=f
t t t
3
r\
« — 0
T© ^
^
^
m
\} rj
i
£
m
rJ m ^t
-o-
child, As friend I come, and not to chas
bild! bin Freund und kom - me nicht zu stra
ten.
fen.
Be of good
Set gic - tes
m
a — azj:
15. .0. ^.
ri
^
rr
# « «
5^ * *
^s
i
S
g i# — 0
^
¥
^^ ^g^^g^
k^
^
^
s
cheer! I bring thee rest-. To sleep with - in these fond arms has -
Miithsl ich bin nicht wild, sollst sanft in mei - nen Ar - men schla
m
I
m
I
9^
* J
a — w:
S 5
^ w
^ ;^
^#
^*
s^
^
i
^
^J J
^P
?^
p
r; r^\
[#=
/<r\
.5
ten!
fen!
i
/O
ss
^
!,# # J
i
n«
^n
P^ #i
-6
^ ^^
=n:
/O
^^=^
zi=r=zi:
* ^
r~i"
7^ — ^
-51 w — * — ^: --. — zf
MI.-5 -3
30
MY PEACE THOU ART
(DU BIST DIE RUH)
(Composed in 1S:i3l
^Un^inal Ki't/)
FRIF.ninCH RUCKERT n^^-isiii;.
Tra n x/a ted by Edwa rd Rowland Sill
FRANZ SCHUBERT, Op.5!i,V.'3
11197-1828)
PIANO
i
Larghettn 'Langsam)
f
^
' H d^ ^^^=^
PP
^-kilj J,
M d ziat
^ #
i
^
r
i
s
r p ^
P
i
^
^
^
My peace thou art, V thou
Dii hist die Huh. i der
P I j ^ J ^^
i
f ^ >::
^
jJJ^j-M^^
j' 7 7'>
^^
^
r
g
^
V From thee
my rest;
de mild.
my pain
sucht dii.
^ J ^ J ^ J^
f ^•
^
^
blest:
stun.
V En - ter
V /c/i zv(i
^
i
i
^^
mine
ey
,-es,
V this heart draw.
,voll — Lxist — iind ^
t
Sz
!,t|> * > ' ^
^3
1
bjVT^T.^
^
r » r ^ ^
S
s *■
S
i^
Words used by permission
Oliver Ditson Company
ML-6-4
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^
^ r ^
near,
Schmerz
V O come, VO dwell
V sur Woh - niing hier
^* —
for ev - er —
V mein Aug' und —
s
here,.
Herz. .
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i
for ev - er here.
mein Aug' und — Herz. .
^^^^^
En - ter, afid
gE3
En - ter, afid close the
Kehr' eiu hei mir, V und
door,
schlie
and
sse
£E
r p ,1
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£
come
du.
V And be
this breast
ter di
thine end
die Pfor
less home;
ten zu.
ML-6-4
32
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m
3 ^^ C^
tin
^^
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hurt
Herz
V and — heal - in§^ —
V von del - ncr
know,
Lust, _
V thy_ hurt and heal - ing
V vo}i dei
ner.
*
r I r r
.ear lierht thai
P
Clear light that on
Dies Au - gen - zelt,
my soul
V von dei
hath shone, my
veni Glanz al -
I'-mTW^
9
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33
m^
m
m
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soul hath
lein V '"''
shone,
helU. _
Still let— it-
shine
ganz,.
h \JZl^^
from thee a
V o — Jiill' es.
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,34
WILLIAM SHAKESPEARE ^564.-1616)
German of first verse by A. W. Schb'gi'l
Second and third German verses added by Fr. R>'il, and
Translated by IsabMa G. Parker
HARK! HARK! THE LARK
(HORCH, HORCH, DIE LERCH!)
Serenade from"Cynibelme"
(Composed in 1826)
'Original Keyi
FRANZ SCHUBERT tPosthumnu^
m91-lS2&)
Alle syrette
VOICE
PIANO
^
s
^
H
p
KEZEZ^i
^
i
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fc
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t
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l.Hark! hark! the
2.Tliroug: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
^
5
5
^ r F
P
/.Horch. hnrch. die Lerch' im Ae - ther hlaii! und Pho
2.Wpnyi schnn die lie - he gan - ze Nacht der Ster
.?. Und weiin dich al - les das nirht xcecki, so wer
bus, neu er
ne lich - tes
de durch den
Copyri/tht MCMn by Oliver Ditson Company
Ml. 7 b
35
rise, .
high,
sake, .
'^ ^ ^
His
A
Up
^
M r ^
steeds to wa - ter
bove thee watch, in
on the niglit rise
at those springs, On
or - der bright, And
ten - der - ly, O,
*
P
F r M r
s
E
±L
wecki,
Heer_
Ton
tr'dnkt
hoch
der
sei
it
3ft 11
lie
ber
ne
Ros
dir
zdrt
se
i m
Itch
m 1 1
Wech
auf
deni
scl'
Thau, der
wachi, so
neckt! 0
fe
5
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5
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^
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chal - iced flow'rs that lies, _
hope, till morn is nigh, _
then wilt thou a - wake,.
p 7 F iCr^ f^f^Jq^
On chal - iced flow'rs that lies.
And hope, till morn_ is nigh,
O then wilt thou a - wake!
S^
And
That
How
I
s
m
Blu, - men - kii - che drckt,
hof - fen sie noch nichr.
dann
'■r - ■wachsi dn
:h 0 1
9^^^
0
^
S^
der Bill - men - he! - che deckt.
so hof - Jen sie noch ^nehr.
dami er - wachsi dii schoti!
^
Der
dass
Wie
w
£
f>- F F F I* F~f
w
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m^m
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ML-7-5
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^^
wink
thou
Love
Jv
j^ i^r iJ^ri
ing
wilt
thee
?
Ma - ry - buds
wake,- their lii;ht
to thv win
^
be - gin To
ope
to greet:_Come, ope
dow brings, Well knows
E£
i^^
:£
their gold
thy star
he:- ope
en
ry
thine
i
I,
^
^
?
s
^
e
aiich
oft
^el - bill - mn
ill III All - gen
SI'' (fu/i aiis
Knos - pr schleusst die gold
stern sic griisst.^Er - reach!
Fen - sler irieh, das ivciss
nen Aciig - lein
Sic war ten
sie, drum stch'
Vir
p
^
P
±3E
^
p
^
i
es.
ey
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
*
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p
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auf;
draiif.
auf.
mit
weil
iiud
al
dn
ha
lem, was.
doch ga r _
he dei
da
so
nen
ret
rr{
San
zend {si-
ze ud hist;
ger lieb.
du
dn
du
^S 1 Hi
m
ife
5f
^~^TO
3
it
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lit
MI,-7-5
57
m
5^
P
P Lr n
la
la
la
^
dy sweet, _
dy sweet, _
dy sweet,.
a
a
a
rise
rise !
rise !
With • ev
Since thou
And love
'ry - thin^
so star
thy sing
that
like
er
1
E
5Ei
?
W
m
sse Maid stcit'
sse Maid, sft/i'
ssr Maid. sftJi'
aitf.
aiif.
auf,
■mit
weil
und
al
dti
ha
lem, was-
dock gar^
hi' dei
da
so
nen
m
^
J'- I J- J J' L-^
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w
pret
art.
while
tv bin,
so sweet,
liP sinsrs!
My
My
My
la
la
la
dy sweet, a
dy sweet, a
dy sweet , a
rise !
rise !
rise !
a -
a -
a -
i
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J^ I n J-' r.^^
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5
rri
rci
San
z'pnd ist-
zend hist;
ger lieb,
du
du
du
szi
sii
sii
sse Ma id ,
sse Maid,
sse Maid,
steh'
steh'
shh'
auf,
auf,
auf.
steh'
steh'
steh'
t
^
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g
^
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IBENEW WBK PUBLIC LIBRARY
7-5
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i
rise,,
rise,,
rise,.
^
a
a
a
rise,,
rise,,
rise,.
^
My
My
My
la - dy sweet, a
la - dy sweet, a
la - dy sweet, a
rise,
rise,.
rise,.
M Lr F r
t.
decresc.
^m
a -
a -
a -
drcresc.
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^
auf.
auf,
auf,.
du
dti
dii
su
sii
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F
sse Maid ,_
sse Maid,_^
sse Maid^
still
steK
steJi
atif,.
auf,
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steh'
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rise,
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rise,.
My
My
My
dy sweet,,
dy sweet,,
dy sweet, _
a - rise!
a - rise !
a - rise !
^
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auf.
auf.
steh'
steh'
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auf
auf.
auf.
du
du
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sii - sse Maid, steh' i'uf!
sii - sse Ma<d, steh ' auf!
sii - sse Maid, steh' aif!
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M 1,-7-5
THE INN
(DAS WIRTHSHAUS)
(Composed in IS2S)
:vj
WILHELM MULLEK (1794 - iss?)
Translated by Alexander Biaess
(Orii^tnnt Key)
Adagio (Sehr lans^sam)
VOICE
PIANO
s
I
FRANZ SCHUBERT,0p.S9,NV 111
(17!)7- 1S28)
w
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tiYti
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rt-esc.
2 0 I s 0~
f V ;, I Ji i i' J' J ;i ;.
Up - on my end -less wand -'rings a
Auf ci - lien Tod - ten - a - cker hat
i n i '^-
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V J'lJi i J^>>j ;>>! Jm g-^^
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cluirch-varil I he-hold.
Here have I thought to rest me, with - in this qui - et fold.
All - hier zvill ich ein-kch - reti, hah' ich hei niir ge-dacht.
t
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Copyright MCMII by Oliver Ditson t'ompany
MI.-8
40
i, . ;. I ^r^^' J) J J. ;i
O ver-dant wreaths of wel - come ! ye
Ihr grii-nen Tod - ten-krdn - ze konnt
P >■ J> ^" llJ-'
m
s
ji J) n J \^
of
uoh/
fer a
die Zc i
m
re -treat
cheij seiJi,
To
die
pil - grkns faint and wear
niii - de Wan - drer la
y, with
den ins
^
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g
s
ife
f
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bleed - ing hearts and feet.
kiih - le Wirths - haus ein.
A
Sind
f i f f"- i ^
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3
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w —
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|mm^-^^
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p ,M r p
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las! each place seems ta
denn in die - sent Hau
ken by
se die
dwell - ers strange -ly mute.
Kani - mem all' be - setzt?
To
bin
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death am I ex-haust
matt ziiTn Nte-der-sin
^
P I'T' F ^] P
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te
- ed with g;rief and pain ai-cute.
ken, bin todt - lichschwer ver-letzt.
Thou
0
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inn, of pit-y bar - ren,yet turnst thou me a-way? Then on, my staff e'er faith- ful, till
un-barvi-herz-ge Schen-ke,doch wei-sesi du mich ah? Nun xvet - ter denn, nur wei - ter,mern
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death my care al - lay,
treu - er Wan - der - stab,
Then on, my staff e'er faith - ful, till
nun wet - ier denn, nur wet - ter, viein
^ l'> g^T
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^
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death my care al - lay.
treu- er Wan- der - stab !
5
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351
331
"XT"
ML-8-3
42
I-UmviG RELLSTAB (1799-1860
Ti'iiisldlfd by Louis C. Elxon
M Y ABODE
(AUFENTHALT)
(Composed in 1838)
'Origitial Key, E Minor)
Not too quicklV, yet with force (Xichtsu^s^esclnnud, dock kriiftig}
FRANZ SCHUBERT
"Schwanengesanfr," N'.' 5
11797-18281
PIANO
i
^fe^
^
fc
j-<-+r Mir
Swift rush-ing stream,
Rau-schen-der Strum,
loud moaning wood, Rockbleak and scarred, my
bran- sen -der Wald, star-ren - der Fels, tnrin
te
m
m
i-^
m
m all *.
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wild a - bode,
Aiif - ent - halt,
Swift rush-ing stream,
rau-schen-der Strom,-
loud moan-ing wood
bra\i-sen - der Wald, —
Rockbleak and
star - ren - der
it
m
ir^ft
rr
w=*n
?p*ff
* * **
^
^3
s^
^
-^ ^^
-0 9-'
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scarred, my
Fels, me in
wild a - lH)de.
Anf - ent - halt.
i
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m
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ML-9-5
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Bil - lows on bil - lows chase o'er o -ceans breast.
TViV sick die Wei - le an Wrl - le reiki,
So tf)o are flow -ingmy
flic - sscn die Thrd - nen mir
\
kk
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m
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ti
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m
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tears without rest,
e - t£)ig' er - neuf,
SO
fUe
too are
SSO! (fiV
f]f)W
Thrd
my tears, my
iiuV e - wig,
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tears with - oxit re st ,
SO too are
file - ssen die
flow-in^ my tears with-out rest.
Thrd -nen mir e - zcig er - neut.
^m
its
-J^-fe;
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Winds o'er the tree-tops are nev - er at peace, My
Hoch ill den Kro - itcn 71:0 - gend sichs ^cgU so
^m
heart's wild throbbing-, like
im - aitf - h'or - Itch inein
bf'ti inorcato
m
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theni,will not cease, Winds o'er the tree -tops are
//r»- • ze schlagt, horh in den Kro . nen
nev - er at peace, My
Ti'o -gend sichs regt, so
ft^ttn
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heart's wild throb-bimj, like
uii - any - hor - lich 7nein
them,will not
Her - ze
^=#
^m
^m
cease,
schlagt
^
The wild, wild throbs of my
un - auf - h'or - lich mein
*
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^
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heart
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will .lot cease.
- ze schlagt.
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^
like
^
the ore
des Fcl
in the rock^
sen ur - al
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hard vein,
tes Erz,
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Ev
er my bo
wigder - sel
som
fee
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hold - eth its ]>ain,
hlei - brt riiiin Schnierz,
i
it
m
m
ev - er my bo
e - wig dcr - s(d
som
he
i
< <<
m
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hold -eth,
blet - bet,
i
s
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die
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r F|r r ir^^
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hold
eth its pain,
hel nifin Schrnerz
ev - er
e - wig
my bo - som hold -eth its pain.
der - sel - be hlci - bet mtin Srhmerz.
Wi
i — ^ — <■!-
Jf £.
m
^^
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Swift rush -ing; stream,
i?nzt - schen - dvr Strom,
Iirtid inoan-ing wood,
bran-sen - der ^Vald,
Rock bleak and scarred, my wild a -
star-ren - dcr Fels, mein Aiif-enf
^
.>r
^
^^m
f^=^
^^
bode, Swift rush - ing stream,
/id//, raiL-schen - der Strom,
loud inoan-ing wood,
hrau-se'n - der Wald,
Rockbleak and scarred,,
star- ren - der Fels,
'^j; jjj~
W -W'
^
^i^^^
m
s
i
p
swift rush-ing stream,.
rati - schen- der Strom.—
loud .
brau
moan-ing wood, my
- sen- der Wald, mein
w
H > >■
m
f
*« — *ft
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a=*=«t
, decresc.
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wild a
^ji/" - ent
hode.-
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M I.- 9- 5
MY PHANTOM DOUBLE
(DER DOPPELGANGER)
i('omposed in 1S2SI
(Orij^tnal Key)
HEINRICH HEINE n-.-s-i!,.-,;,
Translated by Arthur Westbrook
47
FRANZ SCHUBERT,
"Schwanengesang^'N'.' \\\
(1797-1838)
MoltO adagio {Sehr langsam)
VOICE
PIANO
stee-ple;
Gas - sen,
lived my treasure rare.
zvoint - /(' nii'iu Schaiz;
m
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4
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Long since she left —
sie hat schoii Idngsi —
this town and— peo- pie,
die Stadt ver - las - sen,
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Copyright MCMII by Oliver DitsoB Company
ML-10 -8
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!%
m
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But still stands the
(inch stf'hi nnch dns
house
Hans-
on the' self - same square.
auf dcm - sel - ben Plaiz.
gg
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55
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±:
Here stands, too, a man;
Da steht aurh cin Mcusch
towards heav - en he ga - zes,
unci starrt in die Ho - he.
His hands he
Mnd ringt die
^
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9^
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^
■ r/iesc.
s
jOryC*? (7 pOCO
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wring- eth
in wild
t'or Schtner
est de - spair;
zetis - ge - wait; _
mir.
shud - der,
granst es,
*
^
n r^ r" r I r p p i r P^
it — ^
^^
* .*
when now his face he rais - es —
ZL'enn ich sein Anf - litz se - he —
cfesc.
5^
"TSP"
The moon-light shows me mine own self is
der Mond zeigt mir rnei - ne eig' - ne Ge ■
^^=i
f:
^s
U
MI,- 1(1-3
49
^*
:£
O pale, sad
Du Dop - pel
crea -ture,
gUn - ger,
My ghost and my
du blci - cher Ge ■
4
i±
9-=-
i»;
«f(y'
■ lerando
ci'esc.
^:
3^
s
^
^^
fc^^
J, I d-. ttJi J' j'^^^#
x^ It'
doub - le, Why dost thou ape my pas- sion's tears, That haunt -ed me with
sel - lei was <\ffii du nach niein Lie - bes-leid, das mich ge.qudlt anf
cru -el
die - ser
S
IX
I
tei
5e
m
M
1;
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fe;
¥
F-
F
^fe^
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^
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i
troub - le
Stel - le
Pgj
«s
So
so
man
man
jMi night
c/ie Naclii,
m
-tei:
^=r&
old
al
E
en
.;sr^
jsr=
Z'
^:
#•
■=2:
^
I
t
years !
Zeit ?
:^
pp
#i
:E
^
/>j»^
F-
^-
z^-
77-
ML - 10-3
50
ADAM MICKIE\\TCZ( 1798-18551
Transiated by Nathat) Haskell l>oU
MY DELIGHT
(MEIXE FREUDEN)
t'ompos«'d iv. 1S37
I Original /Cfy i
FREDERIC CHOPIN
(IS09-1S49J
VOICE
> , Alleijretto (M.M. jr i20(
^
yz
^^
Hr r F
PIANO
k\' i_ I , '» t, '» » -
^pp
1^
E
^
^
U
^
a
*
#
II.
ii
s
^
i
te
5
^^^
^
When first the
Wenn dii, Ge
mag
ic of thy dear voice
te, nur be -ginnsi zu
fee
i^^
^^
i
f
"ST-
^S
^
^Ep
^
^
t±
^^
r 'I' r
^
^
^
-iS^
calls me, I am en - rap
re - den. bin ich ge . fan
tured; a won - drous charm en - thrals me!
gen mii iaii - send Zaii - ber - fa - den!
ftz
i
f
5
rresc.
poco
e//m.
'^H' J r
^
^
0^
^
Copyrigbl MCMH by Oliver Ditson Company
Ml,-ll 4
51
to
it>
■■ii' r -f T
I dare not move
laa ■ sche ent ■ ziickt
for fear
una wa
the spell be brok
ge nicht zu sfo
*n: Fain would I
re»i ; wii n - sche, du
m
f
i
f
~7^
P
TT
a
5^
^
^
^
^J^
•j"
i
iTr- j^ j 1 1^
?^^
ev - er-more thus_ see thee smil
flau ■ der - test e - wig so hei
ing, Thus hear thine ac -cents, thine
ter und will mein Le - ben, tnein
»
;R
T^
S ti
^
i
^
^^
^
p
i
^S
gL^ ^ .jW
r r IT
=*
T M r
ac - cents be - guil
Le-ben lang nichis wei*
ing, Words soft - ly
ter, als dich niir
spok - en,
ho - ren.
ev- er-more would
dich niir ho - ren.
m^
f
i
f
^
r^
■^
TT
S
P
^Ef^
^
ts-^
^
^
a
H
Si
^
^
hear
h6
thee, Lin - ger - ing
ren, als dich nur
near thee, ev - er-more would hear
hd - ren, dich nur ho - ren, ho -
thee^
ren!
^^^=r
E^
i
ff
r^^
3% i
3
=^p=
cresc.
-^
ML-ll-4
52
1*1
^^ r r r
J I J, i^ J' Y r ^
J J J
But when thy pas
Doch wenn die Axi
sion flow- er- like un - clos
gen feu - ri - ger dir glii
es, Bright glow thine
hen, ro - te - re
m
f
f
f
^ -^
P
■^
poro rresc:
^
^^
^
f
^
P^
i
h J' ii I J
-s-
M I r
2:z
?^
^
eyes
and thy cheeks flush with ros
sen den Wan - g'-'i sr - blii
es, When not
hen, we nil dir
a glance
ent - zilckt
my
17
~o
rfhfi.
:^:
T
^*
^
^
^
^
^^
f
ife
Htretto
p g I J M I M r L^
^
E
iEi
^
kind-ling ar
Bli - eke fol
dor miss
gen mUs
es, Ah! then,
sen, ach dannf
Ah! then,.
. ach dann!-
Ah!
ach
i
t
-^^
f f
TI
^
^
^:
^
^
IZZ
<fe#
^
i
cresc.
r ' ir
^
i!!^^
s^
then, .
datin.
Be
lov
ed. Ah! then, be
/e, ac)\ dann, Ge
lov - ed, no
lieb - te. dann
-mr-ri
tt
^
^
rresc.
^
^
ML-ll-4
53
senipre ^ piti accel. -
^' r >iJ
i
r '1^ r
2
more fain to hear thee,
m'ochi' ich dich sto - ren,
I, clos - er drawn to thee, bend - ing so
will Van - gey nicht niehr die Lip - pen dann
^^
^^
^
W^
sempre piu accel.
»
13^
w
m
m
fe
^m
iSh^
rail, poco a poco -
_ — J'(^' r-# — 0-
near thee, Stay
h'6 - ren; will-
thee with kiss
sie nur kits
es, with kiss
sen, nur ktis
$
te
M^¥3
iE£
m
i
rail, poco
a poco
w w
a
122
-«^
^
a tfmpo
tE^
es, with kiss
sen, nur kUs
es,
sen,
with kiss - es!
niir kUs - sen!
fe
f
f
w^
Wi
w^
*^
a tftupo
"If
"IM^
^
^
^
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4te
s£tt
RffeF
S
2:z:
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\
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y.
^
ii
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ML-lI-4
54
THE PARTED LOVERS
'ZWET LEICHEN)
BOGDAN ZALESKI (1802-1886)
Tran-sluttd by NATHAN HASKELL DOLE
(Coniposfd in lS/ir>.i
{Oni^iital Key, D minor)
FREDERIC CHOPIN
(1809-1849)
VOICE
PIANO
i^
Allegretto lJ=ioo)
u M I r -^-^"^^-fr
^
1. Two fond young lev - ers, the'
/. Zwei die sich lieb - ten, die
faith- fill, tho' true
dtirf- ten's nicht ge
heart
ste
^
^^
p I ego to
'mi} F.J
^
tEE3i
i 1 \t
^
ed,
hen.
£
^
^
TT-tg
j) ;» J^
s
;t
^— #
Were kept frbm
muss - ten sich
meet - ing-, were fro m_ each - o - ther
met - den xind von ein - an - der
te
part
^
ed.
hen.
^m
m
E?
F^^f
g
i
i
Ni*
1^ ^> I ^^cM p
^
i
r^
s^
^
Years swift - ly
Jah - re ver
gli3~~ed by;
g^
gen,
still their love each
sah'n sich nie - mals
cher - ished;
u'ie . der,
^
"*" -0^
tik
poro rresc.
# ^
dim.
^
^V^
^
i
sz:
i
^^
^
i i> i.
^
ia
^
♦-^ — w — <
^=«
Both came at
/f'^ - ten sich
last to_ die,
end - lich
All their sweet hopes per
heid' zti ster - ben nte
ished!
der.
^
=1
^
^
H
P
Copyright MCMII by Olivpr Ditson Company
Ml.-ia
55
'>ll'r p p I r Ml p~r^^^^
^
^
2 There in her own room the
3 High in the church - tower the
2 Drin - nen im Stiib - chen das
3 Liiu - ie - ten Glo - cken im
tfc
faith - ful maid was
bells were toll - ing
Magd - lein lag im
Dor - fe von dent
sad - ly,
Bet - te,
Thur - me;
in the
in the
Far
There
dock der Ko
heul - ten im
i
imi
5S
^
1^
i^^f^
m
p legato
g
^
'^' ^ MQJ> J^
m
jolL5
^
for -est wild the
for - est the
Wal
W
lag a n
de nur
Cos - sack youth was
wolves were howl-ing
wil - dvr Wal - des
Wo I - fc laid im
dy - ing. Grooped round the maid-en's bed,
mad - ly; Priests laid the maid-en's form,
steii - te. Wein - ten urn's Mcigd - lein
Slur - me. Mcigd - lein im Gra - he
1
m
i
P
mt
"Q
^
poco cresc.
^
i
^
^
^
i
teir^J'^'ir.ff^^f^^
feS^
J) ;i J^ I j^p g|
^s^
youthsand girls la- ment-gd, Fierce o'er the Cos-saclvs head ra-vens hung,keen-scent-ed.
in her grave with chaunting \\lnle raved the rain and storm, oer- the Cos -sack vaunt-ing.
Mad- chen wohlund Kna-ben; um den Ko - sa - ken kracht-teti tiiir die Ra -ben.
deck - te Prie-sters Se - gen; doch den Kn - sa - ken bleich-tenWindntid Re - gen.
m
-^Uiik
^^
55!=
f3
dim.
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M L-12-2
56
DEDICATION
FHIEDRICH RUCKERT (nss-isosi
Trniislaied by Alexander Blaexs
(WIDMUNG)
(('oniposed in 1840*
(Original Key, A\>)
ROBERT SCHUMANN, Op. 25, N'.'l
U810 - 1856)
Animato, afTeltuoso {hmig, lebhaft)
VOICE
PIANO
m
^
f^
Thou both ny joy.
du rnei-nt Wonn\.
and s.id-ness art,
0 du mein Schmerz
Thou art my
du, mei-ne
^
-w
^m
m
-^
■fe.
«
fet
r r f ^'
^
i
I
!• 1»
1 *
+-
heav'n,.
Welf
M:
my match - less lov
III der ich le
er, The world of bliss,
be, mein Him - rnel du,
where - in I
da - rein ich
i
^^
i
j^
1
tl ,y
rHhi^
:si
ga^E^
T
r=f
^ * 'fk
*
't^i.
«
Copyright MCMII by Oliver DitsOD Company
M 1,-13-4
57
MI. i:i
58
g-uid
schie
den.
So has t}\}- love
Dass dumich Uebsi,
#=#^
^
^
to me ap - peald.
ntachtmich nvir werth, .
I see my
ietn Blick hat
i
f
ff/ffj^j
W
1=1 * • g
«^-*
3
m m m
g
^
#— •■
0 d d mum
lafii
m — m
d — d — d d d 4
ht.
^
E
my - self,
her mtch.
Good gen - ius thou, my bet - ter
vtein gu - ter Geist,meinbess' - res
I
tf:
«
^
^
^
^
%
self,
/cfc/
Thou art my life, my soul' and heart,
Dit mei -ne See - le, du mein Ilrrz,
Thou both my
du mei-ne
^^m
M I. IS-4
59
#
joy -
Wnnnl
^
and sad - ness aft,
0 dxi mein Schmerz
-^=*
E
S
E
S
Thou art my heav'n, my match - less
du met- ne Wilt, in der ich
J*
n
if.
W=^
M
5
ZZ~
f
^^
^
lov - er, The world of bliss.
Ir . be, mein Him - mcl du,
where - in I hov
da - rein ich schwe
Hffigend
und
eileiid
er, g-ood js^enius
be,t)iein gti-tcr
rit.
I
tf
^
thou, my bet
Geist, mein bess'
ter self!
res Ich!
i
isfe
nf.
h
m
J ti-^- .^
fe
313
it
13j
^V
r^
«
(
^^^#^
^
d
5
3^
^
hj
r
ML-lb-4
60
HEINRICH HEINE (n99 - is5r,i
Tnin.sluted by Artkur Westbrook
THE LOTUS FLOWER
(DIE LOTOSBLUME)
'Composed in 18401
'Oriiiiniil Key)
ROBERT SCHUMANN, Op. 25, N'.' 7
(1810 - 18561
VOICE
i
PIANO
Lar^hettO (Ziemlich langsam)
^^
^
i^
^
^
The Lo - tus flow'r doth Ian - guish
Die Lo - tos - bill - me. dng - stigt
a
^t
13
p
^
I
m
3=^
-&^
~xyi
1^^^3l^
^
i
^
r r r r ^
J3^
-m
zih
Un-der the sun's fierce light,
sich vor der Son - ne Prachi,
U¥tH
With droop-ing- head she wait - eth,
iiiui mit ge - senk - tern Haiip - te
She
^
trt
d' d S 4 ^ ^
S:
Kf ^
¥J^f^
^
^
dream-i - ly waits for the night.
■war iet sie irau-mrnd die Nacht.
-t
The moon is her_
Der Mond. dcr ist
true lov - er, He
ihr Buh - le, er
E^i
fff'jjjj
i^-0-
I't MM
ii
9~^» 9
PP
3
3EEEE
^
\,iii'^i t t
r r.T r r
222
^^
q m
i
^:
wakes her with fond_ em - brace;
Tveckt sie mit sei - jiem Lichi,
For him she glad- ly un-veil - eth Her
und ihm ent-schlei- eri sie freund-lich ihr
I
6=J^
E
u
\iii Hi
i
SEI
[>? g tjS 3
I
I
^
•— ►
:t_:i: :t
# 1 ^ lt» # ^
I
|;|| ^ i \?t tt
Copyrie-ht MCMH by Oliver Ditson Company
ML 14-2
61
$
J.-i' J I J
J I J J
(tea'/.
niich
JJOCO
und
3EE3E
^^^
sweet and flovv'r - like
from - mes Blu - men -ge
face.
sichf.
She
Sic
blooms
bluht
and ^lows
und gliiht
and
und
p n't
'^•-•m ft
i
*:
# 0-
i i t
P
E
E
weeps and ex - hales and trem-bles
eUtf - iet und wfi - net und zit - iert
With love, and the sor - rows of
vor Lie - he und Lie - bes
^^
f==f=
#=J=S
i i i ^
T
i
f 1 # 4-^
/■ft
p
i
J.
P
^
^n=j
*"yr
* 1 *
M L-14-3
62
IN THE FOREST
(WALDESGESPRACH)
'Composed in 1S4(''
^Orinhtal Key)
JOSEPH von EICHENDOF^KF m:><s-i857»
Translated hij Alexander Blw^f
KOBEHT SCHUMANN, Op.39,NV;^
USI0-lS5fil
VOICE
P1AX()<
-5^^
AlleiJ^rellO fZiemlich raschi
^^-
ia
^^if
r-rj^zh-^
"The hour is
„Es isi s(ho)i
m
m
"if
^^^
wk
^
»=f^=f
i
W
m
■=*
r
f
T
T
U
i- U - JMi^
i
5
S
^
5t
» 'I ^. d
-G-
late,
s^a7,
cold grows the night; Dost thou not rue
es isi schonkalt, wax reit'st du ein
thy lone - ly
sam durch den
I
rf,¥ir mJ-.-?. i.^^J't.jJ'Hr : ^; if , J' I'jyji'k
ride? Thou art so fair; sad is thy plight;
Wald? Dcr Wald isi ^"'^g' f'l' '"si al - lein,
Oh, fol - low me! and be my
dv, schd - ne Braid! ichfuhr'dich
¥t
f*=^
n
m
-rmi-i^
bi ii '^U
^
i
5
fe
fe
f^^l:
^6
I
^'
^
^
a
B
f
f^
t*:
-*^
i'^
j/
Copyng-ht MCMII by OIiv»T Ditson Company
ML-15-4
63
J^
^
^^
worn face? Oh.
Z2I
:;^
fice.
ist,
Know'st not
wohl irrt
my pale and
das J\^ld ■ horn
heart
worn face?
und hin,
» m
\ m m m rr
^fe
^S:
^=fi
M #
Se
*^
^F^
s
^
f^
=*?
1
5:
^
lA
rf^r-n
i \ 5
d' M' ^
flee!.
fliehL
Oh, flee_
fliehL
from this
rftt weisst
ac-curs-ed place!"
nicht.wer icli bin.''
ML-15-4
64
A
X
/^ i 1 \ Ji ^
s
En
^
'Thy comb be - je\velled_
,.So reich ge - schmiickl
o'er snow
ist Ross_
white
und
brow,.
Weib,-
t
t%
*=*
< I j[ I
\^m
i
■•(5^.
r
r
r-
a tempo
% Ji 5
'^- ^p T' "1? 1^- 3 j'' i' ^_^
?
*&
s
know thee now! Heav'n help my soul!
henn' ich dich.- Gott steh' mir bei!
a tempo
A witch art thou, the Lo - re
d\{, hist die He - xe Lo - re
rif.
/
^
m
^^
^^
B
n
^=±
3C«t
/
w
\j, rtf^r^^
i=3E
^
(7 tempo
Ml.- IS -4
65
U
m
0 m 1^
tow'
kennsi.
g
^^^^
ring cliff I scan the Rhiile And lure
.niich ii'ohl— von ho - hem Stein schatit still
^
P P
^
the skip -per and his
mein Schlosstief in den
The hour
Es ist
IS
schon
late,
spcit,
the night
es ist .
grows
schon
*
^ 7 It'^l
tt;[g g ; ; ;
g
S^
g
P
^
/v/
^ ^ T" ir .^
E5
^
0 0
0 0
*
^^
Fair day thou'lt nev-er-niore be - lujld, nev - er
kommst mm- mvr - mchr axis die - sent M'ctld, nirn - mer-
^
i
Ut
s
W
^-i r til
more, nev - er - more thou wilt be - hold!"
mchr. mm-iner - niehr aiis die - sem Wald!''
66
HEINRICH HFINE ri7i,9-iS5r,i
Translated by John S. D wight
I'LL NOT COMPLAIN
(ICH GROLLE NIGHT)
(composed in 1840)
(Original Key}
ROBERT SCHUMANN, up.48,N97
(|SI0-IS56>
VOICE
PIANO
i
ModeratO {'Sicht m sdmell)
W
JF^
^^
S=t==:
^ J' J' J^ I l-^J
^
I'll not com -plain,
Ich grot - /(' nicht.
tho' break my heart
und li'enn das Herz _
fe
77V7V7 V 7
"!f
^^
llliii i ^
i
.^^
Itff
5
in
atich
i
^s
s
-^ —
twain.
hricht.
O
e
love for ev
<x'i^ vpr - lor'
er lost !
lies Lich,
-4 -9 ^ -9 t.-9 -9 -m
i
i^^^ j;n
I ! I I I
tit
3
i
3
I5r
fe
fe^
^
^
^
£
i
O love for ev
<' - Zi;i'^^ rpr - lor'
er
lost!.
I'll
not _
I % i i r^
com
3~i I i .^ ^ H a
m m 9'-
tit i \ t \ f
-0- -»■ -0- -0- ' I
f
-o-
9
rr^
Copyright MCMU by Oliver Ditson Company.
M L- 16-3
67
i
^m
plain,
nicht.
I'll
ich
not_
grol
com - plain.
le nicht.
i-i-i iiii%
^
f
y N h N
Howe'er thou
Wie dii (inch
f
11
^=^=f=t
W If V w w w
T*
1
-5
^
^
^S
^ifJ^ J^ J^
E^SSS
1=
# *' a*:
shin'st
strahlsf
in dia - mond splen- dor bright, There falls no
1!! Di - a - man - ien-prachi, es fnllt kein
ray
Strahl
4
^S
J J 4 J
t
i t i uUi^
in - to thy
1)1 dei- 7ies
**^
f 9
f
*
^
^
fritard.
^
-©-
heart's deep night,
i/er - zens Nacht,
I know full well. _
das weiss ich Idngsi.
^ i 't i- ^'"H
^
^;
=^
/
^
y j^i j^ j) ^
^
^^
^
3±
111 not com - plain,
Ich grol - le nicht,
tho' break my
und zvont das
heart _
H>rz _
m
auch
^w w w V -^ w -0 -9
^i i ♦ J i J J
♦ ♦♦♦
liiiim
^
■6-
^
i
M L-16-3
68
-^
twain.
bricht.
In dreams
Ich sail
S
?^^
i
I saw
dich ja
thee wan - ing,
un Trau - me,
And saw the
imd sah die
M
'Hiiiiiii^
p
* « * 4 J
s
-6
i
1^ J'' J'^ J^ r- ^
cresc.
■6-
9
J.
J>
M P I P M^
g
night with -in thy bos
Nacht in dei - nes Her
om reign - ing, And saw the snake that on thy heart doth
zens Rati - me, und sah die Schlang' die dir am-. Her - zen
/■//.
■I :< j> i
XJUl^
r^iiprr P I'P^^
$
-^
^m
f^
gnaw^
0 00 01
How all for - lorn thou art, my love, I saw.
ich sah,ni(iii Lieb, zvie sehr dii e - lend hist.
I'll notcom-plain,
Ich grol-le nicht.
111 not com-
ich grof- le
, w w w m u0 — # — 0 »
'."{ i i i nr'"
^
^
^=J
w~*
t
I
II
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/•
i
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5
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M L.16-3
HEINRICH HEINE ,1799 i8,56i
Translated by Arthur Westbrook
THE LORELEY
(DIE LORELEI)
(Composed in 18-41;
(Original Kfy\
69
FRANZ LISZT
(IS11-1S86)
Moderate Non strascinando (Nicht scJdeppend)
PIANO
i
#:
Parlandd
ntGfSjirnchi'-n.)
^
rr pii^r> ivJhJ. Ji|
£i3*;j
s
^
I know not what it be - to - kens That I such sad - ness,
Ick 7vriss nicht, was soil's be - deu - ten, dass idi so traii ~ rig,
such sad - ness
so trau ■ rig
*
J;
;t i tJ
^ i ^'
E
f^
4
S
P
^
i
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^^=r
^^
?
s
Allegretto
*=^
^
jO'^r^i /v/
^
i=^3
?
^
^^
by-g^one a-ges
al . /f')i Zei-ten.
So haunts me,
rfus kommt mir
nor will it go, So
nicht aus deinSinn, das
haunts me, nor
kommt mir nicht
I
*:^
i#
■.0.M.
±±:
V y ,^^
ii:
:5=^
:^Ei^E
§
*-#
■^'*lr-'''^iJ3^7 i'.)"{w->->^'t^^F^
^'vro /'if.
S
1^ 7^^ 7JtJ
Copyright MCMII by Oliver Ditson Company
ML-17-8
70
smorz.
^
^
1=r
.will it go.
_ axis devi Siiui.
%t
^E
^m
P
1
%
jj^fe^^
^
F
dolce
J"
^^i
*5
^
^
;^.
^^
[^-^
'//W.
W/Jfl' Cflrrff?
^ci.
poco rit.
Adaj<io
»Mi^ ^ i yf irrJ'r- 1~^
The air is cool,
DtV I,!(/7 ist kiihl,
Molto tranqtiillo, ma ncn strascinando
(Sehr nihig, aber nicht schUppend)
*
^ 'ils!.
%
.^ y ^ y j? ^IJ *^' r- J
^^^<^ "^ J- r=Ff
^
day is.
unii es
wan - ing,
And gen - tly,
it7irf fit - Ai^,
^^
§
*33fe*
-i-i>,J ,S
::^
;^
I
s
S
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l!»
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i
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^
Fg==W
^
"h^
t
#
^^r
#
^
^ 'r p r
^
i ri -JL
<>• ^
gen-tly flows the Rhine,
ru • hig fliesst der Rhetn,
And gen - tly flows the Rhine,
und ru - hig fliesst der Rhein.
^
.r i ii
#
;;3==H«
¥
Cfffi^
*ffl.Jm?
r
35:
3
^7
5
f^l^i^
»
MI.-17-S
71
m
n y( j'l ij_jy '^ ^^'1^ r'' ^ f^'r [FF^
The
der
Hk f ft
last rays
Gip - fel
tA
of
der
eve
Ber
nmg sun
light
^ «
=^
*^
E
%
f
■T
^
^m
l^^F?3^£¥f
ti7i poco cfesc.
rp ,r!ri^
^^^J^c^'i
'£^
*
'^.
^
fe
rrr-^TT^
^
^^^^- -J ■
^^^
The moun-tain heights en - shrine,
im A - hend-son - nen - sc/ifui, .
^
^
F^^^r*ff5
S
fcy^
ffl
The
ftfe « yf
^
^^^^^
* * f
f
fi
gr-£ ar*g,it£
f-^-f P'rf
fi
f vj r ^ V
yr
iA-4^.c.»rfr
iT^ vf^rr
* ^.
fflJggr
a
coHa voci
i^^t^-4TO
tt
B
*
'&i
* ''^.
*
^
^
/ yf y
moun- tain heights en - shrine.
A - bend - son - nen ~ schein.
V
^k
wm
esprcHSivo
y \ y\ u.h
f
»^fel
rit pi senipre una cordn I
^
^;
< »*»
iffi
i
jrV/^y rOTi"
j-y ^ yjf J^
^
feErt
■• r vM I
Up - on the heights is seat - ed A
Die schon - ste Jung - frati si - izet dort
•-^ [^.r i^r g
^ W y^ ^
n
"^
n
^^
ffffff
^
•s^.
0-9-
MI.- 17-8
72
I
) P^^P
[T r r If ^ -''^ ^'1^- ^Vr~^^^
w^
maid - en pass - in^ fair,
o - &p?! Willi - dir - bar,
Her gold - en ar-ray is shin - ing-, She
i7i»' gold'- nes Gc-schmei -de bit - tzet, ste
H^^
yti %tttft
00 m
m
»-0-»^^
rrr
I
^
pocoraU.
sempre dolce
^
P
^
*
' Y^^ff gQ^'Ti^T v^ V < lii f ^r i-J'' J J^l^i^l?^?#
combs her gold -en hair;
kdmvit ihr gold- nes Ilaar:
With comb of bright gold she combs it, And
sie kdnimt es mit e^ald'- neni Kam - me und
^
g=^
W^
1,'
poco rail
±^
3
t
yj y i ±
i yyl^i
k^^Mk
^
scmprr dok'i.stiimo
■^
^
rr :zt r^jr
ft*
i>Si.g V i V
^^
&y
W
S5
^
^J . r i.| f V 1^
5^
^
^
sings a wondrous song;_
aitigt fiitt Lied da - hei,
In ca - dence so strangely haunt - ing
das hat ei - ne wun-der . sa - me,
tie i \&
i
*
c-rese. molto
i -y i yd.
^
inr :»? t p§
^^^^
^
The sound is borne a - long,
^e - zvalt' - ge Me - lo - dei,
The
sound is borne a -
wait' - ge Me - lo
ML- IT-f-
Allegro agitato molto
78
■£
m
long.
dei. _
trcni.
f^ M rrem.
^ L i—r-r-
#it
The
Ben
i
gE
pt^
I ^ #
*=^=^
^
^^3;
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y ^ ^
^
i
i
jtt
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i=^
■fev
«
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'^' '^'^ v^i^ ^"p' I J'' i'^ ^ r Jm^p p ^ y ff p
s
boat-man
Sch if- fir
up- on the wa- ters
I'm klei-ven Schif-fe
* T llO
S
1^
Is
hold- en
gre-ift es
in long-ing
»>ii7 wil-dem
M
m
m
hM:
t
LL/C/CLrCL/
CUT
ILJ
tLTET
'/it ^7 r-ji|l*gp7 •./ g
4wi^^^^
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V Y^ ==S—X-^
i=^
^EEEE
f-^ P^ ^^i
^
M^r F ^
dread,
He sees not the reef
er sch nut nicht die Fel
*^
n . iT^J
be - fore him,
sen - rif - 'fe, L -"p-
He
er
bj yr..^.
^
^^*^TW^^
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Tyyi iff^v^ ^
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n-esc.
%
I i ^^
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sees but
schaiii nnr
the height,
hin . atif,
the
hin
height
a%if
o - ver
in die
t
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i
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ct-esc.
^
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molto
ii
:^:±:
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itt
gf^ ^ H ' y ^
^
MI. -17-8
74
i
^
^
^
^
^
iS^
round - ing"
Wei - Icn
en
Ri' 1 f
still t )!
him;
Till boat
(7 m Ell
and
*
I&
B
)
li'*?
t^;
^^^^^^
^
?
HJt*»M*f?^
*
fe
Jit ling.
^ '^c^.
* ^J^.
* 'i^5.
^
*
«^
boat
Schif
man are gone.
y^>- und Kahn.
f- .f^,^
- L ' ' ' "' — ' ' ^
&^
£=.S«£
^rpfprprp
- Ti ri n II 11 M ■ Ti 11 1 1 I II I I
' ' I '
string.
^ I J IJ u^
U^b^b^
*i^
Me no
ML-17-S
75
earner) ^ — ^;^ZlZ^ ^' i k i i — I
p J •/ j^ ii J) I J J -, Ji p- ^f1\^\, MJ^ Ji Jv Ji |iip-.
this with her art-fi:l sing-ing; The Lo-re - ley,.
das hat mit ih - nm Sin - f^t'n die Lo - re - let,
the Lo-re-ley hath done!
die Lo -re -lei ge . than,
g^^g^
^
i
£^
f^^
?•» i H^^t^
^^
» r p
nt:^— —
.^•fl?*'
£
^
/r>
Come prima
eaprestiivo
' — I — ^
^
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^S
o>
s
r
And this with
!()!fi das ]iai
her
tnii
t
S
i
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ttl^^'^ll^
BS
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sSt*
5f=k
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^
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y t '/_t y ^ y. t ^
^
art - ful sing
ih - rem Sin
U tu u
ing
gen
The
die
^^#,^ W 1,.^
^ K
^
s
p=m
tj
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(1^
i'
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ij t^b
/?^
S
r< — -r
i^
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^
Lo
re - ley,
re - lei,'
the Lo - re - ley hath
die Lo - re - lei ge
done,
than.
the
Bm^
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p
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ML- 17- 8
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^
•J J' I J- i yj y\i yj U ^''Ifp r' ^ J''
Lo - re - ley-
Lo - re - lei .
hath done!
ge - than.
And this with
und das lint
her
mit
:m
t^nr-^n—f
% *f
TT' < 'I
I
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p^^
^^
^
ncmprc dolcc
(7^ Mr
^
V jt 7
I
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* '^
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y ^ 7 E^ 7 ^ :t:
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art - ful sing
ih - rem Sin
Cing)
fgeti)
mg,
gen
The
die
* *
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Mm
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rr3, ,rrff
s
^P
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i
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^ V \i li H ^\^ "^^ ^~^ ^\^' i vi y\i ^
^
?^
Lo - re -ley,
Lo - re - lei.
the Lo - re- ley-
die Lo - re - lei -
hath done,
ge - than,
the
die-
:#
Oi
i
^
^E±
iEEi
3^±
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u
s-
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p^
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vi y
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t:
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smorz.
^
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^
^
^
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Lo
Lo
m
m
^
re - ley hath
re - lei ge
^ i y i ^
■^
•^
done!.
than! -
PPP
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^^
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r^
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ML-17-8
THE KING OF THULE
(DER KONIG VON THULE)
JOHANN WOLP^GANG v,.n GOETHE (n49-is32)
Tranduted by Arthur Wet't&rook
(From "Faust")
^Composed in isil'
^Original Key^ F Mttwn
77
FRANZ LISZT
(IS 11-1886)
PIANO
I
^
r irr: r
^^^
#=^^
r iL/-' r
in Thu - le, Aye
Es war ein Ko - nig in Tim - l". par
There was a King^.
faith-ful, to the
trru his an sein
t
m
fffffff
^^P^
ftttt^
-?^^
/>//
V^t.1' ClJI i ^^
iEEi
^
J:
^
r
r
r
f
poio rail.
i
E^ES5
Jl J) J> J> J> J^
P3^
grave
Grab
To whom his dy-ing
iem ster - bend sei - ne
la - dy
Bull - le
Tlien a gold- enbeak-er
ei - nen gold '- nen Bc-cher
i
a tempo
i
J) Ji J J
t=3^
^^
^
gave, a gf'ld - en beak - er
gab. ei-nen gold'- nen Be - cher
^JL a tempo
gave.
gab.
Naught else he prized so_
Es gi^ig ihtnnichis dar
Copyright MCMH by Oliver Ditson Company
M 1,-18-6
78
I
S
r^n^
^^
poco rail.
"^^
^
*'' m
^
dear - ly, And drained its g;]o\v - ing-
her, cr \eert' ihm jt
drn.
draught,-
Schmaiis.
His eyes with tears were o'er-
die An - gen gin - gen ihm
"J. i^
E
h I \\ ji
' *' -art
^/ teitij)o
1\ »itiJ
j:
^
^
*.' ^
flow-ing "WTien - e'er the cup he quaff'd, when
ii - her, so oft er trunk dar - aus, su
e er
oft
the cuj)
er Iran
he
k day
i
■A A ilAflA
-^^-r r
i
rf fe/)/po
i
§
fi -M
-t 1-
-(^^
^
^
■- id
/ i 1
3
^^
P
quaff cl.
aus.
$
When he
Und als
at last
er kam
^^^
J-lJ ?
lay.
^-^m
i?
N^rT~T
iSi^
fiJ M r e
^^
Ml
es
^^
dy - ing,
ster - hen,
All his rich
zdhlt' er sei
es oer he told,
ne Stddt' iin Reich,
^'- ni-L
^^^
it
JZ
FtPf
f
^
* it**
n.
*^-^t ttt'f
(/hn.
i
^
Mi,-i.';-fi
79
U
^^
^
^
All on his heirs be - stow - ing
i,"^;;)!)!/' al - Irs sei - lien Er - hen.
Pi
Ex-cept the cup of
dm Be - cher nicht zu-
S
m
¥^.i . i^ ^thii
1
^
^
T
do/a
ffi^
"^TT^
^
i
fcr
1^
#
»
I L I — =^ -^- -^ r/vsc.
gold ,
gleich.
All on his heirs be - stow
g'onnt al - les sei-ncn Er
ing Ex - ce])t the cup of
brii, dill Be- cher nicht zu ■
-^■^^M^
fcb
£g
S
f
^=y
f.l> i> -
^J ^:^?ii*
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e
^
Je:^
E
^
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!S
i> •? ii h ji
3E^
S
^
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i?'
?old.
He sat at roy - al ban-quet
Er sass beim Kd-nigs-ynah- le.
A - mid the knight-ly
die Rit - tcr am ihn
t^
P
3^
:5E
fiJ73V'
m
./
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^
^
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— -*■
i
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7 -
<£!&.
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^ ^^'J7 r^
-t^ffr r^iiii
train,
her,
In his an- ces-tral cas-tle,
an/" hoh-em Vd - ter-saa-le,
High tow-ring oer the
dort auf deinSchlossam
-^^^m
^
tt
s
^
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/
>^^?
SS^^
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i
&
±=^
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80
Allegretto agitato
main.
Afcpr.
IJ
I' I 'g E^f---
^
i
fl
J
P
^
^
H
^^
HP
^^^
itSfcii
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^^^?^^
N^
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^
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e^ ^
^
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* t
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^
"^eb.
marcato
* ^S
'Jfe).
*
^
s
f=T
^^
Up rose the a - g-ed
Dnrt stand der al - te
i
J
^m^
J^J^j i
4iiUiUi
^''*ti Itf^
''lifUfUf
»
V' ^1' j r F r
(/im.
P
I
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^
P
^
^
1^ Jl i
r T ^
piE35
mon - arch,
His
trmtk
life's last g-low drank he,
letz - ie ' Lc - bens - gtuth, '
Then hurled the hal - lowed
uiid liarf den heiV - gen
?
$
i
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ML-IS-6
81
u ^ ^^ ^^
• ^
^' i i
^m
He
saw it fall
saA iTiH stiir
sen,
fill
trin
ken
3^
W^^
^S
^fff ff^y-^
^
tji ii i a
» 5<i
* 'ia
'H- iI'MP JT^ j^
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t;i i i ^ i ^
^
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sea,.
Meer.
'H' rrtr'*r^r^
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M I. -18-6
82
p- 1 1 iiJuJ' iii^ttj j! jiii)
Then closed his eyes, ne'er to o
Die All - gen thd - ten ihm sin
^=f
en,
ken.
v-1.'^ i i
^^H
L^
,it«
Hf r'^r'rf'^
ihJJ*ryir»^TO
^g
J» /7V!
dim.
tf'^'H'V^s^iy^^^FF
^r.
J^ J^ i' J>
■f-
7* ' ^
-«^
And
Trnnk
nev - er a - gain drank he,
»n't' ei - uFii Trap -fin mehr,
7'^^ i^J [^J ^^
i
i
3E3EEi
3
n'l
n
i
5
i* 1» !.»
^•
i:
«f tempo
J^ J' J' J' I J
nev - er a - gam drank he.
trank nie ei - iien Trap -fin mehr.
m
\/ 1 1
I
jf a tempo
^
^
^t « «
^^
r?'/!
iy7t7-r^-f=f % i % t $z
y- i'' 1 i I — I — ^ — — — ^ — ^ — \ —
m
n j- :j I
m<<-
^0- 00- ^10- si^ Mff- 00- b^
_> n* n* ng ng -> I i ±:g=
*C"*|g *|r ^
::^
nV!
-(5^
^
ML-lS-6
WANDERER'S NIGHT SONG
(WANDERERS NACHTLIED-
(Composed in 184.S)
JOHANN WOLFGANG von GOETHE (1749-1832) {Original Key, E)
Translatedby Arthur Westbrook
Lento, molto tranquillo
83
FRANZ LISZT
(t811-18St>)
VOICE
riANO
2
P HOttO voce
h J) J) ji I f- r ^
^^
Oer the tree-tops all is at rest.
Ve - her al - len Gif- fvln ist Ruh.
*J
^
PP una cor da
t
F^
2:
^
jcc
PP
30=
n
i^
i
In wood and
(If al - Irn
^ I 42.
g=F=
r
-msz.
^
a t-
E
rs PP
^^
fcS
t^
^
^^
fe
:*=*:
±1^
val - ley scarce a
Wi-p -feln spil - rest
ik£
breath stirs 'mong the leaves,
dxi kaum ei - nen Hatich:
smorzando
n.
zqnac
The
Die
birds__ all
Yd - ge - lei'n
/C\
fct
^
H
;;:s=^
S
^
sc
/^
g
;3x:
f«
#
y=
e
fc:;
t^
^
*
-j*
ifi^
r pfir
PP
£
^
5^
» ■ *
slum - ber, their
schwei^gen itn
u
i==E
^
song is stilled.
Wal ■ de.
On - ly
TTar - te
p
iE^
L U Hcmpre dolcissimo
^v\ .. n I. I. I I .
s
-tt
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MATHILDE WESENDONCK
Translated by Isabella G. Parker
In very moderate lime but not dra,i(ging
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85
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(1813-1883)
dolcissimo
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RE QUEST
(BITTE)
'Original Key)
89
NIKOLAUS LENAU dsoc-issn
*)Translated by Arthur Westbrook
b) Translated by J. B Johnson
ROBERT FRANZ,Op.;t, N'.' H
(1815-1892)
VOICE
PIANO
^3
LarghettO SOStenutO iUH tiefstet Innigkeit)
^^^^
a) Turn to
Weil' aiif
b) On rae
w
me,
turn
dark
du
thy
eye so
dunk - les
spark . ling
ten . der
All . ge,
lus' - tre,
Let —
it
Dark —
me
be
eye,
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with
gen
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tie might.
ze Machf.
tie 1 ight,
With thy grave and_ dream - y
ste, mil - de, trau - me
nest, nuM. with — (Iream - light
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Take, now,
Ninnn tnit
With thy
with thy
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pow'r -t
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Take
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sight
Welt
from
this
von
this
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Ii in
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rule for
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he - ben ein - sam schwe - best fiir und fi'-'''-
ev - er, Thee a . line will I o - bey.
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Trdiisliiti'd bij UiaiKt V Asliinn
Ti Frl- Louisf von I'laten
FOR MUSIC
(FUR MUSIK)
I Original Ki;y)
n
ROBKKT FKANZ,(>j,,10, NVI
VOICE
I'lANO
Andanic molto soslenuto
r^Vifh f:elini^
J IJ'J^J J
Now the shad - ows dark
Nun die Schat - ten dun
en,
keln,
Star on stars a
Stern an Stern er
r— -^-1
light,
■wach /.-
^m
Fi^m
j" 7 ; 1 7 "f 7 j-^hj-
^^
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il canto nKjlto csprcss.]^
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teelch ein llaxich der
long
Sehn
ing Floods the air
sncht fli*- tet durch d-i
night;-
Nacht..
4-1 i It.
zz
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Through the sea of fan
Durch das Meer der Trdu
cy Steer-ing with - out rest^
me sfeii-crt oh - ne Ruh',.
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M L-22-2
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I have been my own, have been my own.
ichmein ei - gen bin. mein ei - gen bin.
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To Frl.Hermine Halkr
DEDICATION
(WIDMUNG)
93
WOLFGANG MULLER (I8i6-i873)
Translated by Arthur Westbriiok
iOrijiinal Key)
ROBERT FRANZ,0p.l4,N'.>l
MSIB-1892)
VOICE
PIANO
Andante espressivo (Innig:)
\v 2 '€
Oh, thank me
0 dan ke
r ^' I ^' M
s
not for what I
nicht fiir die - se
^
sing thee;
Lie - der,
^
Thine are the
mir zienit es
te
mf
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songs, no .gift of mine.
dank - bar ' Dir zu sein;
Thou gav'st them me;.
Du gabst sie mir.
I
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W-
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but re
go - be
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Zi'if dry. wax jeizt und einst und e wig Dein.
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ML -SS-JL-
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lie - ben Au - gen Licht
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hab' ich sie treu - lich
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thine
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NOW WELCOMF], MY WOOD!
(WILLKOMMEX, MEIN WALD!)
95
OTTO ROQUETTE(i824- )
Transliitrd bg Elisabeth Biicker
{ OnfiiiKil A'-y)
ROBERT FRANZ, Op.21,N'.'l
I 1S13- IS'J-i)
VOICE
PIANO^
A
Vivace
Bright and lively (Frisch und hbhaft)
^
f^ J- i- \r
^
^^
Now wel
Will - koni
come, my \vood,_
mru, mein Wald,
thou green .
griin - schat
sha - dy
ti - ges
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forth thy wel
•mtV dein grii
"home!,
Hausl^
Thro' the
durch die
branch
Wip
- es now
fel sch o n
peals
hallt
com - ing-
ssend Ge
i
m
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t)i.
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How
tone._
brans.
glad
triiik'
ly I ( breathe
the
fresh
mich
life
frisch
giv - mg
i
i:
PS y
!f7
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ML-24-4
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breeze, In - ha - ling- con - tent - ment 'neath rus - tling trees, 'neath
sxind hier aihm' ich Gc - nil - gen aus Her - zeus - grund, aus —
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With
tief
glad - ness I
schou' ich die
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see
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[7 If ^^ ^ if^r
•
'^y*
gaze
Welt
on the earth anci
t(?!i/ <ip?i i/i'ffi - mcl
the sky! And^
gross !^ Und ich
dream -
trdti
mg
■nie
in
^
cresc.
1^ U._i F
i
sha - dy
si - lence from my
Schwet - gen der schat
knoll, _
RuK, .
Feel
den
earth
Him
IS my
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DELIGHT OF MELANCHOLY
(WONNE DER WEHMUTH)
99
JOHAW WOLFGANG von GOETHE (i749-i832)
Translated by Arthur Westbrook'
(Original Key)
ROHERT FRANZ,Op.33,N9l
I IS 15 -1892)
Larghetto
VOICE
PIANO
^
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Dry
Track
ye not, _
net nicht.
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not, _
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nen der
love
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MI.-8S-2
THE ROSE COMPLAINED
(ES HAT DIE ROSE 8ICH BEKLAGTi
FRIEDRICH von BODENSTEDT (I8i9- is93)
iFmm the Persian of Mirza Schaff y )
'Ori^ifi'il Keyi
101
ROBERT FRA\Z,Op.42,N'?5
Translated by George L. Osgood
Lars^hetto -Fervent and tender ilnnx!^ unci zarf)
VOK K
PIANO
I
r
fcs
I", a i
?> J> >
The rose com
Es hat dif
f's/j/yssiro
tnr-T
i^^
"if
^m
I
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i
^
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6>y« /'rrf.
q J' h
^
^>J:J i
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s
plain'd with
Ro - se
hang
sich
mg
be
head,.
klagt,.
Her fra-grance all too soait was
dass gar zit, schnell der D^ift ver
I
S
F^
:z:
[T I M i
^^^
go
ing, Which spring had
/le cieii ihr der
lav -
Leiiz.
ish'd sweet and
^r - ge - hen
ver - nal!
/la - he,
\
i
k^
=2=^
w
±
f
i
^
■F=if
±
^^
7
S
^
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s^
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Copyriicht MCMH by Oliver Ditson Company.
ML-C6-2
102
i
He
? }l J) i
To
com
hah'
fort
ich
:i
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*EE*
S^
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her, 'twas
t'/ir zuw
then.
TrosL.
I said,.
Her fra-grance through my songs was
dass er dtirch mei - ne Lie - der
float - ing,
we - he,
And there would
und dort ein
find a hfe e
fzv' - !Ti's Le -hen
ter - nal!
ha - he.
m
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ML- 26-2
103
THE MONOTONE
(EIN TON)
(Original Key)
Trail .slated hy C. Hugo Luubarh
Words and Music by
PETER C0RNELIUS,0p.3, N'.' 3
ll>Sa4-IS7/, )
VOICE
PIANO
Not too slowlyfE/ztas bewegt)
-t
S
i3.
P^^^
i hear a
Mir klingt ein
M Mr' p^^^
tone so won-drous rare;
Ton so zviin - der bar
It fills my
in Hirz und
SEE*
P^^
W^
^
P^^P^
heart, 'tis ev - er
Sill - nen im - mer
there.
dar.
^
^"^ , J J J Ji-j
^
r~r-r
^
Ah, can it
1st es der
3^
m
P
^
^^
i
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f
f
^
ir
r
' r #r
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be
Hauch,
the last faint breath That stirred thy pal - lid lips ere death?_
der dir cnt - schwebt, als ein - mat noch dein Mund ge - hebt? —
T— ]
1
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H
^s^^^^^
p^^^p^
r r r
cresc.
n
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f
r=fTr
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Oliver Uitson Company
MI.-a7-3
104
>i
^
t t \ t 1
Is it the ten-der
ist es des Glock-leins
mon - o - tone
trii - ber Klang,
Of church-bell
der dir ge -
*
^ r ^ P I f p^
p '• c^^r-
which for thee made moan?
folgt den Weg ent - lang?
Lo, still it comes, so full, so
}rlir klitigt der. Ton so voll und
I ^M* J ' ;i*
n
mm
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y'^f f F
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7 ^- ^ i
eresc.
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clear, As thouf^h thy soul were float - in^
rein, als schloss -er dei - ne See - le
near,.
ein,
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ff- til
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M 1.-37-
105
P
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^
As though with love
a\s s\ie - i^esi lie
^ ^ : \ r M M ^ f
^
and yearn-ing
bend nie - dvr
deep You sang my
Du und sang - est
bit - ter pain to
mei - nen Schmerz in
#
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sleep!.
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ML-37-3
106
THE ASRA
(DER ASRA)
HEIXRICH HEINE M:99 -iss.i'
Trnndntvd by Arthur Wmthruok
(Original Key)
ANTON RUBINSTEIN, Op. 32, N<' «
(lSa9- 1894)
Modcralo
VOICE
PIANO <
^
JM p p
S
¥-
Ev-Vv dav the won-drous love-ly
Tci^-lich ij^iug die wiin - der-sclio - ne
h .' h
F '^ r ^'1 ^ ^^
^
s
:2i
Sul-tans daugh-ter paced the gar-den,
Sid-fans - toch - icr auf iind nic-dcr
p'-iPr ^
^^fK^
^
L/ ^ r
^^
^N^
g^
^^
s
i j— j *
^
s
J I ft i' r- J'' I ft J'
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y \ V c
f^^^
^^^^
In the eve - ning near the foun-tain Wliere the foam - ing
um die A - bend - zeii am Spring-briinn, wo die wei - sseit
wa- ters whit - en.
Was-ser pldt - schern;
^^^
^
^^
fe
K=»
^^
^S,
4
W^
^
g
^=^
i
'M^
s
Mr r I P p r' f? i ^ ^ r^
i^^
Ev -'ry day the youth-ful slave Stood
tag- lick stand drr jim - ge ' Skla - ve
I
^
L; r ^^-
In the eve - ning near the foun - tain,
um die A - bend - zeii am Spring -britnn,
h
^y
^
"if.
^t^
^
^
m^
^-^ ' p
Copyright MCMII by Oliwr Ditson Company.
.M L-2S-3
107
I
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Where the foam- ing wa - ters whit
-co die wei - ssen Was - scr plat
en.
schern.
Dai - ty grew he pale and
Tag- Itch ivard cr hlrich itnd
1 1; 0 r
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dim.
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dim.
te
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animato
^
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^
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^
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.pal - er,
hlei - cher.
pale and pal - er.
hleich und hlei -cher.
Till one eve
Ei - nes A
ning stept the Prin - cess
betids trat die Fiir - stin
s
I
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dim.
y,
g
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p animato
w
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1,1 f ■•itringf'udo
h h J' ;' J-' J' 1 iJ Ji V ^
^^
^
^
To his side
auf ihn zu
with hur- ried ques - tion.
mit ra - schen Wor - feu ;
"Tell me, slave, thy name, thy coun - try!
"Dei urn Na - men will ich wi - ssen.
I
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f
it
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^' ;■ J' > J' ^ ' ^' I r I ^
nfard.
f' J' J. bJ-'
-^^-r-
s
. ^J' I II
Tell me of thy home and
dei - lie Hei-math, dci - ne
kin - dred !"
Sipf - schaft!'
And the slave re - plied: "Men
Und der Skla - Z'e sprach : "Ich
^
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2^EE£
r/fard.
m
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ML-2.S 3
SHE NEW YORK pr-n^ .^ t rRR-iPv
THE BRANCH :. - J^JBRARY
■ ■-^
108
Tempo I
t
"f^
^
ho - met,
ho - met.
I
ich
come
bin
_ from Ye -men, And my
_ aits Ye - men, rind mein
^^
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y
.y
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-Ur '"
-+-
tribe is that of As
Sia-mm sind je - ne As
ra,
Who_ in
wel - che
lov
ster
ing
hen
ev
er
■ste
^
^
y
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V J'' Jm f ^ g ^
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V F-—f— ■■■ , 4^
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-f-»-
per
lie
ish, And my tribe is that of As - ra,
hen, iind mein Stamm smd je - ne As - ra.
Who in lov - ing, ev - er
wel -che ster - hen wenn sie
^' ftj I.J J J i
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■V4£
m m
P
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per
lie
ish:"
ben.''
^^
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M I,-<8-3
GOLDEN AT MY FEET
(GELB ROLLT MIR ZU FUSSEN)
109
' Ortatii'il /Cty*
FRIEDRICH von BODENSTEDT iisi9-is92i
(fnim the Persian of Mirza Schaffy'
Translated btf Arthur Westbrnok '
Andanle
PIANO
^
P
^m
f
s^
^ m. «- A
A m.
f
^
•. m. 0.
S^
i
ANTON RUBINSTEIN, Op.;u,NV»
( 1829 - 18941
■i
f-
m. «
T^
^
^^m
w.
^ p p
i
f
f f ff
r
r I r 1^
F M i?
£
Gold - en at my feet rolls the Ku - ra in mie;ht.
Gelb milt mtr zu Fii - - sst>i di'r bra^i-sen - de Kur,
^E^
g
3;i
¥=f=S
^
£
?=T
tr-T::p-
v^^^^-f^
s
^
^
5
^
^
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y
s
p=r
Foam_ on the
im tail- zen- den
\vaves_lii;ht - ly ri
Wei - len - ge - trie
din_^,
be.
Bright
hell
Iv-
:£
5
m
£
s
f
W^^^
m
TT
}
f f
-* m.
9'^" ? ^ ^^
^^
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-* #-
ij;^'' J J/J
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3ZjK
smiles alL in sun -
Za - chelt die Son
shine,
ne,
tncm.
heart
Hcrz __
^
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5
£
fc
laughs..
dte^
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Copyright MCUII by Oliver Ditson Company.
110
.;*
^
light.
Flur.
O
0.
I P 1^ ^^ t^ [^ ^
would this were ev - er a
wenn es dock im - nier so
'^m
s
i
5
m
k
k
h
bid -
blie -
^
%
t=%
%
«=«
«-' -m
-9 "9 -9
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-*|- • •-
M
h-
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^m
^
^
^
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-0 — r
j-^ ''1^ ;' j-i "j^ 1^
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be.
o
0.
would this were ev - er a - bid
wenn es dock ini - mer so blie
- ing!
- be! ^
I
fe
^■U!U.
3^
p^
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2 Sparkles red in glass now our Geor-gi-an wine, The wine — from my
:2 Roth fun - kelt im Glas der ka-che - ti-sche Wiin. es /''l^f >nir das
3 Now sets the sun, swift-ly com-eth the night. My heart, like love's
■? Die Son - - ne gehi un - ter, schon dnn-kelt die Nacht, dock mein Ilcrz gleichtdem
H
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Ill
zz:
feprf
Love's hands soft glid
Glas tnei - ne Lie
stars so con- fid
Sier - ne der Lie
mg.
be,
i"g,
be,
I drink from her eyes _
tot*? ich sang' niit dcjti Wein^
Still in deep-en-ing dark
flammt in tief - sten Dun
The.
ness Aye.
kel ill
s
m
i
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m
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4v I. g g r
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-t^~t^
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light
ih
glis
in mine.
dow
Bli
tens more bright. _
ster Pracht . .
o
0,
would this were ev- er a -
wenn es dock im-mer so
^
»
s
s
^5
m
^
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i
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1=1=1
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9 9
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22
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bid
ing,
be.
O would this -were ev-er a - bid
0, wenn es doch im-mer sn blie
ing!
be!
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ML- 29 -3
112
MY QUEEN
(WIE BIST DU MEINE KONIGIN)
IConiposfd in IS<>4i
OnSliini Kf'iJ'
G.F.DAUMERi 1800-1875)
Trntidtxled by Arthur We.stbrook
JOHANNES BRAHMS,Op.32,N?9
(1833-1897)
Adagio
YORK
PIANO
col Ped.
^^\' M fT I ^- ;; i i I J
^^^
i
±
'er tnv sub-i
Ah, sweet my
Wie hist dn
love, my gra-cious queen!
mei - ne K6 - ni - gin.
As now, I've
durch sanf - te
e'er
Gu
ly sub-ject
te won - ne -
\'L[i l^p ^ J-' I i'. F ^p M P' F f? ^
voll:^
Dost thou but
Z)i( Idch - le
smile, then all a - round sweet Spring^ is smil
lutr, Lenz-diif-te rveh'n durch nwiu Ge - mil
ing.
the
Copyright MCMI by Oliver Ditson Company
ML-30-4
113
:,JiJ^ J-' Ip- flj^ IP^ p
t
g
^^
wear,
Glanz,
Yet can it
ver-gleich ich
not
with thine,
den dei
com-pare.
ni - gen?
Fair - est of
Ach, ii - her
F \: M.^' F Pi
5t=^
?
P
flow'rs thou bring-- est joy my soul en - tranc
al - les was da hliiht, is dei - ne Blii
mg.
the
Thou
ML -80-4
114
f, iU', Ip- ji^
^^
:*
EEi*
e
P^
Tho' 1 might roam in des-erts drear,
Durch to - dte Wii - sten wan-die hin,
All would be
iind grii - ne
changed should'st thou ap -
Schat - ien brei - ten
li
*=f
ESPf**^
nJThM
Mc^ 7 jiip hi' ^ji I It A jnM
^
IS^5
B
E
I
pear,
sich,
Fra-grance and sweet
ob fiirch - ter - li
re-fresh-ing shade Thou __ bring'st me
die Schwii-le dort ohn' En - de
ML- 30-4
115
s±t
^
:S
queen,
won
my queen
7ie - voll.
^
¥^^
^
^' r^ P ^ I f>
f:
r ^ ?
In thy dear arms
Lass mich ver - ^elin
would re - pose,
in dei-nem Arm!
E'en tho' for
Es ist in
aye mine eyes might
ilun ja selbst der
"^M
r F ^' li'- rp-f?p" F'l ''^ nw
EE
close,-
Wert thou but
oh audi die
near, e'en death's sharp pang would harm me nev - er.
herb - ste To - des - qual die Briist durch-wil - the,
f
r\
k
^
£
Thou my queen,
won - ne - voll,
thou my queen, my queen.
■won - tie - won - ne - voll!
116
LOVE SONG
(MINNELIED)
(Composed in 1877)
(Original Key)
H. HOLTY (ts;.'s-i887)
Translated by Arthur Westbrouk
JOHANNES BRAHMS,Op.71,N'?5
fisa3-is!t7i
VOICE
PIANO
i
With much tenderness but not too slowlj'
{Sehr innig dock nichf zii langsam)
w
s
Sweet- er
Hoi - di-r
P^m
„f_
^ A
i
^=^
ip?
^B
E^^^
S
T
^S
T
u r Ti:
J.
E
^
^
T
i*
xn
ZZ3
T
i f P M
J ir- «,? r J'
6
M^y^
?
sounds the song of birds When she roams the mead ows,When she comes with step so
klingt der Vo - gi'l - sang. wenn die En - gel - rei - ne, die mcin Jiing -lings-herz be-
^JTJ^
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r r r r
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the wood -land shad-ows.
de// dr<rck die Hat - ne.
ffi
i ^yjij: .^^_r^- j71
s^
e
fe^
^
I
T
^
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i
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F^E^
T
T
("ojiyriirht MCMI by Oliver DitsonConipany
ML-31-3
117
$
Bright -er is
Rd - ther blii
the bloom - ing Spring,
hen Thai iind Au'
i
E
Green - er are
grii - tier wird
its bow
der Ra -
£
^P
F^
li^
f=r
^tfW
WW=^
p
3
5T3
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xzz
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f. T r
T T
^
I'l? r Ji I 'ir r' ^ p ^' ^
ers, When, with
sen, wo die
ten - der fin - gers' touch
Fin - ger mei - iier Fran,
She
Mai
doth gath - er
en - bin men-
r=^
f
-^—z:
■^ w w
m
mn
i
i
iPi:
^^^
^ ^.
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ii
^
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^^
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flow- ers:
But for thee all joy were dead,
Oh - ne sie ist al - les iodt,
All earttfs
zvelk sind .
^<^W g>
^^^
fc
^^
^
bright-ness fa - ded.
Bliit' und Kr'du - ter;
sky
roth
E'en the glow of eve-ning
und kein Friih - lings-a - bend
Were for
dii nkt mir
m
tm
~%*
< t^ 1
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p^P
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ML- SI -3
118
m
^
0' TTT W
me o'er - shad - ed
schdn und hei - ter.
p^^m
Dear - est sov - 'reign of my
Trail - te, min - nig - It - che
Leave, oh! leave
wol - lest nim
er, Bloom sweet bios - soms of thy
hen, dass mein Herz, gleich die - ser
^r< _ ^ < J — •:
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my soul for ev - er, In my soul.
in Won - ne blii - hen, m'og' in Won
for ev
ne bin
A THOUGHT LIKE MUSIC
(WIE MELODIEN ZIEHT ES MIR)
(.Composed ill 1.SS9)
(Original A'fij, A )
119
KLAUS GROTH 11819-
Tran.ilated by l.iabella G. Parker.
JOHANNES RRAHMS,Op.105,N91
(1S33-IS97)
Tenderly iZart)
VOICE
PIANO
S
^
A thought, like mu
Wie Me - lo - di
SIC,
hold
zieht
ing My
es niir
f
^
J 2
S
pm-mpn-dokt
^
S
7 — s:
^^
S
3
^
£
t£K
^
^
h^' H^'
heart
lei
in soft
se diirch
con
*dcn
trol,
Sinn,
Like flow'rs of spring un -
Wie Ftiih - lings - blu - men
y J 7
fi
^
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i
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ffi
^^^^^
^
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^
^
fold
bliiht
ing, It
es und
thrill
sdhzvebt
eth through
Tvie Diift
my
soul,
hin,
CopyriRhtMCMn by Oliver Ditson Company
MI. -32 -4
120
^^
?
= £
It thrill - eth through my soul.
U7id schwebt wic Dtift da - hin.
^r P f
^m
M
^
^
±±
^^
W^
-P m-
^
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£
wm.
But if a word— be
Dock kommt das Wort — rind —
SpO
Jasst
ken, Its
es und
beau
fiihrt
ty to
es vor
con-
das
^#fp
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s
J > ^^
5t
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van
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ish quite
a
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Hauch,
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und
^
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Mi,-sa-4
121
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=3
van
sckzvin
ish quite
det wie
a
eiii
way.
Hauch.
f ^r f >-
*
^
^^
^
^
hid
den,
A
ver
fra
bar
grance lies
gen wohl
con
ein
ceal'd,
Duft,
That
Den
^
S
S
g
^
bring
mild
eth
aus
tears
stil
iin
lent
bid
denj
•we
Un
i
^
Ft
tt
3
i
ML- 32 -4
122
^
I
i
^
tnr
That
Den
bring
mild
eth tears
II n
bid
den;
we
Un
pin
/O
,1
3
yield.
J"ii r^
^
si^
/vv:
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-^
ML-3a-4
123
HEINRICH HEINE m-;99 isssi
Tninsldtid by Lriuis C. Ki^(jn
Slowly
PRESS THY CHEEK AGAINST MINE OWN
ILEHN' DEIXE WAN G^ AN MEINE WANG')
(Composed in 1S56 )
(Original Kerj\
ADOLF JENSEN, Op.l, N'.' 1
'm:t7-iss9i
PIANO<
^
==a^=g
^
P
^
s
7
1 ^
-'^^Ty
'TT
i
^ appiissionafo
S
-F-r^
s
p^
^
Oh,
press
dei
thv cheek
lie TViiiii^'
a -gainst mine o\vn;
air- mei - nr Wans'
^
To-
dann
s
^
^
^
g±
^
geth
er
ssen
our
dir
tears
T/n-a
shall be
nen zu
flow
sam
ing,
men,
^
5
I
^:
^
^^
?^
i'opyrie"bl MCMU by ohver I'ltson Conij any
MI,-33-;i
l:>4
^
And pre.ss thy heart
tmd an mein IJerz
S
^
^
close to my heart,
driick' Jest detn Herz,
To ~ geth
daim schla
er the
g'en zu -
i
Plrp
r
E3
s
p
L: ■-'-IX
/r-
i
-^y-
fc
P
^
^5
^
flames shall be
sam - men die
glow
Flam
jncn.
And when
Und 7venn
in the
in die
i
[7 m 9
f
^
-y
^
J=J
■»■ •*
i=%
w -w -m
P
-5f^
g I i i
1 — »__-!* — »
■ — ' [__
■9-
f i « i
s
glow
mg
sse
flames
Fla m
at
me
^
i i i t
i
last, The
flicsst der
f j ^ j=
streams of tears are
Sirnm von un ■■ sern
-^
I
^^J J J JE
^;: J;, ^ f^^E^
g g g g
jF^
^3E
?=HF
^^
Ml. :i.i .1
125
g
PP
t
S^
^m^
^
# — #
throng
r/i.
iiei!.
And, when my
arm shall en - cir - cle thee
Ann dich <j-« - zval - tiff iiin
i^ffm.
rt^f?
P
W^
nr^
j=^
yy-in^
p 0
BE
^
Ji *•
i
^
^ES^^
* — #
^— =
=— i'
^^^
^
fast,
schliessi,
Then I shall
sierb' ich vor
die (if
long
sth
in;?;
jieii.
tr-::^
Pi
f
«=^
^^^^
^rt=?
a
7, g.:
IZIZIE
/»
P=T
P^
J J J== J J J J ■
^
PP I like a sweet memory >
s
^
^w
^ ^'p ^
^^
Oh, press thy cheek
Lehn' dei - ne Wang'
a-gainst mine own! _
an mei ne Wang't .
m
See
''• [^i
r>.
i — t
PP
f p
?
P
MI," 33- 3
126
WHEN THROUGH THE PIAZZETTA
(WENN DURCH DIE PIAZZETTA)
THOMAS MOORE (1779-1852)
German trunslatwnbij F'ld. Frfiligrat/i
(Composed in 1874)
(Original J^<iy)
ADOLF JENSEN,Op.50,X'.> 3
(1837-1SS9)
VOICE
PIANO
Con velocity
ncmprc p «' segretamenfe
h 1 ^ }i
ii
J Jii,}' i) i' 1^^
^^
When
Wenn
thro'
durch
the.
die -
pi - az - zet - ta night breathes her cool
Pi - az - zet - ta die A - - bend-luft
i
una corda ain' al fint'
S
3
ft
pdolce
^
^=t
It
^
±^
f
-^ — *t
m
Y-y — ^
s
s
5^1^
;^^
"Jfe*. ^ '^. * "^c^. ^ '■S:^
^ '&J).
*
.i->^ '^i
'^. * 'Jfe. * l^ij ^ cj^
Oliver Ditson (.'ompany
ML -34-5
127
#
:^ ^^
^ cgr ^ 'U.
^
^
^
i
Ei
^
?^^
As Love
wie A
^a
^
knows, tho' cloud
mor die Ve
a
ed, His own—,
•nus am Nacht
eve-ning
Jtr - ma -
^
m
-J.
X
^
:ji
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%
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m
Hccn
do
^
£-
£
star,
As
Love
A
knows, tho' cloud
m.or die Ve
ed,
nus
His own
am, Nacht
^M
=¥=^
m
m
M
m
^-^f-
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t- ^
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M-
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seen'
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'&&.
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eve - ning star. .
fir - ma . ment.
'^. * '^.
VfI.-34-S
128
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Pi
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In
Ein
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±
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p
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* '^
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E
S
garb
Schif - fer
then
kleid
re - sem
bling some S^Y-
ich zur sel
gon - do -
hi - gen
M
^
m
7 y
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ir^
p
m
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f
-^^y-
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*
*
Ml,-34-5
129
tJ
^
bark,
Boot
love, is
ist be
near.
reit!.
K
a
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< j>IJ
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Now, no\\',
0 komm!
while there hov
jetzt, wo Lu
er those
nen noch
i
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m
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ver ycm si
nen, mein Le
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ben,
la
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J'liehn;
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lass
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ML-av-5
130
de
ere
^^
seen
do
:£
p semprc
waft
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thee safe o
die La - gu
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ver yon si
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ML- 34-5
ROW GENTLY HERE, MY GONDOLIER!
(LEIS' RUDERN HIER, MEIN GONDOLIER!)
131
THOMAS MOORE (ins-issa)
German translation by Ferd. Freiligrath
(Composed in 1874)
(Original Key)
ADOLF JENSEN, Op.50, NV 4
(1S37-18S9I
Con tenerezza
VOICE
PIANO
si'/fiprep e dolce
i
g
r r I f f
^
soft - ly wake Ihe tide, That not
Flnth vom Rit - der spriihn so lei
an
se
ear
lass,
on earth
dass sir
may
^' ? ?
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hear
But hers
uns nur ver - nimmf.
to whom
2!(, rfer
we
wir
glide!
zieh'n! .
*<•«£#
Oliver Ditson Company
ML-3S-4
132
^
^m
crvsc.
"'f
^^^^
p M r J J
^
^
Had Heav'n but tongues to speak, as well As star - ry
0 konn - (e, wie er schau - en kann, der Him - mel
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eyes to see,
re - den, fraun,
O think
er sp rd
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.'twould have.
les wohl _
to
zwti
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tell Of wan-d'ring youths.
<iew, JDas Nachts die Sier
like me!
»te schaun!
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m
It
/>
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ML-35-4
133
THE NEW YORK PUBLIC LIBRARY
THE BRANCH LIBRARIES
MI. -35 -I
134
ji cfesc. _
P
1
"if
^
te
ditu.
^^^^
i
^
did
wo//
we take for hea\''n a - bove But half
ten halh so eif - rig nur dem Htm
such pains as we
tnel wir tins rvei'hn,
^it . fjl i^
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^^=n
>nf
n\ \ i
dim.
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Take, day,
als schn
and night,
ncr Wei
for wo
ber Dien
m
^^
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i '> lijTi:
mans
ste.
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rf^
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('(•esc.
'»f.
^m
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love, what
trann, zvir
an - gels we .
kijnii - ten En
should
gel
be!
sein!
^
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M I. -35-4
♦'HEINRICH HEINE (1799-1S561
Tranxlali'd by An/aiia Murjarifu
Moderato
VOICE
PIANO
^
±t
ijTR
ztr
m
WH Y?
(WA R U M?)
(Composed in lSi>0'
(Original A'*y
135
PIOTR ILYITCH TCH A'iKOVSK Y
Op.(i,N'.'r>
(l840-tS9H)
3EEE
*
^^
^^1 * -
Why so p.'ile are the ro - ses this year? V
Wa - rum sind denn die Ro - sen so blass, V
I I I i I I I ! I
'tj I I ; 1 I ' ! — t — — t
p
^s
^ [ L
*
III 1 1 I
Uiii
p
^^^
*
SeSeee
^ ^V' r P r
E^E
?^
1=
ft
Canst thou an - swer me this, oh, my dear?
sii - sses Lteb. kanusf dii sa - gen niir das?
V Why so heav - y with
V Wa - yiim sittd denn den
i-uj-^m
-^
^=^
t
^^
5E5
r V r ff
^^^
tear - drops un-shed
Veil - chen im Gras
I
s
t? j ^«[«!** i_^i_
V Doth the vi - o - let droop her sweet head?
V wie von Thrd - nen die Aii. - ge - lein nass?
^iUfihfW^
***
^^
FEE' Lii l£
pp;g 3J:|
*
ijH^ij j.j^?^
^
ffl-
# #a ^ ^ #
+ ' The retentidn nf Heine's original text is not possible as the composer used a Russian translation in a different metre.
Olner IJilson Company
M I.- 36-4
136
m
^
^
^^
j^
V WTiy are ac - cents of sor - row and w'rong
V W& -■ rum tont mii so trail - ri - gen Klang
^
^
V Thrill- ing loud in the
V aus den Liif - ten der
*
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V Why, oh, why are the green branch - es bent
V Wa - rtim rauscht in den Ban - men der Wind,
lark's mat - in song?
Ler - che Gc-sang?
s
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By the wind with a sound of la-ment ?
a/s ofe /fe/a - gen - de Stitn - men es sind?
V WTiy so cold shines the
V Wa-rum. blicki denn die
^
M^
t=^
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n' jv J^
^j ji^^fjsf
f
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7 j^' j^ I. p ;' i
£
* ' * ' rj
sun in the sky,
Son ne so kali
V Bring-ing glad-ness nor glow-
y und ver - dros-sen her- ah -^
from on
auf den
M I. -.)(■•-'.
137
^
^
S
^
s
high?-
V \\Tiy so grey
V Wa - rum isi
is the earth,
denn die Er -
and for •
de so
'-Mf
cirBzrerze
m
fcttj
^
^^
£
Eire
S
^
^
^
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^*-
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^xlring.
S
^^
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turn?-
scKaii ?.
I^ii H n n j
Why is my
Vnd wa-ritiu
J ^ m
d • d
heart so
isi ni-ir
r
-^ J J
3
-* — «-
-m — 1 #
-* — « — «-
g g S
*— * — • — m — 9 — w-
f \q.' ■'it ring.
• 9
Si
^m
%
i
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% g
g
te
i=
E
E
dark
selbst
i^
en'd by fears?
denn so weh?
-0 •-
\Miy must I
W& - rum Al
d — y— * — d — W—d
^^
i
#-#-
i
too
les
see
durch
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s
tj^-
138
rtt.
^
Mcno mosao
^
^
^
ife^
all things thro' tears?
Thra - nen ivh srh ?
Oh, my love,
Sprich 7fa - rtt7n,
VI am
. sii - sses
Ji m J\ ^
4 J\ 4 4 M 4 • — • — • — •■
h|iiiii i i i^
ff ^ m^ ^ m^ 0. I 1 I
L r 1 L-j-J hi i i I
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fe
9 9 * • * V
Kit.
-* — V — w — m ' • — r
^:
III
^
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^^^^
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^^
i
part- ed from thee,
Lxeh - chv n , o sp rich .
n"— ♦
r
sen
V say why hast
V "t'rt - rjim hast
thou for - sa
du ver - las
a tempo
-o^
me r _
mich? .
molto n't
a tempo
-m- A
\n q J ^
H d ^ -=1=4 ^ i !^^^
P
r r r r
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M u-aii-i
NONE BUT THE LONELY HEART
INUR WER DIE SEHNSUCHT KENNT)
139
JOHANN WOLFGANG von GOETHE 1749-1832)
Translated by Aithur Wcsthruok
(Composed in 1SB9I
(Original Key, I)\>)
PETER ILYITCH TCHAIKOVSKY, Op.6,N96
Andante non tanto
PIANO
^
^^
p espressivo
^^
t^
^
m
;i=t
m
-o-
I^M; ^ ^
-' ^ J J =
f f y y
-* — J u J. —
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-^Ht — -^— ■ ^
ij)' IXJJ
L^ 1 1 r p J
— JU K J' 1 V—
^fe
jjp espressiro
i
^
Nf)ne
Nur
but
wer
the
die
lone
Se/t«
ly heart
sucht kenni,
,V\ 7 I
i
k:
f
i I 1 ^
-i^ •*■
-^
5^
-e-
~rr-
TT-
m:
-o-
^
fei
^
^
?
?^
Can knovv^ my sad
iveiss, was ich lei
ness;
del —
A
A I
lone, and
lein und
* ^ * ^
^
^
^
=^=i»
:t=S
^ *»
J^^
T -^
S
T G
9^
jcsz
Cdvivrischt Mf^MI! l\v Oliver Ditson Company
ML-2101-4
140
^^m
^
part - ed far From
ah - ge-tr€'>\n{ von
al
' ^h 7J J^
fe
^^
and
ler
glad
Freu
ness.
J J ! =^
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m
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33=
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Heav'ns bound -less
Sfh' ich an'^
un poro tnarcato
■J3Z
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^>-
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W
IZI
^ll
s
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i2=ab
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arch I see
J'^tV - ma-mtnt
Spread ont a - bove me.
nach je - ner Set - te.
Ah!
Ach!
what a
der mich
*
^
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r/'esc.
f^f- B f^
-niyj^ff f
* #
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^
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</«>».
^^
^
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s
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dis
lieht
tance drear
und ktnnt
To
isf tn
who
der
loves
Wei
me!
fe.
ML-2101- 4
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f
J^7=7
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None but
Nur wer
the
die
lone -
Sehn -
ly heart
suchi kenni.
^
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Can know my
a^ctis, was ich
sad
let
ness;
de!
A
lone, and
lein und
±k:
part - ed far From
ab - ge - trennt von
al
and
ler
glad
Freu
ness,
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and
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far
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From joy and glad
von al - Ur Frtu
ness.
dr!
fe
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My sens - es
Ea schwin-delt
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molto Hi
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a tempo ^— =
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burn - ing
hrenni ynexn
fire
espresstvo
m
de
a
p a fetnpo
E
i
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£
:;t
fdr
^
vours
me.
None but the lone
Nur wer die Sihn
ly heart Can
sucht kcnnt, weiss.
i
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my
ich
know
was
sad
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ness.
de!
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ML-2101- 4
PAUL COLLIN
Trafislattd by Alfxuiider Blaess
Moderate)
DISAPPOINTMENT ^''^
(DECEPTION)
(Composed in 1888)
(Original Key, E miunr) pjQ^p ILYITCH TCHAIKOVSKY, Op. 65, N92
(1S40-1893)
PIANO
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While the sun shines in wont - ed
Le so - leil ra - yon - nait en
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fain would be - hold, W here in bliss our
TKiir lis grands hois, <>u }ious pro - me
splen-dor, The deep woods I
CO - re Jhi voti - ht >-s
3ffi
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love we first told 'Mid sweet pledg- es and dal - lying can-dor. Thought I with
nions an - ire - Jois noire a - niotir a sa belle ait - ro - re. Je me di -
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Copyriplit MrMII by Oliver Iiitson romp.nny
ML - 3S - 3
144
\? : rJ
^^
i- I J^ J^' J' J '
^
cheer;
sais:
"My love I'll meet be - Iqw the nod-ding beech - tree yon - der,
"Sur le che - tnin, je la re - trou - ve . rai sans duti - ie,
\\^ i ^>:f I "P
ise.
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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
i
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a
tJizrs
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J> Pitt mttHfiO
"if
f
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V \'\ i^r
^
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seek thee, my love,
gar - de par - tout.
si - lent won - der."
Irons en ran, - te'.'
Yet I
e re -
vain.
vaxn!
I
1=S
^It
?
i*
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ctvsc.
f^
m
^
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r/t.
Tempo I
< ii i' U ^' Ju
call thee!
/>pi - lei
ffi^^;
^^
but si - lence mocks my plead -ing. Dark-ness fall- ing o'er
Et I'e - cho scttl ine con - te! 0^ le ^i>au - vre so ■
" ^
«-
r f 1^
^ — ^
poco
^m
A
n
^
JUt
n
ML-3S-8
145
^^
s
^
^
sky
leil
and
pa
plain,
N!
Dead ^nd
0. les
scat
fau
ter'd
vrcs
p M r
leaves are con - ced - ing,
fcoVs sans rn - Tna - ge!
^
^
5fe^
^
^
^^^
While my
0. mon
heart's to
fauz're a
death slow- ly
mour, quel doni
bleed-ingj
ma - ge
That thy trea - son
si vi ■ te
^
^
?
poor love has slain.
du dans I'on - bit!
I
/C\
m
^
m
/O
^
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Si
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o
ML- 38- 3
146
AS MY DEAR OLD MOTHER
(ALS DIE ALTE MUTTER)
from the Gipsy Melodies
ADOLF HEyDUK(i835- )
Translated f/t/ Isabtlla G. Parker
Andante con moto
(Original A'''//)
ANTONIN nV0RAK,0p.5.3, V.' \
(IS41 - \'^()^)
PIANO
^^ ^^
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j» mezza voce
^
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As
Als
my —
dear,
al -
old-
moth
MxU
er
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%.
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-wj». scmprr
Taught her_
ntich noch
chil - dren,_ sing
lehr - ie s in
^n-tt.
i
Songs that
Tlird - neii
s
from_ her_
I n df'n
^^mi
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Copyright MrMII by OUv.t DitsoLConip.-iny
MI,-39-2
ti7
m
nt. n
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dren
Those
sel
old.
her^
songs re
uh' irn .
caU
San
\
fi
0ft
rie
en
self's
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flow_ the_
tear
Bart,
Au
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drops, oft
oji, rie
^r, rip
they flow.
sell's oft
.sflt's oft
On
von
nil/
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my
der
die
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brown cheeks fall
ftrait - 'nen — Wan.
fir nil - nf Wiin
ing.
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♦ Alternative text
Ml. 3ii a
158
ELEGY
• ELEGIE)
LOUIS GALLETa835- >
Translated by Isabella G. Parker
very expresHive and dfjected
Sadly and slowly ( Tnsk et tris lent) . (tres^xpressif avec accablement)
JULES MASSENET
1842 . )
VOICE
PIANO
ite
iTr r ^r IV '^m
o
0
gen - tie spring-times of yore,
doux prin - temps d'au - ire -fois.
'^
nift'xpri'ssive and .su.sfaifwd
(expressif ci souteuiij
i
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^
^
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So fresh - ly green,
Ver - tes sat ■ suns,
How ye for-ev - er are fled! I see no
Voiis a - lU'z fiii pour ton - jours! Je ni vols
kk
f
m
±1
i
^
g
*
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^^Et
T=t
nt,
'f
^
t:. m
p
PP mT^.
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eHprrss.
W ^
k^^
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^
^^
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^j g
more heav - en's blue;
plus le del bleu;
I hear no more
Je nen ■ tends phis
songs of the birds full of
les chants Joy - eux des oi ■
^
5
±1
^=t
i=^
^3=*
^
^
^m
nf
^
P
IZZI
^^ n I r
^
r/>?*c (? animafo
^
^
2
joy
rl
seaiix!
Bear - ing with thee all my heart,
£71 em - par - tant mon bon - heur, —
Thou,
0
my be-
bie7i - ai
CopyriKht MCMII by Oliver Uitson Company
ML-40-8
poro a poco
^
f
En refenanf heaucoup
dim. I' n'f.
149
£
n\
s
!-r p ^- [? r-r^^
sc
^
p
p
loved, thou art gone
7MP, hi t'en es .
from me !
al - le!
Now
Et
all m vain doth the spring-time re ■
c'est en vain que re -vient le prin-
±*
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m
fe
i i-> g p
#^- — #
S
f rT>
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dim. e rit.
P
\U
a tempo J,
f#^
%
m
mf^
^m
^
turn! Yes, gonfe for
temps! Oiii, sans re
ev - er with thee,
tour, a - vec toi
Sun - light so gay,
le gat so -leil,
**
J J J d-
i
i
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aorroicfully
(avec douleun
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£
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^
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Bright days of glad - ness are fled. How in my heart all is gloom -y and
Les jours ri - ants soni par - fis! Cnmme en tnon coeur tend est sombre et gla-
i
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4 i i 1
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ff
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pp a tempo
Allargando
P
M
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cold! With
ce/ Tout
k
ered and dead.
est fie - tril _
ev
Poitr^
er - more!
ton - jours/
Allarga7ido
$
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o
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M 1,-40-3
150
RJORNSTJERNE BJORNSON U83?-
Triinsliited bij F. CordT
FROM MONTE PINCIO
(VOM MONTE PINCIO'
NOCTURNE
^Composed in 1870)
(Onauvd K'-y)
EDVARD GRIEG
lis '.3 -1907)
VOICE
PIANO
i^
Poco Andante
E
JL
s
^
Eve-ning how ten - der!
A - bend wie mil - de!
|%-(ntt^;^=p^
g^
f^
"If
-o-
32ni
PP
-o-
^ '^
"•J^- *
-o-
l^^^^p^
rresv.
^m
zm=z
^
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-19-
?
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Sun - set how red!
Son - ne wiV mth!
All with a ro - se - ate glo\\- is en -light - ened,
Al - Ics er - fiillt sich mit far - bi -gent Glan - ze.
W^
-^9r-
W=f
-G
m
cresc.
-o-
-o-
9 €>-
-O-
*
%
Bask - ing in
?hzvel
g'
'nd
en a tm
sun
L ich
shine, the
ip ver
moun
kldri
tain
sich
IS
das
te
briglit
Gan
ened,
ze,
S-
W=T
15
f
pw cresc.
2ffi
-o-
1>T o
-o-
'^.
*
(,fi.
ii:ia.
*
Oliver Ditsori f'otnpany
M!.- 'il-S
151
i
m
W
dftn.
^
,ii iJ^J'
iF
Rapt and se - rene
kliirt sich der Berg
as the
wie ein
face^
Ant
of the dead.
litz im Tod —
m
w
i
^^
iS
S
if
^
i^
• [>• g:
I ^j" IM
T
I
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ppun poco moHSO
* ^- * ii *^ *
^^
''^ r M r ^^^
r r If =^ r p r
Domes in the sweet-scent -ed dis - tance are gleam-ing, Mists blue and grey o'er the
Kwb - ■^eln in duf - ti - ger Fer - ne er - glii - hen, blau - schwar- ze Ne - bel die
(^
f^.
i
^
^I Ii I t
a
^>4
//w poro moHHO
ib^
H>-: ^i
i*;
#-#=^
5 32
'•J^.
B '^c^.
* 'i;^.
*
^p-'itrrtfo (' cresc. molfo
'fe. v^ '^.
MI, -41-8
152
H
Vivo
S 0
J' i) J M r r ^
h-^j^J^
Gleam-eth all red and warm, Eve- ning falls, peo - pie swarm; Moun-tain horns
Al - les gluht roih und warm, A - bend-schein, Vol - kes- schwarm; Al - les gliiht'
%
I
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m^
phggiero
as
m 0
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m m
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^
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^
gy^
sound a-bove,
Horn - ntu - sik,
Flow - er - scent.
Bill - men - duft.
looks of love.
hei - sser Blick.
m
^^
Jfe
/o
iffli*
jgg^
ff^j^
w
±iz
g^ ' —
m
i
jO&eO rrts//.
P^m
^^
4
^^
:^
Sempre vivo
^.
te
<r''r p^ £tf^^ p
w
^
?/n /?o^o n'/!
^
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^
All heart could wish gleams and
Al • les be - gehrt, rings um
sounds sweet - ly
strahlt und um
near us, Yearn- ing for
to - net, sehn - lich nach
.rk_
^^
m
i
»3
c=b:
fc^^Sx
TT"
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^te
^
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un poco ' rit.
*L=^
xn
W
» — »■
xn
^
f=
'£^.
iji.
Presto
*
ftz
beau - ty to cheer_
dem, was ver - soh -
us.
net.
m
f e
1^
szin
!23
fei'
if=»
^
":•:
^
::^^
^
pleggierc
I
d^
e
s
«af
* 5a-
» '&-
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ML-4I-8
153
te
h J JTi
p^
f M r ;; Mi
Gleam - eth all
Al les gliiht
red and warm.
roth und warm.
Eve - ning falls,
A - bend-schein,
'^r
* ^.
% J^jJlJ <:
/»^
^
^^
iS
^
peo-ple swarm;
Vol -kes- schzfarni:
Moun-tain horns
Al - les gliiht.
sound a-bove,
Horn -mil - sik.
s
^=p
^
*f
I
^
i
morendo
i
!=|E
♦— #
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te
morendo
^^^^i^T=?
^
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Flow - er- scent,
Blu -'men-duft,
looks of love.
hex - sser Blick .
^
^
^
**
liz*^
/;jp/>
JtJi
isa
lEfe
±*
E
E
*
MI,-4I-S
154
^
Andante
P
^^
g
P^^^^
?
Deep-ens the still-ness, dark-ens the day,
S/i7 - lev nun wird es, es diin-kelt das Blaii,
klji, ^-^^7
!:s;
^^M
inzL
fs-
31
FT
^
3:
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-o-
'^^
I
cresc.
m^
r M ^' F 1^
^
/;n/ ^/i?*fi
=^
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^
And, from the ghosts of the past thus be -hold- ing,
und aus der dam - mem-den Vor - zext Ge - stal - ten
Heav-en is sure - ly the
sieht sich der Him. - m.el die
i
te
dim.
n
¥
g^V r^ym_^4^^
fu- tnre un-fold-ing, Shim-mer-ing vagne-ly in gath-er-ing; gray.
Zu-kunft eni-fal - ien. tin - si - cher schimmernd in bru-ten- dem Gran.
te
w
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fejp
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Ml, -4) - «
155
*
as
pp poco mosso
rnj^
n-esci niolto
'■'t-" ^ ^ ^ ^ ^^
^f-i r r ^^^^^^
But, like a bea - con, will Rome one day wa - ken, Bright- en the dark-ness of
Dock, ei - lie Lench - te, wird Ro - ma er - star - km, Iwl - len die Nacht von I
■y
i^ii
^ ^
^
f
liEEl
^
49 0'
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pp poco mosso
cresc. molto
i
f f ^f f
ifc
f.f^ f^f
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« ^
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Jjp sfrcffo (' molto cfesc.
r ^ r
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It - a - ly for - sa - ken; Toe
ta - li - e-iis Mar - ken; Glo
sins
cken
will ech
ge - Idu
o and
te, Ka
/0\
'^" 'r r ^
ir'ppr f^ric^nr ih\v*iii{
can - non will roar!
no - nen ge -driihn!
Fierce-ly will blaze out the spir- it of yore.
Flam-mend wird wie-der die Vor-zeit er-steh'ii.
* '^^
3:
27
;:^.
M],- 41 - S
156
Vivo
m
m m zMi
i-> J\ J i
^^^^
^^ J J i
Wed- dino^ strain, sound a- main! Flute so gay, zith - er play! Out of time's
To - ne denn Hoch- zeit-sang, Zi - fher- spiel, Flo - ten - klatig! Gib von der
i
h.
53
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Pit? /.
scroll im-part
Zei - ten Bund
Hope to the trust- ing- heart!
Glau - hi - gen Her - zrns-kiind!
t
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it
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u.
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un poco rifard.
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te
It - a . ly.
Sehn - sucht I
, Q
look to the
<a - Zi' - as
blest goal un
trail - met vovi
sha - ken; Ten - der - er
Zie - le, wach wer - den
W
S
Ccc
J S <:
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^-S^»^
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s
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Presto
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feel - ings will \va
sanft' -re Ge - fiih
ken.
le.
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157
P^
te^
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r ^ n\ F- ^ ^
Wed- ding- strain, sound a- main!
To - ne deiin Hoch-zeit-sang:
Flute so gay, zith - er play!
Zi - ther- spifl, Flo - tcn-klang!
=^
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n
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^
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m
2C
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^
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ii^
morrndo
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Wed - ding strain,
To - ne denn
sound a - main!
Hoch - zeit - sang.
■Flute so gay,
Zi - ther -spiel.
te
r
^— •^^
i3^
c=c
i
^
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morendo
E3^
^=:i^E
^
i
e
^^S
zith - er play!
Flo - ien - klang!
3ffi
^:
-9
= S
\^M^
PPP
tr
SE
':^ ff/ /'/w'-
i????'
a
33^
3=SE
*
ML-4I - 8
158
J. PAULSENiibsi - )
Tranxlat'-d by /' Coifi' r
THE FIRST PRIMROSE
(MIT EINER PRIMULA VERIS)
(composed in 1876)
( Oncimit A'^-y)
EDVAKD GRIEG
( 1S43-1907)
VOICE
PIANO
Allegretto dolcissimo
L I .. ^: I ' . 'I
^^
^
'1^ j-^ij:^ f r ^
#
* r~"^ 0 0
O take, thou love- ly child of Spring, This Spring's first ten - der
Mag dir, du zar - ies Frith - lings-hiiid . dies er - sfe Bliim - chen
tes
P
gffi^
m^
<H^ 1^
?r^
^
te
'?i^
* — <>
f
^
,i:
J'
^
-♦^
i
te
#=^;^
F ' I L; ''t^
m
m iin
?^^^^±S
;z=
flow - er. De
from - men. Em
spise
ffang'
it
PS
not
gem,
that
ver
la - ter on
schmdh' es nichi,
te^
m
Si3
Fair
well
m
jaj
*_
^
cr^
F^ > '0
— r^r
^
Eife
&
il
r
i
1
■f:
r
*
a
J j'^ O J'
«:
3;:
^^
^^
^
show - er.
ko7}i - men.
4*5
ros - es
spa - ter
June will
Ro - sen
The
Wohl
sum
kost
mer
lich
has
isi
^
K
its
die
X
m
!;> *
J
r
i
s
y — g^
3
^
J^
^
!*
5=^
^
5^^
h# — ♦-
^
r^
12=
£
^
;t
gold
Som
en charm, In
mer . zeii, der
te
^
i:
au - tumn hearts are gfiY)-
Herhst er - qjiickt das Here,.
^^
i
¥
But
fEEEg
^
^^
^
^
f^
f^
Oliver Ditson Company
/
MI.-42-
159
^m
poco fit.
%
s
Spring is love
Lenz dock ist
li
der
f) I J liJ
er
Won
te^
than all,
nig - stc
The
mtt
1
time of
Lie - bes
IX
:£
love and
Inst und
i
^
^
W
fi=l
^r^^ ^ r ^ ^
—0 ^-1^ 0 0-
^S
I
m
¥
r
^
?^ j^
a tempo
^
g
m^
ZjC
s
^
s
?
^
,#
play.
Scherz. _
For
Fiir
thee and
me,
O
dear
Maid,
est maid,
er - glUhi
The
des
ftz
^
^7>
§5
n*
^
*:
iSr^^
^^
'\:^
fe
m
s
///.
!/•■
^^
Then
^' r P
T-
litrht- of Spring: is
Friih - / 1 Hi's Miiy- . p-eu
glow - intj;
soil - UP;
take the flow'r and
nimm die Blum' und
fe*
W
s
^^i
^
^:
t
^^
r
f
3
h J i'
^EEE^^
"^
P
r
f:
r
t*
dt'm. e ^oco rit.
P
K5
^^
£
^
heart on
Herz Ml a
^
I^
be
rap
eieh-
ture yield, Thy
da - filY dein
me.
sei
stow
W0 7t
mg.
nel
^^^
i
^ M ^
/•//
f
r
ditn. e poco
-1 «
P
3
^
^?B^
=^
^
F
ML-4S-2
160
A SWA N
(EiN scmmN)
(Composed in 1876)
(Original Key)
HENKIK IBSEN (1S2S-1906)
Translated by Frederic Field Hullard
Andante ben tenuto
VOICE
PIANO
1^^
jt
£
^
:^
^
My swan, my treas - ure,
Mein Schwati, mein stil - lev.
3
^^
P
m
-t
f
M
EDVAKD GKIEG
'1843-1907)
\piup
9-
£
With
mit
\> J' ii 1^
J'- g r F
^
^
£
:i^
snow-y - white feath- er, Of his songs sang me nev
wei- ssem Ge - fie - der. dei - ne won - ni - gen Lie
er A sin
der ver - rieth^
gle
kein
i
3
S
la.
tPP molto legato
TJ?
r
^;
5
i
tt*
i
^
?^
^
elves in the bush - es.
£Z - fen ini Grim - de.
£n^
Gli-ded he, list -'ning
glittst dii hor - chend all -
Copyright MI'MII by Oliver Ditson rompany
M L -43-2
161
J' agitato
^
E
pihf
Mm p M^
s
^
n't
r>
%
s
part-ing a-larmed me, With sweet song he charmed me, And
lefzttntchbeim Schei- den mit trii-gen-den Ei - den. ja
song-
da
with death came !
da sangst dn!
tl'
*
1
/O
piuf
i
El:
^
2:5^
22
^
^rzz:
^ W
'O
tranquillo
i vj^i J^' J' j^ J J I viJ^'^r^^
i i r\\ I ji j)
And, with its ring -ing,
Du schlo-ssesi sin - gend
His spir- it passed on, then.
die ir - di - sche Baku dock,
He died While
du starbsi ver -
f
3:
f
-r-iTK
n
n
«
■m
m
pp tranquillo
i
a
-6
TIT
^7•
77
i
^^%
Lento
i i T JH J
^
S
tzz
sing-ing.
klin-gend;
Was he on - ly a swan, then?
<£tt warst ein Schwatidochl
-9 «-
\mz
\
^^
/^
^
ii
i
a swan, then?
ein Schwan dock!
^m
ML-43-3
162
AT THE BROOKSIDE
(AN EINEM BACHE)
(Composed in 1880)
A.O. VINJE 11818 -1S70)
Translated by Frederic Field Bullard
(Original A'-i/)
EDVARD GRIEG
(.1843-1907 )
VOICE
PIANO
i
w
u
Poco Andante
I i) - i
^' j^ ^' r
E5
Fair trefes,
Dit Wald,
that hang your heads and bow To
dcr si'ch hrr - u - her hicgt mid
^
^
it^ iii'^^
V-^jl^r. 33^
S ' d S d ' d
ii^iii^i
mzm:
i=^
d d d '—wr
I frlfiyf
a *~ V *~ d »
-d-d
con Peddle
\\ J-, J' p n^- j^ I J
< I / y N J' h J^
^
kiss the brook, so dark and still,.
kiissf dun sclncar-zen Bach so still, .
Which un - der- mines
your
di'r nagt an dci - nem,
iii i
iiy HM
"TJ-
i i 1 i
^f->f- f f •> r
7 "^
^^
^^
^
^
■=■=*
:^
# *
i^^ii^ :^ i
poco
j^ J' lip J^ J', J' r pAJ J M
roots be - low,
Mark ver-gniigt
And to your down-fall bends its will,
mid ticf hin - tin - ier zteh'n dich will;.
■4^
k
-J. _ I|J^J~]J
i
dolcc
■^
^^^^^^
rr^
turn
y*ir j i 7 i^^
m
a — a:
ana
^3^
i^
* *
^
Copyright MCMII by Oliver Ditson Company
M L-44-3
163
piu mosso
:fefe=
v^ p r~^^
£
Wlien Life
In
Lphz
was Spring, and hope was fair,
(Ics Le - bcns.friscli toid rotli._
M=^
^
" ^9 1 •;>'■» f 1 f
ai
f^
S
^^=F
i;
^
# #
# #
4
P r ^ FT F
i
S
■ *f rr 1 T''
r-y-
molto
^
A
^ J I V ffiij^ J'' f! I p- f;'ir .* r
Whose
dev
kiss
es warm - ly
se driickt' atif
met mine own,
je - lie Hand,
To
die
^
w
^
j^ff rfff
^
= ^-
9ntj' »— » */ & "^^' *^ ~»
Pvppp
i
^
i»
W
:^
^^
M L-44-3
164
pi
poco rif.
molto „
molfn
^±*
,^ nj^ i'^'' F I r ^r? 'if
^
bring.
but grief and dkrk de-spair,
ilvn bracht' iDid hiti' - ren Tod,
Grief
Wih' _
*l
^^3^
i' J }} i' J J '
^ L7i>
B?
^
i
^f^-fff ^ f
pppoco n't.
fi
7^ iip p -^
1* — ^
sr.
?rr^
molto
fc^
E
w
5&
#
**
J^ put n'f.
Tempo I
'" ^ ^ r cj: 'ip
^
and dark de - spair
wid hitV - ren Tod I
nntabile
franquillo
^
P
P
^
PP
fe
.JT
jUKL
30:
-^C\
^
:E^
ZSTL
i
^^^^
Fair trees L
Fair trees L
Xtit Waldl.
Pkir trees! Fkir trees !_
Bu Wald! du Wald.L
At
i
i
i
^
/0\
331
122:
#^=7^
3
^
te
2:
ff.
f=
f.
xy
.N##
i
r
i>/»:
i
1^
3X1
-O-
331
^
■<?:
M L-44-3
THP] OLD MOTHER
(DIE ALTE MUTTER)
165
A. 0. VINJE(i8is-i870)
Traiitiliiti-H hy KCutder
(Composed in ISSO)
{Original k'f!/)
EDVARD GRIEG
M.S4:i-i907)
AUeg^retto espressivo
P
VOICE
PIANO
n j-^ ir F, r
5
£
X
5
My dear old mo - ther, poor thou art, And toil - est day and
Du al - te Mxit - ter hist so arm, und schajfst itn Schweiss wie
i
tff
^^m
^
P
£
night,.
Bluf,_
But
doch
ev
im
er warm re
tner noch ist's
mams
Herz
thy heart, 'Twas
dir wa t
iind
rresc.
^
5
fi
a^' cj^
;S
r r ""' I f r
±=i
thou my cour-age didst im - part, My arm of stur - dy might
dn gahst niir den star - ken Arm und die - sen wil - den Muih.,
M=i^
m^
ft If-
tMf f :
^p^=*f
cresc.
,ff
SS^iL
1
-6^
Olivf^vr Ditson CoTupniiy
ML -45 -3
166
i
P
Thoii'st wip'd a - way
Du ri'i.sr/; . ttst ah
te
each
die
:*
f-
^
■^^iff«^
rjifr^^:
^
^
^=^=^
fc
larT
r
^
^^
^
-«■
f=
#
^
5^
rresc.
t
£
L/ t^ Lr ^
^
kiss'd
kuss
fc^
thy lit
fes/ rtiich,
tie
den
lad
Kna
die dear, And
fc<>n dein, iind
taught him
hauch - fesi
songs that
die
^
i
^
fe
s
^ — ^
fi
^
r
rresc.
I J i. J
m
f
fe:
^^^
^^^^
ban - ish fear From
Brnsi kin - ein den
ev - 'ry man - ly breast.
sie - ges -fro - hen Sang:
i
J # * 0 J r
*
UB
TT^
fp~^
^1
-cn
ML- 45-3
167
rresc.
5
£
¥
£
S
@^
I'll love thee Where
lie - ben dick, wo
eer my
hill mein
foot may
Fuss atick
wan
rich
der free,
iei sich,
m
^
Till
wohl
f
1
T'
^
rresc.
^
f
*
i5
/
^ ^ II
r r "^'if f^
death our lives shall part.
son - der Rast und Riih'..
'jr^jji
^==¥
=g^
168
THE MOUNTAIN MAID
IDAS KINDDER BERGE)
AKNE GARBORG MSM- )
{jvrmun (•>.xt by Eu^en von Enzberg
'Composed in 1S9S)
'Original Key, E minor)
KPVARD nRlFG.Op. tiT, N'.'2
ISi3-1907'
VOICE
PIANO
^
^
AUegrellu IranquiHu
-^^
i'l f f J^ r ffl [^ ^ /Jir ^
^
She is slen - der and young- and fair,
Sie ist srhmdch-tig und zart undbleich,
With fea-tures so clear and
mii — Zil-gen so rein und
tr-tr
P
^fe
y^
nua:
-^5>
^
3
f=qr
5
^
fc^
/;ryr^ /•//.
■LJ niJ- j^^ ffg
5
(T tempo
p a.
^'J-iJi'" '--^
#• #
white; The_ drooping lids of her eyes But veil their dream-y lioht.^
feiar, die iie -fen An-gen urn -saumi der Li-drr trdumendvs PaaK
^m
As
Es
a tempo
^
^
i,«
pnro n't
\^
IF"
I
'>■ t.'i> ": 3 <
*
l; 1^
2i:
>-«■
-»-
^ ;?
■^*
3 ^^^3
^s
ill:
/("«.
J '/i >^^- pr I j ? 7 ^
5
-iSl-^
r^
one.
who wan-ders in sleep
als lean- del - te sacht
i
She si - lent - ly goes her way,
sie iin Sclila - fe wohl im - mer - zu:
trn.
Her
Ge
^
^r^W
pr
'^^
¥
-^:
jCH
S
r>. 'jr^'
9^
Olivr I'itsan Company
ML-46-3
169
l'^>'n F r"% p ir"r t-H
^m
f<;n.
P
voice, her mien,
h'dr - de. Mie
her
lie und
look.
Wort.
A strange, gloom - y calm be
ver - rath die - se diist - re
m
£
k
b*
B
ffi
S
^
tray, gloom - y calm be
Ruh; die - se diisf - re
h®
tray.
Ruh'!.
xn
^-o-
!?^
i-.
r^^
'Neath her
Un - ier'm
i
kfc
P
^
£
^
fore - head, beau -teoiis,biit low,
dunk - eln lo - cki - gen Haar
W
^
I
mm
i
Shine her eyes with a veil - ed
strahlt das Au - ge mit mat - tern
P
gleam;
Schein;
%
^
^S
ii:
> I' 'J
i
m
^^^^^
^
Some.
^ =
t
1^=
^
world that we know not she
starrt wie im Trau/tn vor sich
sees;.
hin
* s
She
1)1
MI.-4fi
170
±*:
^
poco rit
^
-^ w
in a
ivn htn
^^^
^'l^
r/ tempo
ga - zes as lost
an - ire Wv\
dream..
ex I!..
But her
Nur der
$
m
1,1
T?'
/;cycry /•//!
■s-
^
rt' tetftpo
P^
-o-
-«■
■* ^
ia
S
SEEE5
^
^
^
-<5M-
breath - ing comes hard and slow, She is
£11. - sen gehi hang und schreer, und es
i*
trem - blin^ with pas - sion
bebt tun den bleich - en
ten.
i
»■ 1/ '■'
m
No
w=^.
^
=^
F^
r
f
zna
3r
^
©z
s^
I*
^^#^
ff ii'
^^
:£
SZj
^
7^
2=5
strong,
Shf is maid - t^n - ly, ten
Sie ist j'^i^S ' frdu-lxch zart.
der and
und
sweet. Yea, in
fein, ja fiir
¥'■4-;^' ^
^^
m
p^
i
i
r
3
if
^
^^=t^
9i9-
t
tfc
/."«.
J' ff ^f M r- h J^
s
^^
i^
#
truth, she is fair and youngs, she is
rvahr; sie ist schon wnii, jwtig, sie ist
fair and
schon und
young
jwig
m
^
^S.
S
T
'^
±s
Mr
i^
-o-
~77'
ML -46 -a
J.P. CLARIS de FLORIAN (1755-1794)
Trannlait'd by Laura M. Underwood
VOICE
fM
Allegretto J-ss)
riANO
m
FLORIAN'S SONG
(CHANSON DE FLORIAN)
'^Original Key)
P
171
BENJAMIN GODARD
(1S'.9-1S95)
^' i' JH i) ^' J^l
If there's a shep-herd in your par
Ah\ S'il est dans vo - ire vil - la
i
ish,
P
^ ft 4 W J al I -ar
• a) I al a< a< I j^
=i==
1^
J J I J J J
m m.
m
r Y f
r
r r
P
p^^
^^
g^^
piSi?
5
IZZ
J
A shep-hefd charm-ing-, g^ood and kind,
Un her - ger sen-sible et char- mant.
E
sn rrr\
To whom at
Qu'on che - rissc
JL
i
^
=«=
» *
^
S
^
# *
r
r
*
s
^i^
(•rear.
^
-./-
P-f *'\ ^ f^^
*t=3[
^^
once your heart's in- clined,Whom,lnn -i^er known, still more you cher
au fre - niter mo - ment, Qu'on aime en - sui - tc dn - van - ta
ish,
i
i
4
i
^
H i i
F~*
* — r
rresc.
m
f:
0~»-
^ — a-
^ ' ^
> — TK
>iO)itenuto
f/f'm.
^
^
^
i^^
^
He is my love,
C'esi man a - mi,
Give him to me!
ren - dez - le mot!
^^^
I have his
J'ai so n a
heart; my
nioxir, il
^
^=^
i
^
^
't
F^
.XT
I
h
rr
f
*i — #
dim.
±=^
7
r
T
r
T
r
<"opyrie:lit MCMII by Oliver Ditson Company
Ml. 47 3
172
O f/fm.^==~p
P
*
^^^3^
faith has he.
a ma foi.
Are echo-ing woods his songs re - peat
Si par sa voix iendre et plain - ti
S
5=
£
«=
vOU
>~?
s
:z3
=^
^
^
i
E
f^
m m
-d m
d d
— -. 7}
T f
r
r
r
^
^
Hi
^s
pi=^
^
in'''
Charmed by his voice, that sweet com -plains,
// char- me I'e - cho do vos bois,
And do his
Si les ac .
fe
:sn ^JT^
I
s^
f
s s
^
i
i
i
m
-d-d
atat
r
r
f
r
/-
=.ff
T7^
m
pipe's mel - o -dious strains The hearts of maid-ens set a -beat
cents de son haitt - bois Ren- dent la ber - ge - re pen- si
ve.
Then 'tis my
C'est en -cor
i^
i
:^
m
f
f
U i i
ct'esc.
^^
m
f-
1)
soatenufo
dim.
Y
r7\dim.^=:^p
&
^
^
5
^
£
^
love!
Give him to me!
I have his
. - dez - I
e nioi!
J"^
I son a
iM
^^m
^
heart ,_ my faith has he.
monr il a ma foi.
^m
s
r^
S
7
dt'm
T
P
~Cr-
f
r
r
r
fl
178
P
^
s
s
s
If, when there comes some need-y broth
St pas - sant prcs de sa ch<iu - mie
±1
--t
^
£
er,
re
Who begs a
Le pauvre,en
fe
^^
l=i«
s;
*-*
^^Tlr^
^
i
i
^
S
^ w
r r r
r
r
r r
*
^^
^i> j^ I J. > ^
P
s
lamb from out the herd,
vo - yant son trou - peau,
4
'rr2 n-n
The shep-herd g^ives with kind - ly
0 - se de - man - der icn a -
=i=c
m
r~T
#
* s
m
i
0 0
w — *~
-wf ai
f
f
rresc.
X 1 rufav. 1
./ — =
ft
M ''I ^ p r^
ZZI
^^
word The lit - tie lamb and e'en its moth
er.
g'
Et qu'il oh - tienne en - cor la me
*
m
OhI then 'tis he!
Oh! c'esi hien hit,
i
M
f
W
t St
rresc.
m
f-
jr
0 — 0—0-
•)
i
U
i
sosfen.
dim.
^^^^
PP
ji I J i II
f
S
my
il
Give him to me!
Yen - dez - le moil
I have his
J'
at sou a
heart,-
mour,—.
i
M"T
3
«^=t
,x
dim.
-0 0-
r
T
^
r
faith has he.
a ma foi.
K
P
17
\y
ML-47-3
174
To Ladislaus Mickicuic:
AH! THE TORMENT!
(ACH! DIE QUALEN)
(Original Key)
ADAM MICKIEWICZ (1798-I855i
TruiiskUtd by IsubtUa G. Parker
IGNACE JAN PADEREW^KI, Op.l8,N<'5
ilS,-,!l- )
VOICE
Allegretto
PIANO
W
leggiero
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How my heart with bit - ter pangs is
Ach! die Qua - len die mein Uerz durch
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ra - ging!.
wiih - lenl—
Death were on - ly joy, such pain as
Niir dcr Todt kann sip fiir e v^ig
sua - ging.
siil - len: _
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(Used by permission ofCkarhs F. Tivtbar)
Muaifl ooprri^ht MDCCCXCUI by C.F.Trcthnr
Translation copyright MCMIf by Olivrr Dltttun Cumpany
ML- 48 -4
175
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Dare
Diirff
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I ven-ture thee to love so mad
ich dick zu lie - ben niich er - kiih
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I would give my
Die - srs Wag - niss
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life for thee most glad-ly,.
soil mein Herz - hint siih - ncn,
I would give my
Die - ses Wag -niss
life for thee most
soil mein Herz - blui
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glad -ly
iih - nen
a/e/ejiti hggiero
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176
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Meno mosso
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Why to thee a - lone must my love be plight -
Wa - rum thuss - te ich gra - de dich er - wcih
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ed? Why would I to thee
len? Wa - rum wall - ie ich
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Though un-num-bered maid- ens may sur - round me,.
So viel Mad . chen bliih'n in un - ser'tn Lan - de _
Thou a - lone with
Uvd g'rad' die - se
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hope-less love hast bound me,.
Jes - seln an - d're Ban - de,.
Thou a - lone with hope-less love hast
Und g'rad' die - se Jes - seln an - d're
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bound me.
Ban - de.
a tempo
.VI -4S-4
178
WILLIAM DEAN HOWELLS (1S37- )
THE SEA
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{Original Key, D)
VOICE
PIANO
Broadly, with rhythmic swing
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EDWARD A. MacDOWELL, Op.47,N07
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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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The whis-per-ing shell is mute,_ And
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af - ter is e - vil cheer;_ She shall stand -on the shore and cry
in vain,
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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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ship lies wreck'd, Lies wreck'd on the un- known deep; Far un - der, dead in his
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cor- al bed, The lov - er lies a - sleep, Far un -der, dead in his
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ML-49-2
180
ADOLF FRIEDRICHvon SCHACK (isi5-iha4i
Translated by Isabella G. Parker
SERE NA DE
(STANDCHEN)
(1886)
(Original Key)
RICHARD STRAUSS, Op 17, NO 2
(1864- )
VOICE
PIANO
Vivace e do Ice
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wake !
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and
dock
soft
ly a - rise.,
se, me I It Kind,
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oth-erfrom slum -
Kei-nen vom Schhun
ber a-wa-ken !
mer zu we-ckeu.
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The
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Copyright MCMII by Oliver Ditson Company
M L-50-7
181
brook mur-murs low;
niur - melt der Bach,
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the light zeph-yr flies,.
kaum zii - iert im Wi7id_
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No leaf
eii: Blatt
by its soft
(JH den Bit
breath is sha-ken.
schen und He - c.ken.
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that none a - wake,
dass nichis sich reist, -
Lift genily the latch.
niir lei - se die Hand_
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lest fair slumbers you break.
auf die Klin- ke ge-i/egt.
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With foot
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steps like
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of
fair
El
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soft,
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O - ver the . flow'rs,
U7n a - her die Bin -
trip -ping light -ly,
men zii hii - pfen,
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Haste thou to me,
Flieg' leicht^_ hiit - aiis
where the
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M I,-S0-7
183
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moon
Mond
a - loft_
schein -nacht
The
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mines so bright- ly.
ten zii schlil-ffcn .
Here
Rings
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flowrs bv the brook-side,
schlurn - mem die Blii - then
inslum-ber so deep,
am rie-seln -den Bach.
B reath out their per-fiime ; _
und duf - ten im Schlaf,^
Am
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. Love a - lone can-not sleep !
_nttr die Lie- he ist wach! (I tetnpo
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Here rest
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mer of mys -
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die
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Nach
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shall our
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m
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ture
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soil _
In dreams our love.
ro)v tin s'ren Kiis
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And '. the sweet
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when
it a - walces.
sie am Mnr
.with de - H^ht,
gen er - wacht,
Shall
hock
ML- 50-7
186
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in the bliss
von den .Won
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• ty of night!
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