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ONE HUNDRED SONGS BY
TEN MASTERS
EDITED BY HENRY T. FINCK
VOLUME II
BRAHMS (1833-1897) : TCHAIKOVSKY (1840-1893)
GRIEG (1843-1907): WOLF (1860-1903)
STRAUSS (1864- )
FOR HIGH VOICE
OLIVER DITSON COMPANY
THEODORE PRESSER CO., Distributors, 1712 CHESTNUT ST., PHILADELPHIA
Printed in U. S. A.
COPYRIGHT, 1917, BY OLIVER DITSON COMPANY
INTERNATIONAL COPYRIGHT SECURED
QSii<n- c fo?2-
CONTENTS
BRAHMS, JOHANNES (1833-1897)
My Queen (Wit bist du mtint Konigin), Op. 32, No. 9 I
Slumber Song (Rune, Siissliebcnen), Op. 33, No. 9 5
Cradle Song (IViegenlied), Op. 49, No. 4 13
My heart is in bloom (Meine Liebe ist griin\ Op. 63, No. 5 16
u Love Song (Minnelied), Op. 71, No. 5 21
(/The Disappointed Serenader (Vergebliches Stdndchen), Op. 84, No. 4 24
•^ In Summer Fields (Feldeinsamkeit), Op. 86, No. 2 29
Sapphic Ode (Sapp/iische Ode), Op. 94, No. 4 32
A thought like music (Wie Melodien zieht es mir), Op. 105, No. I 34
Lighter far is now my slumber (hnmer leiser wird mein Schlummer), Op. 105, No. 2 38
TCHAIKOVSKY, PETER ILYITCH (1840-1893)
Why? (Warum?), Op. 6, No. 5 42
" None but the lonely heart (Nur wer die Sehnsuc/it kennt), Op. 6, No. 6 46
Cradle Song (Wiegenlied), Op. 16, No. I 50
The Canary {Der Kanarienvogel), Op. 25, No. 4 55
Some one said unto the fool (Einst zum Narren Jemand spric/it), Op. 25, No. 6 60
To Sleep (An den Sc/daf), Op. 27, No. I 63
Don Juan's Serenade (Stdndchen des Don yuan), Op. 38, No. I 67
Whether day dawns (Ob heller Tag), Op. 47, No. 6 74
Serenade (Serenade), Op. 65, No. I 81
Disappointment (Deception), Op. 65, No. 2 85
GRIEG, EDVARD (1843-1907)
Y\ love Thee (Ic/i liebe Did), Op. 5, No. 3 88
Cradle Song (Wiegenlied), Op. 9, No. 2 90
Solvejg's Song (Solvejg's Lied), Op. 23, No. 1 94
A Swan (Ein Schwan), Op. 25, No. 2 98
The First Primrose (Mit einer Primula Veris), Op. 26, No. 4 IOO
Springtide (Der Fruhling), Op. 33, No. 2 1 02
On the Journey Home (Auf der Reise zur Heimath), Op. 33, No. 9 107
The Way of the World (Laufder Welt), Op. 48, No. 3 109
A Dream (Ein Traum), Op. 48, No. 6 1 13
Eros, Op. 70, No. 1 117
WOLF, HUGO (1860-1903)
To rest, to rest! (Zur Run, zur Ruh!) 121
Biterolf 123
Secrecy (Verborgenheit) 12c
Tramping (Fussreise) 129
Song to Spring (Er ist's) 135
Morning (In der Friihe) 139
Weyla's Song (Gesang Weyla's) 141
From her balcony green (Auf dem griinen Balcon) 143
Sad I come and bending lowly (Mun'voll iomm' ich und beladen) 148
E'en little things (Auch kleine Dinge) 152
1323 1
VI
CONTENTS
fACE
STRAL'SS, RICHARD (1864- )
Devotion (Zueignung), Op. 10, No. I 1 54.
Night (Die Nacht . I >p. 1 . No. 3 157
All Souls' Day (AtUrseelen), Op. 10, No. 8 160
E'er since thine eves returned my glances (Seitdem dein Aug in meines schaute), Op. 17, No. 1 163
Serenade (StdndcAen), Op. 17, No. 2 165
Thy wonderful eves mv heart inspire (Breit uber mein Haupt dein scAwarzes Haar), Op. 19, No. 2 I 73
Why should we keep our love a secret ; ( // it sollten wir geAeim sie Aa/ten), Op. 19, No. 4 175
All of the thoughts in mv heart and mv mind (Air mein Gedanken, mein Herz und mein Sinn), Op. 21, No. I \ ~i
Thou of mv heart the diadem (Du meines Herzens Krbnelein), Op. 2 1, No. 2 1 S •
Dear love, I now must leave thee (AcA Lieb, icA muss nun scAeiden), Op. 2 1, No. 3 185
INDEX
[ENGLISH]
All of the thoughts in my heart and my mind, Op. 21, No. i Strauss
All Souls' Day, Op. 10, No. 8 Strauss
Biterolf Wolf
Canary, The, Op. 25, No. 4 Tchaikovsky
Cradle Song, Op. 49, No. 4 Brahms
Cradle Song, Op. 9, No. 2 Grieg
Cradle Song, Op. 16, No. 1 Tchaikovsky
Dear love, I now must leave thee, Op. 21, No. 3 Strauss
Devotion, Op. 10, No. 1 Strauss
Disappointment, Op. 65, No. 2 Tchaikovsky
Disappointed Serenader, The, Op. 84, No. 4 Brahms
Don Juan's Serenade, Op. 38, No. 1 Tchaikovsky
Dream, A, Op. 48, No. 6 Grieg
E'en little things Wolf
E'er since thine eyes returned my glances, Op. 17, No. 1 Strauss
Eros, Op. 70, No. 1 Grieg
First Primrose, The, Op. 26, No. 4 Grieg
From her balcony green Wolf
I love Thee, Op. 5, No. 3 Grieg
In Summer Fields, Op. 86, No. 2 Brahms
Lighter far is now my slumber, Op. 105, No. 2 Brahms
Love Song, Op. 71, No. 5 Brahms
Morning Wolf
My heart is in bloom, Op. 63, No. 5 Brahms
My Queen, Op. 32, No. 9 Brahms
Night, Op. 10, No. 3 Strauss
None but the lonely heart, Op. 6, No. 6 Tchaikovsky
On the Journey Home, Op. 33, No. p Grieg
Sad I come and bending lowly Wolf
Sapphic Ode, Op. 94, No. 4 Brahms
Secrecy Wolf
Serenade, Op. 17, No. 2 Strauss
Serenade, Op. 65, No. 1 Tchaikovsky
Slumber Song, Op. 33, No. 9 Brahms
Solvejg's Song, Op. 23, No. 1 Grieg
Some one said unto the fool, Op. 25, No. 6 Tchaikovsky
Song to Spring Wolf
Springtide, Op. 33, No. 2 Grieg
Swan, A, Op. 25, No. 2 Grieg
Thou of my heart the diadem, Op. 21, No. 2 Strauss
Thought like music, A, Op. 105, No. 1 Brahms
Thy wonderful eyes my heart inspire, Op. 19, No. 2 Strauss
To rest, to rest ! Wolf
To Sleep, Op. 27, No. 1 Tchaikovsky
Tramping Wolf
Way of the World, The, Op. 48, No. 3 Grieg
PAGE
179
l60
123
55
*3
90
50
185
154
85
24
67
"3
152
163
117
100
»43
88
29
38
21
139
16
1
i57
46
107
148
3 2
125
165
81
5
94
60
135
102
98
182
34
173
121
63
129
109
viii INDEX
PACI
a's Song Wolf 141
Whether day dawns, Op. 47, No. 6 Tchaikovsky 74
Why? Op. 6, No. 5 Tchaikovsky 42
Whv should we keep our love a secret' Op. iq, No, 4 MR' 1-5
INDEX
[GERMAN]
Ach Lieb, ich muss nun scheiden, Op. 21, No. 3 Strauss
Allerseelen, Op. 10, No. 8 Strauss
All' mein Gedanken, mein Herz und mein Sinn, Op. 21, No. 1 Strauss
An den Schlaf, Op. 27, No. 1 Tchaikovsky
Auch kleine Dinge Wolf
Auf dem griinen Balcon Wolf
Auf der Reise zur Heimath, Op. 33, No. 9 Grieg
Biterolf Wolf
Breit iiber mein Haupt dein schwarzes Haar, Op. 19, No. 2 Strauss
Deception, Op. 65, No. 2 Tchaikovsky
Du meines Herzens Kronelein, Op. 21, No. 2 Strauss
Einst zum Narren Jemand spricht, Op. 25, No. 6 Tchaikovsky
Er ist's Wolf
Eros, Op. 70, No. 1 Grieg
Feldeinsamkeit, Op. 86, No. 2 Brahms
Fruhling, Der, Op. 33, No. 2 Grieg
Fussreise Wolf
Gesang Weyla's Wolf
Ich liebe Dich, Op. 5, No. 3 Grieg
Immer leiser wird mein Schlummer, Op. 105, No. 2 Brahms
In der Friihe Wolf
Kanarienvogel, Der, Op. 25, No. 4 Tchaikovsky
Lauf der Welt, Op. 48, No. 3 Grieg
Meine Liebe ist griin, Op. 63, No. 5 Brahms
Minnelied, Op. 71, No. 5 Brahms
Mit einer Primula Veris, Op. 26, No. 4 Grieg
Miih'voll komm' ich und beladen Wolf
Nacht, Die, Op. 10, No. 3 Strauss
Nur wer die Sehnsucht kennt, Op. 6, No. 6 Tchaikovsky
Ob heller Tag, Op. 47, No. 6 Tchaikovsky
Ruhe, Siissliebchen, Op. 33, No. 9 Brahms
Sapphische Ode, Op. 94, No. 4 Brahms
Schwan, Ein, Op. 25, No. 2 Grieg
Seitdem dein Aug' in meines schaute, Op. 17, No. 1 Strauss
Serenade, Op. 65, No. 1 Tchaikovsky
Solvejg's Lied, Op. 23, No. 1 Grieg
Standchen, Op. 17, No. 2 Strauss
Standchen des Don Juan, Op. 38, No. 1 Tchaikovsky
Traum, Ein, Op. 48, No. 6 Grieg
Verborgenheit Wolf
Vergebliches Standchen, Op. 84, No. 4 Brahms
Warum? Op. 6, No. 5 Tchaikovsky
Wie bist du meine Konigin, Op. 32, No. 9 Brahms
Wie Melodien zieht es mir, Op. 105, No. 1 Brahms
Wie sollten wir geheim sie halten, Op. 19, No. 4 Strauss
Wiegenlied, Op. 49, No. 4 Brahms
i8 S
160
179
63
152
H3
107
123
"73
85
182
60
!35
117
29
102
129
141
88
38
139
55
109
16
21
100
148
157
46
74
5
3 2
98
163
67
94
165
67
"3
125
24
42
1
34
175
*3
INDEX
jcnlied, Op. 9, No. 2
jenlicd, Op. I
jnung, Op. ic. No. 1
Zur Ruh, zur Ruh'
Grieg
Tchaikovsky
Str.-'
W LI
90
50
'54
1 .' I
.■B^ v^H
^c^^' V
V
/
*
ONE HUNDRED SONGS BY TEN MASTERS
JOHANNES BRAHMS
WHEN Mendelssohn died, in 1847, Ed- generally classed with the masters till after the
uard Marxsen said: "A great master has production of his German Requiem, in 1868, when
passed away, but Brahms is growing up to be a he was thirty-five years old.
greater still." Johannes Brahms was at that time At that time he had violent opponents, who,
seventeen years old. He was a pupil of Marxsen, when that work was produced in Vienna, adualiy
who was a prominent music teacher in Hamburg, hissed it. These hisses were an echo of similar
where Brahms was born. The prophecy came demonstrations made some years previously, in
true, for Brahms is now generally acknowledged Leipzig, against the same master's first piano
the superior of Mendelssohn, at least as a com- concerto; a demonstration which angered Brahms
poser of symphonies, chamber music, and songs, very much, and subsequently he signed a public
In 1853 Schumann made a sensation by pro- protest against Wagnerian tendencies in music,
claiming Brahms the new "musical Messiah." Some have thought that it was a foolish thing to
He had seen only a few of his earliest works, but do, for Wagnerism was destined to prevail. Yet
these convinced him that here was a man who Brahms did not suffer from such partisanship; on
would open "new paths" in the musical world, the contrary, his being pitted at so early a date
It has been suggested that this extravagant praise against Wagner as the champion of the conser-
of the young Brahms was inspired partly by the vative party gave him a prominence which he
fad that Schumann did not like Wagner, whom would not otherwise have enjoyed at that time,
others looked on as the"musical Messiah;" that It may be added that while Wagner never cared
at the time when he wrote this article, his mind for Brahms's music, Brahms liked some of Wag-
was already clouded by what, a few years later, ner's, echoes of which may be heard in several
developed into fatal insanity; and that he was nat- of his works. There was really no reason why the
urally prejudiced in favor of Brahms because his respective admirers of these composers should
own influence was reflected in the young man's have come to hisses and blows, for there was no
music. But no one can read about the ardent competition between their idols. Brahms wrote
friendship between these two men without feeling no operas, while Wagner wrote hardly anything
that Schumann was sincere when he gave Brahms but operas,
so splendid a send-off. The perpetuation of the fight was due largely
Notwithstanding this recommendation, the to the antics of the popular Viennese critic, Dr.
young man did not have a "walk-over." When Hanslick, to whom every page by Brahms was
he was a boy often he played the piano so well celestial, and every page by Wagner infernal,
that an American manager wanted to engage him Brahms himself had some violent prejudices, but
for a tour. Yet Brahms never prospered as a con- on the whole he was peace-loving, and his range
cert pianist, and soon gave up efforts in that di- of sympathies was wide. While Bach, Beethoven,
rection. One season he made his living by play- Schumann, and Schubert were his musical gods,
ing dance music in a hotel at a German summer he also enjoyed Bizet's Carmen and revelled in
resort. As a composer, he made his first hit with the delightful dance melodies of Johann Strauss,
a series of Hungarian dances, which he got from who was one of his most intimate friends. At gen-
the famous violinist Remenyi, who had engaged eral social gatherings Brahms was apt to be sar-
him for a tour as his accompanist. But he was not castic and disagreeable. There is a story that one
r
ONE HUNDRED SONGS BY TEN MASTERS
evening, on leaving, he said to the hostess: "If of this verse." "He loves the open air, the clouds,
there is any one here to-night whom I have not the grass, the lilacs." "The scholastic pessimism
offended, I beg his pardon!" that intrudes occasionally in his instrumental mu-
I o his friends In- was must sympathetic, and sic is often interrupted in his songs hv bursts of
•men usually most courteous. It is said that humor, jesting, student gaiety." He was"pecul-
hewa love, but did not propose, because iarly happ) in his delineation of the naive moods
he felt he could not, at that time, support a wife. hidden in the native folksongs. While he nevei
In la- S, when he became wealthy, he was quite reached the adorable simplicity of Ha
still content with the friendship of women. Fore- r'eslein, his Little Sandman [Sandm'dnnchen) and
most among these were Clara Schumann, the other songs of this character are a close second
widow of the composer, and Frau Herzogenberg. to Schubert. He is also the interpreter otsouls
The letters written hv him to the last-named and discouraged, of the aspirations of those whom
her husband have been published, together with sorrow has crushed."
their answers. The letters by 1'rau 1 ler/ogenherg The fad that no fewer than thirty-three of the
should be read by all admirers of Brahms, not one hundred and twenty-one works of Brahms
only because ot their sincere enthusiasm, but be- that have appeared with opus numbers are sets
cause of their no less sincere censures. Brahms of songs indicates almost as strong a predilection
disliked adulation or lionizing; and one reason for the Lied on his part as Schubert had. This is
why he esteemed this woman was that she never due in part to his love of poetry. 1 le read a great
hesitated to tell him the plain truth about his deal, and prided himself so much on his choice of
latest pieces or songs, which he usually submitted verses tor his music that he frequently expressed
to her. She knew that his chief fault was the inch- the hope that somebody might publish in a sepa-
nation to write too much — to compose at times rate volume the poems used by him. This was
when mere technical skill had to take the place actually done.
of real inspiration. Once she asked him frankly: Perhaps the principal charm ot the Brahms
" Why, dear master, when you can produce gold, songs lies in their rhythmic features, which in
do you so often give us brass: " elude main agreeable surprises. Professor Niecks
There is much brass among the hundred and could not find in these Lieder Schumann's glow
ninety-six songs ot Brahms; also, a good deal ot of feeling, fragrance of poetry, and magic of ro-
silver. That the ten Lieder selected tor this vol- mance. Tchaikovsky wentso far as to declare that
ume are ot the golden sort all admirers of Brahms Brahms was altogether incapable ot melodic in-
will be ready to grant. Thirty others ot the bet- vention. The ten songs in this volume eloquently
rt arc included in James lluneker's collec- refute that statement. In some ot the ot hers, the
printed in the Musicians Library; while good melody is ot an instrumental rather than of a
iptions of ail the important Brahms songs vocal type, and occasionally, as in Schumann, the
: in Fuller-Maitland's volume on piano predominates too much over the voice. Yel
er, ami in Evans's exhaustive vol tor the most pan the Brahms songs, even when
Brahms's vocal music. These writ of the "silver" oi "brass" kind, are effective foi
g admirers ot Brahms. Mr. Hu t he vou e, w Inch is the reason w In , untortunatt l\ ,
• claims tor him a plai e .iiii"HL' the toman- some ot the poorer ones are favored by singers.
Though heis"thi I or several years Brahms's songs have been sung,
B t architect nisi in Germany, at am rate, more frequently than
he is nearly as the songs ot am other master. This in itself does
R t Bun II- not prove anything, tor there was a time when
nine poets, Mendelssbhn's soml's were more in favor than
and "he ful in his selection any others, whereas now nobody sings them. But
ONE HUNDRED SON
Brahms's best songs — those in this volume and
some others — will live longer than any of Men-
delssohn's.
A paragraph in Richard von Perger's excellent
little book on Brahms (Reclam edition) may here
be translated by way of concluding this intro-
duction:
"Most popular of Brahms's works, and de-
servedly so, are his numerous songs. ... In these
the German master is in his element. He steers
clear of the contemporary mania for declama-
tion, which would transform the art song into a
piano piece with a dry recitation, and although
he always gives due importance to the words,
he nevertheless puts the chief emphasis on the
song-tone and a fine melodic line. To be sure,
the exuberant, abundant melodic flow of Schu-
bert and Schumann was not at his command;
but Brahms's melodies, even when they sound a
popular strain, are always noble and select. The
master lays bare to us in his songs the whole
depth of his rich soul-life, and he understands,
especially with his melancholy songs, how to
move and delight us."
i. My Queen {JVie bist du meine Konigin). This
is one of the greatest of German songs, Brahms
in every measure. It is the ninth and last of a
group published as opus 32, and it comes, in the
words of Fuller-Maitland, "as a most welcome
climax of obvious beauty after various intense
emotions have been portrayed." Placed under a
microscope, the song is seen not to be flawless.
As the same writer remarks, it shows that " there
is some truth in the charges of occasional faulty
accentuation laid to the door of Brahms; the me-
lodic opening phrase allows of no break at the
point where the comma would warn the reader of
the words that a break must be made; the heavi-
est accents fall on the first syllable of'meine' and
the lastof'K6nigin,'and,afterthefirst line, where
it is essential that the words should run on to
complete the sentence, there is a break in the mu-
sical phrase." But"hard indeed must be the heart,
and dull the hearing, of any pedant who should
resist the appeal of the lovely song on account
of a momentary infraction of a rule which Brahms
GS BY TEN MASTERS xiii
elsewhere shows himself most careful to observe.
For the song, from the first note to the last, is one
of the immortal lyrics of the world, and it is quite
clear that the musical theme could not have been
so twisted and changed as to provide an ideal
musical equivalent for the opening words with-
out a sacrifice of absolute musical beauty which
we may well imagine that Brahms was reluctant
to make."
2. Slumber Song (Rube, Sussliebchen). The com-
poser of the New World symphony, Antonin
Dvorak (whose genius Brahms discovered), once
said to the editor of this volume that to his taste
the best songs composed since Schubert were the
Magelonenliederof Brahms, opus33-They are set-
tings of fifteen poems from Tieck's Magelone . This
judgment is surprising because the group has
serious defects, which the most ardent Brahms-
ites do not deny. That the set "does not make
a very effective cycle when performed in its en-
tirety" is of no special importance, for the same
is true of the cycles of Beethoven, Schubert,
and Schumann. But it is surprising that Brahms
should have failed to make use of the dramatic
opportunities offered by the poems. There are
no reminiscent themes to give coherence to the
songs, and, as Fuller-Maitland admits, " there is
not even an attempt at local color, nor is Sulima's
songany more Oriental in character than the rest."
The story, too long to tell here, may be found
in the appendix to volume one of Miss May's
Life of Brahms. The ninth of the fifteen songs,
Rube, Sussliebchen, is musically the most fasci-
nating — "a magically beautiful lullaby ... in
which the accompaniment seems to be provided
by gently waving branches." It is sung by Pierre
while his lady sleeps. Tieck's book was one of
Brahms's favorites when, as a boy of fourteen,
he read it with the thirteen-year-old Lischen
Giesemann.
3. Cradle Song (IFiegenlied). It is odd that the
most widely known of all the creations of Brahms
should be a cradle song, for he was never mar-
ried. He was rather unsocial, and to adults often
sarcastic and rude, but for children he had a ten-
der heart, and pockets full of presents. This ten-
XIV
ONE HUNDRED SONGS BY TEN MASTERS
derness is beautifully revealed in the present song,
based on a poem by Karl Sim rock.
±, M is in bio ' .' te Liebe ist grSn).
One of" the favorite Brahms Li . \ but not the
most marvellous love song ever composed, as
might infer from Kuller-Maitland's dithy-
rambic superlat Meine Liebe ist griin . . .
is one of the things concerning which it is im-
possible to guess how it came into the creator's
brain. It is so ineffably spontaneous that it must
seem to have been conceived in a single impulse
and perfected at an instant. The glow of youth-
ful passion has sureh never been so superbly
reflected in music, ami the mind cannot grasp
any process by which it w;is evolved, or think of
any moment at which it was incomplete." Lillian
Nordica was not fond o( Brahms's songs, but
this one she liked, and she knew how to thrill an
audience with it.
5. Love Song (Minnelied). To the editor of this
volume this seems the most inspired, spontane-
ous, and delightful of Brahms's voca! works — an
adorable song. It shows, even more than M
I be ist griin, how love exercises its creative spell
likewise over bachelor composers. Its originality
is complete — no other composer has sung a song
resembling it, and the piano part is Brahms in
every measure. It is not sung as often as it should
be, which is strange, for it rises to a most effec-
tive climax. The interludes are very beautiful.
/)• appointed Serenader [Vergebliches
" With animation and good humor"
the composer wants this popular number to be
sung. The text lacks refinement, but the music
Concerning it, Fuller-Maitland sup-
plies this information: "Opus ^4 bears the
ription, ' l-iir eine oiler zwei Stim-
men,' but it is unlikel) that on any occasion am
them have been sung by two persons. I he
modern sun iallv in Germany, is
■ • lho« how many different sorts of v.
•on he has learned, that I no op
tunity ol ngS in « Inch tWO or more
an he il I B, indeed, an
libitum part for • lusl)
with tt t, Spann
but here the music of each pair of stanzas is the
same, and the male and female voices are sup-
posed to alternate, as the) are also in the best
known ot the set, Vergel 'andchen, though
this is always sung b) one singer, who must \
sonify both the ardent lover and the disdainful
lady at the window."
-. In Sumnn (Feldein .In none
of Brahms's songs is his love ot nature more con-
vincingly portrayed than in this, which is a gen-
eral favorite. The poet pictures himself King in
the tall green grass, gazing at the blue sky ami
the white clouds floating past, leading his mind
oil to thoughts ot eternal spaces ; and the pensive
music reflects all this as in a mirror. " Never was
a more perfect picture ot a summer noondav."
ipphic Ode(Sappl • . While roman-
tic love did not play a part in Brahms's lite, he
favored poems concerned with it. HansSchmidt's
Sapphic Ode is one ot these; it is frequently heard
at recitals because of the popularity ot Brahms\
setting. Regarding the correct interpretation ot
this song Fuller-Maitland warns those vocalists
who are so fond of singing it that "the last tew
bars of each verse, it performed in strict time,
make the effect of a beautiful and well-onK
rallentando; if the time be slackened, over and
above this, mere nonsense is the result."
9. A thought like music {H
.:> 1. The greatest thing in music, after all, is
spontaneity of melodic invention, ft
has it, and that is why it is one of the favored mas-
tersongs, while so many others of Brahms's one
hundred and ninety-six Lieder are neglected. 1 1(
himself knew that it was one of his best products,
for, just as Schubert used to introduce themes
of Ins finest SOngS in his instrumental work-
Brahms makes an allusion to this sung in his
violin sonata in A major, which, though bearing
an earlier opus number, was composed later.
10. Lighter fat v my slumber (Immer
\ 1 mil;, though 9
mirer has characterized this famous /
1 I ins, in his huge volume of six hundred
which all "t Brahms's vocal works arc
of hiniir " \
ONE HUNDRED SONGS BY TEN MASTERS xv
thetic song, verv delicately set. and containing which the accompaniment follows the voice;
some cnoice narmonic progressions. There are afterwards taking an independent form with right-
two verses, at me commencement of eacn of hand syncopation and bass counter-melody."
PETER ILYITCH TCHAIKOVSKY
Will 1. 1 music doubtless hath charms to
the the savage breast, it is none the
less true that musicians are much given to squab-
bling. In Russia, in the I Rubinstein and
Tchaik* the musicians were divided into
two hostile camps, and warfare was waged relent
lesslv between them. On the one side were the
\ ;:ionalists, who based their art largely on R
sian folk music, and otherwise strove to be unlike
the composers i . France, and Italy.
( >n the other side were the Cosmopolitan com-
posers — those who had come under the influ-
ence of the masters of the countries named, and
who preferred to invent and elaborate melodies
of their own, rather than burrow folk-tunes.
The leaders of this faction were Tchaikovsky and
Rubinstein. The first of the Nationalists was
Glinka, and the movement started by him with
his opera A Life for the Czar culminated in
Guest of Dargomij/skv, and the Boris Go-
dounoff of Moussorgskv. Rubinstein paid Glinka
the compliment of calling him one of the greatest
five of all composers; but to the later National-
ists he referred as " these voung Russian compos-
who continue to confine themselves largely to
popular and national themes, exposing therein
their povertv of invention, a lack which they
attempt to conceal under the cloak of national-
ism."
Outside of Russia, until a few years ago, the
history of Russian music meant the story of the
activities of Rubinstein and Tchaikovsky, whose
works were the only ones from that country that
: a wide interest and general admiration
in foreign parts. The Russian dancers have now
I nglish, French, and American audiences
'.ith one branch of their "national"
art, while, thanks l.i! the magic of Chalia-
pin, f the N ItionallStic operas have won
■ In Fforts
off, Kurt Schindler, and Mo
cr, with his Russian Symphony ' >rc ;
• im N i Yoi
Iwithtl iticert works
of the leading Russians, three of whom, at least
— Rimsky- Korsakoff, Rachmaninoff, and Stra-
vinsky — show evidence of genius in their works.
Even these, however, have not created as r.ivish-
ingly beautiful melodies as did Rubinstein
I chalkovsk) , w ho will, for this reason, continue
to be the most admired of the Russians, cv
b) those who, figuratively speaking, value the
peculiarities of national costumes more than the
beaut) of the women who wear them.
As a melodist, Tchaikovsky has very few
equals. Who has not been thrilled to the mar-
row by the heavenly melody opening the slow
movement of his fifth symphony? Can you point
to anything more supremely lovely in the works
of Mo/art, Beethoven, Schubert, Chopin, Bi
Grieg, Verdi, or Wagner, than that inspired in-
strumental song? There are main other melodies
in his works almost equally beautiful ; and these
account, in large part, for the extraordinary pop-
ularity this greatest of the Russian masters has
enjoyed during the last two decades.
As melody is commonly assumed to be a pro-
duct of the South, the melodiousness of Tchai-
kovsky's music is often ascribed to his having,
as a youth, been very much interested in Italian
opera. But his melody is as different from Italian
melody as Russian folksong is from the Italian.
Though intensely individual, his music is at the
same time thoroughly Russian, being chara, I
ized, in turn, by the climatic and ethnic melan-
choly, the barbaric splendor, and the fierce Cos-
sack energy of that people. 1 low amazingly stu-
pid not to recognize him as .1 Nationalist — the
\crv leader of the Nationalists' How ridiculous
to make the use of borrowed folk tunes the cri-
terion of musical patriotism, therein virtually
excluding genius — that is, the faculty ol
ing one's own mcloiiies' Even Rubinstein was a
Nat ■in the larger ami better sense ol the
word. He was the music. il illustrator of the on
ism 1 partly Jewish I that is so important an
nent in the life and art of * i
: ne achieved this musical orientalism not b\
ONE HUNDRED SONGS BY TEN MASTERS
xvu
the easy process of plagiarizing folk-tunes, but
by creating new melodies dyed in Semitic and
Persian tints.
The cosmopolitan element in Tchaikovsky's
art is accounted for partly by his studies and trav-
els, and partly by his descent, there being some
French and Polish blood in his veins. He was
born in 1840, and died in 1893 of the cholera,
nine days after he had conducted his "Pathetic"
Symphony, which soon became the most popular
of all symphonic works the world over. The in-
tense melancholy of this symphony, culminating
in the heart-breaking agony of the adagio lamen-
toso, gave rise to a rumor that he had committed
suicide, after writing this score as a farewell to
the world. There had been much in his life to
make him unhappy; among other things, ill-
health, an irritable temper, an unfortunate mar-
riage, and the slowness of musicians in recogniz-
ing his genius.
His father, though not himself musical, had
advised him to study music, and, at the Conser-
vatory in St. Petersburg, Anton Rubinstein, who
was one of his teachers, encouraged him, without,
however, subsequently appreciating his worth.
For some years he taught at the Moscow Con-
servatory, and he also earned something by writ-
ing musical criticisms for the press. The effort to
earn his daily bread consumed so much of his
energy that it is doubtful whether he could have
written his ripest and greatest works had it not
been for the assistance of a wealthy admirer,
Madame von Meek, who gave him an annuity of
six thousand roubles which enabled him to give
up drudgery and devote himself to composition.
This woman made it a condition of her generosity
that he must never try to meet her; but they cor-
responded a great deal. She asked him questions
about himself, his works, his method of com-
position, and a hundred other things, which he
answered frankly, revealing to her his very soul.
Much of this correspondence has been published
in the story of his life written by his brother
Modeste; a book which has been Englished
by Rosa Newmarch, and which cannot be too
warmly commended to all who would like to be
entertained while learning to understand the
true inwardness of the music of this master.
The greatest of his works are, no doubt, his six
symphonies. Like Rubinstein, he composed one
of the finest of all concertos for piano; and, again
like Rubinstein, he was least successful with his
operas ; but he wrote a dozen or more songs which
will long survive him, because of their beautiful
and touching melodies. Of course, he wrote too
many songs — always the same old story! — and
many in his listof one hundred andseven are com-
monplace or even trivial "pot-boilers." Among
his mature productions, however, there are many
fine ones, which deserve to be more widely known ;
songs which, as Rosa Newmarch has well said,
"take our emotions by storm " — which is what
real music lovers enjoy most of all things. One of
Mrs. Newmarch's favorites is the Modern Greek
Song founded on a mediaeval Dies Irae and treated
with consummate skill. "As specimens of inten-
sity of emotion," she goes on to say, " few of his
songs equal The Dread Moment, opus 2 8, and Day
reigns {Only for Thee) ; in the first we have the ut-
terance of despairing passion, in the second, the
exultation and fervour ot love crying aloud for
recognition and fulfilment. In completeemotional
contrast to these are the Slumber Song, opus 16
— the words of which are a Russian version by
Maikov of a Greek folk-poem — which is re-
markable for tender and restrained sentiment,
and Don Juan's Serenade, opus 38, a dashing
song with a characteristic ritornelle. Tchaikov-
sky has been very happily inspired by the verses
of Count Alexis Tolstoi, who wrote the text of
his popular song At the Ball, in which the music,
with its languid valse rhythm, reflects so subtly
the paradoxical musings of the lover, vaguely
captivated by a vision of radiant beauty that may
signify 'woe or delight.' In opus 54, Sixteen
Songs for Children, the 'tearful minor' is less
conspicuous and the majority of the songs have
an echo of national melody. It is impossible to
deny the charm, the penetrating sweetness and
sadness, and the vocal excellence of many of
Tchaikovsky's songs."
1. Why? (Warum?) James Huneker, in his
xviii ONE HUNDRED SONGS BY TEN MASTERS
introduction to I , aptly 4. The Canary (DerKanarienvogel).Tcht3kov-
refers to this song as "a charming lyric, tender, sky has little in common with Rubinstein ex-
gracefui, rather Gallic than Russian." But it is cept his abundant flow of melody. The (.'..
more than tender and graceful ; il sionate, however, recalls Rubinstein's Persian songs in
brilliant effusion which, if sung with spirit, cannot its musical atmosphere and the quaintly oriental
fail t. an audience to great enthusiasm, pro- style of the poem.
,; the pianist knows the words as well as the 5. S me ne raid u Hi the fool {Einst zum Narren
music and feels the thrill of the splendid climax Jemand Sprit hi]. Thoroughl) Russian isthissong.
beginning with the stringendozX the words,"! ell Apart from its purely musical merits it is also of
me why is my heart filled with tears," and culmi- especial interest because it shows Tchalko sky in
natini» in the fff of " ( ) my love." The last eight one of his rare humorous moods. A :ocoso
measures area lamentable anti-climax ami should — merry and jocular is his expression mark for it.
by all means be omitted, the pianist ending with I )nly those.- who
the chord at II is incomprehensible how have read the elaborate and fascinating life of
a composer who was able to pen so inspired and Tchaikovsky by his brother can realize how a
spontaneous a song could have descended sud- poem like this — a prayer that sleep and dreams
denlv to such bathos and twaddle, except on the at least may bring peace to those who are bend-
theorv that the applause following the singer's ing under grievous loads, must have appeal)
• -one would drown the piano part anyway. Tchaikovsky and stirred his musical fancy.
There is much of that sort of thing in the music 7. Don Juan's Serenade [Stdndchen des Don
w ritten for the opera house as well as the concert Juan). This is not only Tchaikovsky's " great-
hall, and some of the greatest masters deserve est song for low voice," as Mr. I 1 uneker calls it;
censure and editing therefor. it is one of the world's mastersongs, a setting of
I, None but the lonely heart (Nur wer die Tolstoi's poem which, if sung (and plaved 1 with
Sehnsucht kennt). Another splendid song, betray- spirit and in the right mood, never tails to delight
ing in every measure the spontaneity of true an audience with its vision of the Andahisian
melodic genius. Mr. Huneker hardlj exagger- lover addressing his beloved, and challenging all
when he declares that not Schubert him- rivals to combat, in the true Spanish st\ le.
self compassed the abvsmal woe of this famous 8. Whether day dawns (Ob he. isagor
G the poem as did the Russian. " 1 1 is so won- geous effusion — an ardent love song which in its
derful a Ivnc that alone it would make a musical mood presents a vivid contrast to most of this
reputation." Tchaikovsky was twenty-nine when composer's songs.
he wrote this mastersong, also included in his renade (Strbnade). Set to French words by
opus 6. From first to last his heartrending Pa- Turquetiz, this song is less widely known than
thctic Symphony — he revelled in the'Muxury the Spanish Serenade of Don Juan, but thanks to
a subject on which a German author Geraldine Tartar, who sings it frequently at her
has written a w hole volume. recitals, it is winning the popularity il deserves.
H (ra<lles are no 10. /> appointment . IS ■ ' of the
or in the nurseries, but cradli one hundred and seven songs of Tchaikovsky
in m • it halls will never cease speaks to the heart more di recti \ than thismel-
man\ of ill- masters ancholy ditty. In its melod) simple as a folk
species "t composition, song, it is racy of the Russian soil, though written
I mn g ,nis Russian specimen with the to French verses. Its racial sadness is empha
cradli • fiopin, Brahms, and others, one sized by the composer's quaint harmonies, which
marvels at th( I ihvthinii devices used haunt the memory. Emma I .lines was tin
ng motion. thibil this gem to American audiem
EDVARD GRIEG
NONE of the song-writers except Schubert
created so large a number of absolutely
new and entrancing melodies as Grieg; yet, ow-
ing to an incredibly stupid misunderstanding, he
did not receive full credit during his lifetime for
the genius which enabled him to create all these
glorious melodies. It was known that he was an
ardentadmirerofthefolk-tunesofhisnativecoun-
try, and that he had arranged a number of them
for the piano; and from this it was assumed, in
the most idiotic fashion, that the melodies of his
one hundred and forty-six lyric songs were based
on borrowed Norwegian folk-tunes. As a matter
of fact, every one of those one hundred and forty-
six melodies is his own, as he himself assured me.
A prominent American musician once wrote
that he could not open a collection of Norwegian
folk-tunes without seeing things that Grieg had
borrowed. I challenged him to point to a single
case; but he never did so, for obvious reasons. I
myself have looked in vain through the folksong
collections for any such borrowings. Another em-
inent American musician said to me one day: " It
is no disgrace for a composer to be accused of
borrowing folk-tunes; the greatest of them have
done it." To which I replied : " But it is disgrace-
ful to accuse of this practice a composer who has
never indulged in it."
Grieg's arrangements of Norwegian folk-tunes
are plainly marked as such. The rest of his pieces
for piano, like those for orchestra, chorus, and
solo voice, are entirely his own in melody, har-
mony, and everything else. And it is on these
compositions that his fame and popularity are based
entirely; for, oddly enough, his arrangements of
folk-music are almost unknown to the public as
well as to nearly all musicians. Percy Grainger was
the first great pianist to give them a prominent
place on his American programmes, and he has
written regarding them that "Grieg was nowhere
else more amazingly his own weird, partly selfish,
partly heroic self, than in his settings for piano
of Norwegian Folksongs, opus 66, and of Peasant
Dances (Slaater), opus 72."
Norwegian folksongs are notable for their
freshness and beauty; yet, as Philip Hale has
aptly remarked, " Look over these folksongs and
see how superior to them in haunting beauty are
the melodies of Grieg." Genius, after all, is su-
perior to the best the populace can produce col-
lectively ! But the notion that Grieg borrowed his
melodies was so prevalent that some other com-
posers actually used them freely in the belief
that they were simply helping themselves to the
common stores of wild honey!
I suggested to Grieg that he should have used
the cudgel on those who treated him as one who
had done little more than transplant wild flowers
into his garden ; but, unlike Wagner, he was not
a fighter, and for this there were physical as well
as temperamental reasons. In consequence of
a severe attack of pleurisy at the time when he
was a student at the Leipzig Conservatory, he
was condemned to spend the remaining forty-
seven years of his life with only one lung, which
entailed much loss of vigor and acute suffering.
He was born at Bergen in 1843; and it was by
the advice of the famous Norwegian violinist,
Ole Bull, that he had been sent to Leipzig. His
illness interrupted his studies; but he returned
and completed them. He was surprised and dis-
appointed to find that the idols of his youth,
Chopin, Wagner,and Schumann, were not yet ap-
preciated at the conservative Leipzig institution.
He learned more from their works than from his
professors. Schumann, in particular, influenced
his earliest compositions, including the famous
song / Love 'Thee. Among the other songs that
betray German influences are Morning Dew and
My mind is like a peak snow-crowned.
Before he went to Leipzig, Grieg had made
excursions into the mountains with Ole Bull, dur-
ing which he became acquainted with some of
the Norwegian folksongs, which made a deep im-
pression on him. On returning from Leipzig to
make his home once more in Norway, his interest
in this native music was renewed and increased,
partly through the enthusiasm ofhis voung friend,
ONE HUNDRED SONGS BY TIN MASTERS
Richard Nordraak. Thenceforth he endeavored this Northland atmosphere. For further details
to avoid the Teutonic atmosphere in his com- regarding it I must refer them to my book, Grieg
positions and to make them i Norwegian in . which was written with his coup-
character. I have ah lained that this does eration. The first edition was revised by him.
not mean that, like the Russian Nationalists and N nery is bolder, wilder, grander
others, he introduced Norse tolk-tunes into his than that of the rest of Europe, excepting Swit-
own composition . \ 3 it mean that he zerland. But lure and there one comes upon a
copied the harmonies of folks r folk music green fertile valley in which cherries and straw-
has no harmonies. ( meg's harmonies are as much berries get a flavor and a fragrance hardly attained
his own as his melodies, and the more we study anywhere else in the world. Such green vales
Norwegian folksong and the Northern com- with luscious truits and berries we often come
posers before I ■ • . the more astonished we are upon unexpectedly in Grieg's wildest pieces, and
at his originality. What it does mean is rather thev constitute one of their unique charms. A trip
a matter of atmosphere and mood, together with through his music is like a tour of Norway; it has
certain rhythmic and interval lie peculiarities. thesamebracing,stimulating effect on the nerves,
Grieg himself has lucidly explained what we the brain, and the heart. In I 900 I wrote in . N
are to understand b ian" in music: and S Hg-tVritei ■: " When I had revelled in the
"The fundamental trait of Norwegian folksong music of Chopin and Wagner, Liszt and Franz,
as contrasted with the German is a deep melan- to the point of intoxication, I fancied that the
choly, which may suddenly change to a wild, last word had been said in harmonv and in mel-
unrestrained L r a\et\. Mysterious gloom and in- odyjwhenlo! I came across the songs and piano-
domitable wildness — these are the contrasts of forte pieces of Grieg, and once more found mv-
m folksong." Norwegian music is often self moved to tears of delight." I also wrote that
as rugged as the bold rocks that overhang those "Grieg has indeed created the latest, the most
narrow and winding arms of the sea which are modern atmosphere in music. "This is no longer
called fjords. It delights in abrupt changes; its true, in view of the achievements of Debussy,
rhythms are irregular and capricious, like those Richard Strauss, Schonberg, Stravinsky, and
ofth" II ngari psies; its tonality is uncer- others; but the contempt for simple melody, and
tain and vacillating; and there is a preference for the use of dissonances for their own sake (instead
the minor mode and quaint melodic intervals, of as a means of expression and contrast 1, which
1 he "blending of delicacy and with rough constitute the "atmosphere" of the ultra-mod-
erand untamed wildness as regards their met- ern composers, will not last long. When the fog
ody.and more particularly the rln thin," to which lifts, it will be acknowledged that in the legitimate
" > fers, we find in many of his own pieces, use of dissonant ( rt went as tar .is any of his
which h( ■ take them Norwegian. We successors. "The realm of harmony," he once
find in them also the rhapsodic manner and the wrote to me, "was always my dream-world."
which characterize From this dreamland he brought us contribu-
well as the love nt a drone bass, tions to the evolution of harmonv mote original
trough man) 1 hich Nor- and valuable than those- provided by any of the
in common witl nd, the hom< intern pot I to.
Liszt, whom nothin .ped, was the
firs' c the harmonic originality and
thai it the genius of G ll letter to him had
the important I inducing the Norw<
with them. B . thrill and hypno G ivernmei nt him a sum of mone) which
made it ] I BZt ill Home.
ONE HUNDRED SONGS BY TEN MASTERS
XXI
Some years later the Government voted him an
annuity of sixteen hundred crowns, which enabled
him to give up the drudgery of teaching, and
devote himself thenceforth chiefly to compos-
ing. He brought it about that, in the words of
the poet Bjornson," Norwegian moods and Nor-
wegian life are at home in every music room in
the whole world." His ardent patriotism is one
of the many moods portrayed in his songs; and
as he loved his homeland, so did the Norwegians
love him. When he died, the city of Bergen so-
licited the honor of taking charge of the funeral
services, but the Norwegian Government inter-
vened and made it a national affair. More than
forty thousand persons participated; all schools,
shops, and factories were closed on the day of
the funeral.
In other countries Grieg's music is no less
adored than in his own land. His first Peer Gynt
suite is probably the most popular of all concert
pieces everywhere. To us his music has an addi-
tional interest because the greatest of American
composers, Edward MacDowell, was more in-
fluenced by Grieg, whom he worshipped, than by
any one else. He adored Grieg's music because he
knew it so well. It is because many other musi-
cians know it less well, that much of it remains
music of the future. Singers, in particular, have
hitherto overlooked some of his mastersongs in
the most inexplicable way, for they are as effective
as they are beautiful. To be sure, it is not given
to many vocalists to be able to reveal the ten-
derness and the virilitv which alternate in these
songs.
It is a particularly difficult task to select the
best ten of Grieg's Lieder for this volume, be-
cause there are so many that have a claim to
be included. It was somewhat easier to choose
those to be included in the Fifty Songs by Grieg,
in the Musicians Library. That those are indeed
the best fifty of the one hundred and forty-six, I
feel sure because Grieg wrote to me after reading
my Songs and Song-lVriters: "Always the critics
have pointed out my least important things as the
best, and unfortunately vice versa. How happy I
am that this is not the case with vou. You have
in the main dwelt on the very songs which I my-
self consider the best."
i. / Love "Thee (Ich Hebe Dick). This is the
most popular of all the Grieg songs. It is a musi-
cal love-letter, composed in i 864, the year when
Grieg became engaged to his cousin, Nina Ha-
gerup. For her it was written, and never has a
lover pouredout his feelings more intensely, more
overwhelmingly. To the editor of this volume
Grieg once wrote: "My best songs were com-
posed for her ; they embody my personal feelings,
and I could no more have stopped expressing them
in songs than I could have stopped breathing."
She fully deserved such love, for she was an ideal
wifeforhim. Tchaikovsky declared henever"met
a better informed or more highly cultivated wo-
man." She often sang the Grieg songs in public.
Her art reminded Frau von Holstein of Jenny
Lind's " in its captivating abandon, dramatic vi-
vacity, soulful treatment of the poem, and un-
affected manner; "and to Grieg himself it seemed
"a matter of course that one should sing so beau-
tifully, so eloquently, so soulfully as she did."
2. Cradle Song (Wiegenlied). A better title for
this ineffably sad song would have been Pater's
Wiegenlied, for it is a dirge sung by a father, for
the mother who died in giving life to her boy;
and the father confesses he would have taken his
own life to join her had it not been for the child's
need of a protector. There is a prevalent belief
that some of the best Grieg songs are too intime
for public performance. He himself feared that
this cradle song would have to be excluded from
recitals for that reason, and, as he wrote to me in
t 899, he was dismayed to find it on a programme
in Leipzig. But the vocalist was Johannes Mess-
chaert and no less a person than Arthur Nikisch
played the piano part. After a few measures had
been sung, deep silence prevailed in the hall. The
composer's hopes began to rise, because the per-
formance was so incomparably beautiful; and
when the last note had been sung, the audience
expressed its satisfaction in an outburst of pro-
longed applause. Note the expression mark, "not
too slow, but very mournfully." The piano part
is pianissimo throughout; the accents must be
ONE HUNDRED SONGS BY TEN MASTERS
subtle, vet distinct. The intense grief, com- fortissimo, if possible even with a crescendo, and
bincd with the lulling tenderness that belongs to bv no means diminm >:.: and piano. When Ibsen
a cradle song, gives this Lied a unique place In heard Grieg play this song, while his wite sang it,
musical literature. The popular author of the he pressed the hands of both and whispered one
i, Andreas Munch, was granted a pension word: " Understood."
by the N ' rnmenL His best work 5. The First Pri ''lit enter Primula I e-
is his • ' •"/, in which he bewails the ris). Perhaps editors ought not to "gush," but
death of his wife. who can help gushing over this song of a lover
<olvejg's Song (Sohejg's Lied). Next to 1 who offers the firs' primrose of the season to his
Thee this is the most widely known of beloved in exchange for her heart: All the deb-
t's songs. When I wrote the introductory cacv ot a flower, the fragrance ot May, thebuoy-
f Grieg in the Musicians ancy of youth, are in this music. When 1 wrote
Library, I stated that Grieg had written to me my Songs and Song-U'riters I was forty-five years
that Solvejg's Lied was the onlv one of his songs old, yet this is how my enthusiasm ran away with
which contains a borrowed melody. This was me: " Can any one hear that exquisite song,
a lapse of memory. Looking again through his First Primrose, without being moved by a thrill
twenty or more letters to me 1 which are now of delight like that which must be felt by a natu-
printcdin Grieg and his Music) I could find no such ralistwhen he first comes across a bird of paradise,
assertion. Moreover, Madame Grieg promptly with its gorgeous plumage so different in pattern
me that I was mistaken; that, like all of and coloring from that of all other birds? When
Grieg's songs, this was entirely his own, and that I first heard it, I was affected as I was when I
Bhe distinctly remembered the day when he com- saw my first Mariposa Lily in California. . . \
posedit. The nearest approach to "borrowing" in more glorious original, simple song was never
eg song is in J bird cried o'er the lonely sea, written." It is very effective, too, and would be
which embodies in the introductory measures a extremely popular it vocalists had sense enough
melodico-rhythmic motive which he heard from to sing it.
agull.Solvejg (pronouncedsolc-vigh')is the her- 6. Springtide (Der Friihling). The title ot this
oine"' I .'s famouspIav,/ > evrGv'//.Shefalls in superb creation is misleading. It is anything but
love with Peer, notwithstanding his rough peas- a spring song. The poet voices the sad feel in)
ant ways; but he has fantastic aspirations to be- one who, knowing that his days are numbered,
come emperor of the world, and soon leaves her gratefully rejoices in having been privileged to
in quest of adventures. She remains in the hut live through one more spring — to see once more
he had built for her in the Norwegian and the snow melt, rest his eyes on the green mead-
:•< • that her thought and her heart OWS, and hear the larks sing. When Grieg ar
are with him alwa ranged this mastersong tor orchestra he called it
4. .While 's Lied The Last Spring because, as he explained to me,
tuple lyric, which even I'atti found suited it lacked, in its instrumental version, the words
•ice and Bt) le, the almost equal!) popu- thai explained the meaning of the title. //.•■ / a I
iore Griegian Swan requires a singer of Spring would have been still more definite. W hen
who is able to bring out the Tchaikovsky heard Nina Grieving this heavenly
•I em, the varied musi- Bongat Leipzig he was moved to tears; and sub
n, and, especially, the superb climax sequently he showed Ins gratitude for the great
ng silence, sings at pleasuregiven by sending her his own songs, with
tomeG ■ eto a cordial dedication. What melodic breadth, whai
call particular attention to the fad that the woi te tenderi . is here combined' Note the
"Ja.da — da sat., xpre superbly swelling harmonies, entrancing modu-
ONE HUNDRED SONGS BY TEN MASTERS
XX1I1
lations into unexpected keys. In its orchestral
garb it is of indescribable beauty. The iridescent
colors glow and shimmer, as in Wagner's Siegfried
Idyl. The New York Philharmonic Orchestra has
astride rule against encores, butwhen Josef Stran-
sky for the first time produced this piece before
a Philharmonic audience that rule was shattered
into a thousand fragments. He simply had to re-
peat it. It makes a great organ piece, too, and is
eminently suitable for use in churches either for
the organ alone or with voice. Follow the expres-
sion marks very carefully, especially the dolcissimo
in the ninth measure, and the gradual crescendos.
7. On the Journey Home (Auf der Reise zur
Heimath). Like Springtide this mastersong is a set-
ting of a poem by A. O. Vinje, whose prose works
did much to enlighten the Norwegian people,
and whose verses set Grieg "all aflame with en-
thusiasm," as he wrote to me, thus fertilizing
his fancy with some of its most thrilling concep-
tions. Vinje's poem gives expression to the emo-
tions of one who has been away from home and
returns to see again the familiar fertile valleys be-
tween the snowmountainsand to hear his mother-
tongue once more. In Grieg's heart,which always
remained in Norway when he resided elsewhere
for a time, it struck a deeply responsive chord,
patriotism and love of home being two of the
strongest traits in his character. This whole song
is of indescribable beauty. Attention is called par-
ticularly to the last four measures, in which the
composer is overwhelmed with emotion as mem-
ories of youth come back to him. These final
measures are a fervent and glorious outburst of
feeling, for which few parallels exist in the whole
range of music. Note further the refreshingly
unconventional ending of the music.
8. The Way of the World \Lauf der Welt). There
are cases of infatuation where everything is un-
derstood without a formal proposal and a kiss is
as spontaneous and inevitable as the first glance
of love. Uhland's poem tells of such a case, and
Grieg has added a merry musical commentary as
spontaneous as the glance and the kiss. Here, as
in most of Grieg's songs, much of the effect de-
pends on the artistic use of the sustaining pedal.
When I wrote the notes for Fifty Songs by Grieg
I said: "This song will some day have a sensa-
tional success in concert halls. The singers have
not discovered it yet." They have now. Dr. Wiill-
ner took the lead ; he had to repeat it every time,
and to-day it is often applauded at recitals.
9. A Dream (Ein Traum). Of all the Grieg
songs this is perhaps the most effective for the
concert hall. With its crescendos and urge, rising
at the end to a stirring climax, it is sure of arous-
ing the enthusiasm of any audience. It is a love
song in the Heine vein, by Friedrich von Boden-
stedt, better known as Mirza SchafFy, to whom
Germany owes some of her choicest lyrics.
10. Eros. This is another song with a splendid
final climax, which endears it to singers and hear-
ers alike. Though it bears a late opus number
(70), it has less of the essence and quaintness of
Grieg in it than most of his songs, including The
Mountain Maid, At Mother's Grave, Ere Long,
Friendship, The Old Mother, At a Young Woman's
Bier, Margaret's Cradle Song, Ragnhild, Ragna,
and others which, alas, cannot be included in this
volume.
HUGO WOLF
ON 1 of the most amusing things in musical ing, once more, to compare the ecstatic rhapso-
; i\ is the violent hatred of Brahms dies of I lugoWolPs Hnglish biographer, Ernest
which Hugo Wolf felt all his life, and which he Newman, who has supplemented his book on
freel) in print during the three years this composer by a long and equally eulogistic
in which he served as musical critic ot the Vienna introduction to the volume of 1
well as in letters to his friends. I le Wolj in the Musicians Library. To this eminent
held Brahms to In- deficient in the capacit) for critic the many admirers of Hugo Wolf ma\
really deep feeling. 1 I .-rein he once said: turn for confirmation ot their most ecstatic opin-
" I he true test ot the greatness ot a composer is ions of his compositions. Not onl\ are \\
this— Wagner can exult; Brahms songs, in the opinion of M r. Newman, "the most
cannot." To this point he often referred, playing significant development in this form of art since
m Lohengrin which illustrated what Schubert," but he has no hesitation in putting
he thought was lacking in Brahms. 1 le pointed him at the head of the song-writers of the world.
out flaws in the scansion of some Brahms songs, " He surpasses them all," he declares, " to the
particularly the Vergtbliches Standchtn; lie com- same extent and for the same reason that Wagner
plainedofthe"chillNovemberfogs"inhisworks; surpasses all musical dramatists, — in virtue of
andhi with Nietzsche that Brahms'smel- the vast range of his interests, his Shaksperean
anchoK was "the melancholy ot impotence." breadth of sympathy, the infinite plasticity of his
What makes these criticisms amusing is that conceptions, his gift tor finding for each poem a
\ in his own songs, resembles Brahms more musical expression so poignant and veracious that
than he does any other composer except Loewe. one can never again imagine it being expressed
Some of the V indeed, show the spirit in any other way. If you come to him with a pre
and influence ot Brahms so strongly that the) formed conception of the song as an exquisite
might easily be attributed to him. In them the melody for the voice thrown into high relief
rhythmic element predominates over the melo- against a piano accompaniment that is often of
die, as it dues in most of the / . of Brahms, no particular significance in itself, you will of
who, however, was more original and prolific as course rank him below Schubert. To place him.
a melodist than Wolf. as some of us do, above Schubert, is not to dis-
What did Brahms, in turn, think of Wolf's parage that wonderful genius; Wolf himself
I- on record tli.it when Wolf's Elfen- would have thought poorly of any admirer of his
: 1 were produced in Vienna, who was guilty of insensitiveness to the lyric
under Wilhelm Gericke, " Brahms was present, beauty of most of Schubert's sonus, and no in-
ofhavingseen himap- strutted lover of Wolf is likely to be so limited
I warmly, notwithstanding the main sharp in his sympathies. But to Bee a man critically is
f had ' him in earlier years." not to disparage him."
fB ihms were less incline- II Wolf had, Mr. Newman goes on to say,
• I em, Ma> Kalbeck,who "just the gifts that Schubert either lacked or dis*
B ■ four played only intermittently. He appeals tout
volumes, chai p of Wolf songs he poet no less than as a musician. It is as a musician
tinVieni ruff, alone, in mam that Schubert makes his
and ridiculous liar main appeal tons; Irs melodies are often so divine
invulsioi Id tain pass them- in themselves that we scarcely trouble to think
il." of the wordi Now thi
With t culiar power is that he pierced to the verv heart of
ONE HUNDRED SONGS BY TEN MASTERS
xxv
the poem as few musicians have done even in iso-
lated cases, and as no other has done in so many
varied cases. He allowed the poet to prescribe for
him the whole shape and color of a song, down
even to the smallest details. . . . The general
habit of composers is to ignore everything in the
words that will interfere with their developing
their melody on its own lines. There is not a
song-writer of genius, from Schubert to Brahms,
in whose work examples of this sacrifice of the
poet to the musician cannot be plucked by the
handful. . . .Wolf, with one or two trifling excep-
tions, never sacrifices the verbal sense and the
verbal accent to the needs of the melody in this
way r ; yet he always manages to give his melodic
phrases a look of perfect naturalness. It all seems
so inevitable, and sings so easily, as it were of
itself, that one does not suspect the difficulties
that have lain in the composer's path, and the
ease with which he surmounts them."
The startling discrepancy between the opin-
ions of Hugo Wolf's detractors and admirers is
almost the only amusing thing to relate regard-
ing him. His life was a tragedy, from beginning
to end. Failure followed almost everything he
undertook to do. At the age often he was sent by
his father from the Austrian town of Windisch-
graz (where he was born in i860) to a school in
Graz, but came back after three months with low
marks from all of his instructors excepting his
violin teacher, who praised his scales. The follow-
ing year he was dismissed from another school on
account of incompetence {ganz ungeniigender Lei-
stungen). He now resolved to devote himself to
music. Going to Vienna, he entered the Conser-
vatory in 1 875, but remained only two years,
being dismissed wegen Disziplinarvergehens —
for unruly conduct. He tried to make his living
as a teacher, but failed. Although Felix Mottl and
others aided him in securing pupils, he treated
these so rudely that their number did not in-
crease. At forty cents a lesson his income did
not exceed thirty-eight florins, or about fifteen
dollars, a month. His fifth failure was as assist-
ant conductor to Dr. Karl Muck at the Salzburg
Opera; this position he held only a year.
Perhaps the proudest event in Wolf's life was
an interview he had with Wagner, who gave him
some good advice. Thenceforth he became one
of his most ardent champions. For three years,
while he was musical critic of the Salonblatt, he
preached Wagner, going so far as to compare a
conductor who cuts one of his operas to an In-
dian who scalps a victim ! The more the Brahms-
ites, headed by Hans'ick, attacked Wagner, the
more Wolf abused Brahms. But Brahms was not
the only one of the great song-writers whom
he did not like. He was far from appreciating
the value and importance of Schubert, nor did he
care for Robert Franz. As for Grieg, he referred
to his gloriously melodious piano concerto as "a
noise resembling music"! He liked Berlioz and
— Mascagni (!), but could see little in the exqui-
site music of Humperdinck's fairy opera, Han-
sel und Gre/el, the success of which he attributed
chiefly to the story and the scenery. Is it a won-
der that Wolf's biographer, Eugen Schmitz,
frankly admits that thevalueof his critical articles
is very small {sehr gering)\ Musical criticism was
obviously his sixth failure.
Nor were his compositions successful while he
lived. The publishers refused to print them, till
shortly before he ceased to write. When, at last,
thanks to the efforts of some influential friends,
and to the founding of Hugo Wolf societies in
Viennaand Berlin, they began to attract attention,
he himself was in an insane asylum. Like Schu-
mann, whom alone of all the great song-writers
he seems to have admired, he attempted to com-
mit suicidewhile mentally deranged; and hespent
his last year and a half a victim of paralysis ■pro-
gressiva, totally bereft of reason. In an earlier
stage of his disease he doubted his identity, ex-
claiming over and over again: "If I only were
Hugo Wolf."
By his violent criticisms he had made many
enemies, especially by those of Brahms. He also
lackedentirely the quality we call " push." When
he was asked by a writer for a sketch of his life,
he replied : " Mv name is Hugo Wolf. I was born
on March 13, i860, and am still living." While
he professed that he did not class h'mselfwith the
ONE HUNDRED SONGS BY TEN MASTERS
"great geniuses," he nevertheless had a most ex- was essential to the success of his songs. When
alted idea of the value of his songs. In his letters his Morike cycle was printed he gave the poet the
to friends one comes across such expressions as place of honor by having his portrait as frontis-
these, referring to his latest creations: "A god- piece.
like-- 1 tell you! Heavenly, wonderful!" 1 'wo But it is in the construction of his vocal parts
new rhe like of which has never been that he pays the most humhlc homage to the
" " What I write now, dear friend, I write poet. You will note that this part, as Mr. New-
tor posterity. The\ are master-works." "When man puts it, " not only faithfully follows the gen
you hear this, you can have onlv one desire in eral sense of the poem, but that it curves and
\our soul — to die." darts, rises and falls, hastens or stands still in
m being underrated (except by himself and conformity with particular suggestions in the
.1 tew friends , Wolf, soon after his death, began words." It this treatment of the singer as pri-
to be overrated In a group of enthusiasts. They manly an elucidator of every word of the poem
distracted attention from his real achievements is accepted as the cardinal virtue in song-writing,
by making absurd claims, such as that he had then Hugo Wolf is undoubtedly supreme. But
for the Lied what Wagner had done for the if the power of creating vocal melodies which,
opera; and that he had given the piano part a while reproducing the mood of the poem realis-
significance it never had had before. As a matter tically, are at the same time entrancing all In
of faft, it was Schubert who did for the Lied what themselves is the highest achievement in song
ncTd\d,afterhim, for the opera. In songs like writing, then Wolf falls below all of those who
at :he Spinning- fVheel, The Erlking,My have become famous in this department of music.
. I) uble t The Gui r, and Death and "What is a critic? "a boy asked his father,
the Maiden, he effected a union between poem who replied: "A critic, my son, is a man who
and music as intimateas that in any scene of Wag- writes about things he does n't like." In the case
tier's music-dramas. Furthermore, in these, ami of Wolf's songs — even the best of them — the
main of his other songs, he gave the piano part a editor of this volume frankly admits that he is
significance that has never been surpassed. Schu- a critic in that sense of the won!. But it has also
mann, in his rValdesgespr'dch and Lh grolle nicht, been said that a critic is usually right in what he
and Fran/ andGrieg, in their best efforts, achieved praises and wrong in what he disparages. Diplo
similar marvels, whi!- I -'s Loreley is much maticallv accepting that maxim as true, the editor
more like a miniature Wagner music-drama than will endeavor in his comments on the ten V.
anything Hugo Wolf ever wrote. songs chosen for this volume, to hide his own
What Wolf really did achieve was that, more opinions under a bushel, while parading the t.i
than anv one else, he made the musician "play vorable views of them promulgated by Ernest
nd fiddle" to the poet. Gluck, Weber, and Newman and others, including Hugo Wolf him-
Wagner also preached that "the play's the self.
thing;" but in their best pat." s thej did not live i. To rest, to rest Zut ur Huh!) The
up to this dodHne. Wolf did. " More than anj first section of this song is, in the opinion of M :
one ■ orda of Mr. Newman, "he Newman, one of the noblest of all Wolfs con-
•v ; his starting-point." ceptions; "a more moving, more sincere voicing
Is he usuall) bj reading the of bodily and mental fatigue could hardly be im-
t the music agincd." It is an early work, one of six songs to
ird. Unlike Schubert and the poems by Scheffel,whi< h Wolf composed in i
felt that they might but in its harmonic and declamatory featui
"play a lone hand" and still win with the public, already ityle of his mature pei
Wc • - dl understanding of the poem :. litlcrolf. 1 ugen SchmitZ, One of Brahms's
ONE HUNDRED SONGS BY TEN MASTERS
xxvn
biographers, admires in this song particularly the
introductory measures, which, with simple har-
monic means, bring vividly before our eyes the
sunburnt heathen land from which, in the year
1 190, the crusader Biterolf voices his longing for
his Thuringian home. Mr. Newman finds the
heavy rhythmic tread of the song throughout
"very expressive of the fundamental strength of
BiterolPs soul, in spite of its deep depression."
3. Secrecy (Verborgenheit). In view of Hugo
Wolf's profound dislike of the music of Brahms
itmust havegalled himif anyonepointedout that
this song, which was one of his first to be sung
frequently, is strongly suggestive of that com-
poser. " It is of a kind, with its regular strophic
melody standing out above an 'accompaniment'
in the ordinary sense of the word, that Wolf did
not often affeft," says Mr. Newman.
4. Tramping (Fussreise). The rhythm of the
left hand in the piano part, which runs through
this song from the first measure to the last, seems
rather jerky for a realistic suggestion of the
"steady tramp" of a climber. But Wolf's Eng-
lish high priest was inspired by it to a disquisition
on the function of music to "paint." He finds
that " against this background are shown up the
varying emotions of the wanderer." He ad-
mires" the long-breathed character of the melodic
phrases," and declares that "Fussreise can take its
place confidently among the very finest 'Songs
of the Road.'" Wolf himself was enthusiastic
over it. In a letter dated March 21, 1888, he said:
" I take back what I wrote yesterday about Erstes
Liebeslied eines M'ddchens. It is not my best song;
for what I wrote this morning, Fussreise, is a mil-
lion times better." Yet he had said of the other
that it was "so intense that it would lacerate the
nervous system of a marble block. When you
hear this, you can have only one desire in your
soul — to die."
5. Song to Spring (Er ist's). This is one of the
most popular of the Wolf songs, notwithstand-
ing its long postlude for piano, which mightseem
calculated to hold back applause. It owes its
vogue to the tuneful effed: of the vocal part. The
left hand oftheaccompanimentissomewhatmore
varied than in most of the Wolf songs. The song
is "mainly one big crescendo of feeling."
6. Morning (In der Fruhe).lf thesongsinduded
in this volume are, as the editors believe, the best
ten that Wolf composed, then two of them (Er
ist's and In der Friihe) were written on the same
day: May 5, 1888. Wolf had periods of inspira-
tion during which he worked feverishly day and
night, allowing himself barely time to eat and
sleep a little ; and these were followed by weeks
or months during which his mind was torpid.
Mr. Newman admires the way in which the same
musical motive is employed in both halves of the
song: in the first, in minor, to give the sense of
a gloomy atmosphere, while the clearer major har-
monies of the second are in a more hopeful mood.
7. Weylas Song(Gesang Weyla's). Schubert had
a habit of composing in succession a group of
songs to verses by the same poet. To the same
habit,andon a much larger scale, Hugo Wolf was
addicled. Morike, Goethe, Eichendorff, supplied
him with material for cycles. Of Morike's poems
he set no fewer than forty-three in four months;
he made this neglecled poet famous, for his Mo-
rike songs are considered by his admirers the
best of all. Eighteen of them are in thevolume of
Fifty Songs by Hugo Wolf Edited by Ernest New-
man, while in the present selection often, five are
from the Morike cycle. Weyla's Song is the fifth
of them, and it was one of the first of Wolf's to
become popular.
8. From her balcony green (Auf dem griinen
Balcon). The Spanisches Liederbuch of Geibel and
Heise,which included verses by the leadingSpan-
ish poets, inspired Wolf, as it had Schumann,
Brahms, and Jensen, to musical settings. He
started out with the intention of making the num-
ber forty-four, and succeeded. The best of these
are From her balcony green and the following song.
9. Sad I come and bending lowly (Miih'voll
komm' ich und beladen). This, according to Mr.
Newman, " is a cry from the depth of a sinner's
heart. Probably there is nothing in modern music
to compare with it for sheer intensity except the
terrible lament of the unhappy Amfortas in the
first ad of Parsifal. ... It would be impossible
ONE HUNDRED SONGS BY TEN MASTERS
to paint more finely than in this song the tor- Wolf" is as un-Italian as one could possibly be.
ture of the brain by the awful obsession of one It does not suggest either Palestrina or Verdi ;
idea." either Rossini or Mascagni, but is purely Hugo
10. E'c •• - M . . rhcre Wolf, in every measure. Mr. Newman finds a
is also an Italian Lie by Hugo Wolf — good deal of deep feeling in E'en little things, and
settings of no fewer than forty-six poems. It is notes "the extreme simplicity of the musical
needless to say that in these, as in all his songs, means employed."
RICHARD STRAUSS
TO the conservative admirers of Brahms the
music of Richard Strauss is an abomination,
for it represents the opposite extremes to those
of the older master. Yet Strauss began his career
as a follower of Brahms, his earlv compositions
being strongly influenced by him. But in 1885
(he was born at Munich in 1864) he came into
intimate association, at Meiningen, with Alex-
ander Ritter, a nephew, by marriage, of Richard
Wagner, and an ardent champion of the " music
of the future" as represented by Wagner and
Liszt; and thus it came about that Strauss grad-
ually came forward as the leader of the ultra-
modern school in two branches of music — the
orchestral tone-poem and the opera, in both of
which he travelled away from the principles of
Brahms as far as it was possible to depart from
them.
Adopting, in place of the classical symphony,
Liszt's pattern of symphonic poems, Strauss
composed a series of long and elaborate works,
the titles of which — such as Till Eulenspiegel's
Merry Pranks, Don Juan, Don Quixote, and A
Hero's Life, indicate that they belong to the genre
of programme music which tries to suggest defi-
nite scenes or happenings with orchestral tone
combinations. In this direction he went beyond
any previous composer in bold realism, while his
dissonances and cacophonies jarred on many
ears. That he wielded the orchestral forces with
the skill of a supreme master was admitted even
by his opponents; but when he wrote a Domestic
Symphony, in which he tried to illustrate a day in
. the life of his wife, himself, and child, with a mon-
ster orchestra and tonal climaxes suggesting a
European war rather than a domestic scene, some
of his admirers began to doubt his sincerity, and
began to wonder if he was not poking fun at them
in a rather heavy, orchestral way. Nevertheless,
the conductors continued to favorhis tone poems,
which serve so admirably todisplav thevirtuositv
of their orchestras.
As an opera composer, also, Strauss has at-
tracted more attention than any other living musi-
cian. Each of his operas in succession, from Feu-
ersnot through Salome and Elektra to the Rosen-
kavalier, created a sensation, partly because of its
subject, partly because of the revolutionary musi-
cal methods employed ; and while the excitement
lasted the operas were sung everywhere, and
Strauss prospered as no serious composer before
him had ever prospered. But the sensation usu-
ally did not last long, and it is not likely that any
of the Strauss operas, except perhaps the Rosen-
kavalier, will survive him.
It is quite otherwise with his songs. Among
these — their number is large and steadily grow-
ing — there are gems that are of lasting value. In
view of the character of his operas, it is odd that
Strauss should have composed any songs at all;
for in these operas he deliberately maltreats the
human voice in the most amazing fashion, writ-
ing for it intervals that are well-nigh unsingable
and drowning it in tidal waves of orchestral din.
It is related that once, at a rehearsal of one of his
operas in Munich, he shouted to the orchestral
players: "Louder! Louder! I can still hear the
voices ! "
This may be merely a joke invented by a witty
journalist, but it is undeniable that in his operas
Strauss goes to the opposite extreme of Rossini,
Donizetti, and Bellini, whose operas were written
chiefly to enable prima donnas to show off" their
voices and their vocal art. The bel canto essential
to their works would be wasted in a Strauss opera,
in which declamation and acting are the prime
requisites of the artists performing them.
In many of his songs, also, the instrumental
part is of more musical significance than the
voice, which, as in Hugo Wolf's Lieder, special-
izes in declamation that is faithful to the poem.
But in others of the Strauss songs the voice as-
serts itself,soaring aloft in true melody. Concern-
ing the Strauss songs in general I wrote in Songs
and Song-Writers :
"The first thing that strikes one about these
songs is their difficulty, and the composer's pre-
dilection for unusual keys. The Vienna publish-
iXX
ONE HUNDRED SONGS BY TEN MASTERS
ers who used to object to Schubert's pianoforte the poems, it is self-evident that the writer of
parts and beg him to use easv kevs with no more the Zarathustra programme makes some novel
than three Hats or sharps, would stand aghast at experiments in the Lied too. Among the songs
Richard Strauss, whose pages sometimes look like in the comic vein 1 may mention Herr Lenz and
a wilderness of Mats and sharps, with the head of 1 •
a note timidly peeping out here and there. Kamil- [. D When he composed
iaritv, however, soon breeds contempt for these this song, Richard Strauss was a university stu-
accidentals; while the songs grow more and more dent and only eighteen years old — the age at
beautiful. The art of tonal coloring which is so which Schubert wrote The Erlking. Me had pre-
noticeable in the orchestral works of Strauss, is viously composed sonatas for piano, for violon-
also applied, as far as possible, to his pianoforte cello, and tor violin, besides a serenade for wind
parts. lie is fond of surging arpeggios sweeping instruments. With the exception of Schubert, and
the kevboard up and down, and producing har- of Mendelssohn, who wrote the marvellous
monies so rich and glowing that one often feels summer Night's Dream overture at the age of
tempted to keep the pedal down longer than seventeen, there is no instance ot ripeness in the
necessary, and linyer on the resulting chord just works of a musical youth equal to those works,
to enjoy its euphony. Schubert was the first to including Devotion, which shows a remarkable
indulge in chords alluring by their euphony — mastery of piano sty le and a treatment of the
color for color's sake — but he never dreamed of voice more vocal and melodious than is to be
such orchestral glories in the pianoforte, of such found in the latersongs and the operas of Strauss,
arpeggios, and commingling of weird harmonies. 2. Night [Die Nat hi). The preceding remarks
Here are harmonies not anticipated by Bach, apply as well to this song, which also (as well as
Chopin, and Wagner; harmonies beyond the the following, All Souls' Day) belong to Strauss'
daring of even Liszt and Grieg. first group of songs, printed as opus io. The
"Some of the harmonies — or discords — are poems are by I Iermann von Gilm, and the songs
frankly uglv, but they are characteristic, and we were dedicated to the famous tenor of the Mu-
soon get to love them as we do faces that have nich Opera, II-inncn Vogl.
more character than beauty. We look for some- ,. .lllSouts D ;v tllerseelen). With the excep-
ting more than beauty in a man's face — why tion of the Serenade, no Strauss song is sung more
not also in a man's music? Yet beauty there is, frequently than this Madame Semhrich, in par-
too, in these sonys — sometimes in alluring abun- ticular, has had it often ;.i ner programmes. It
dance, as just stated; nor is it confined to the piano helps to bear out the opinion held by many that
part. Elaborate as the piano part is, it does not his earlier songs are musically and vocally more
swamp the voice, which stands out as boldly as valuable than the later ones, in which too often
in Wagner's music-dramas, when they are properly tlie singer is subordinated unduly not only to the
I ■ are not much easier pianist but to the poet.
for the singer than for the pianist, and they are I 4. I:' er since thine eyes returned my g lam
for bungling amateurs. Serious music-lovers may dem del .haute). Krncst Newman,
as well begin with some of the easier ones — such who d greatly admire the Strauss songs,
rgeit, J , 1 muss nun Scheiden, lireit ami is convinced that only a few of them will live,
uber mtin Haupt dtin Nacht, thinks that the composer's emotion, which in
'/en ami . ' till "a little solid
which also happen to be The and more refined in the songs of
m, and opus 1 7, which includi r Aug ' as well
those who arc not at: I technical difficult the most popular of all the Strauss BOngS,the
will have a rich menu regards Serenade. In th( , he declares, " his feeling is at
ONE HUNDRED SONGS BY TEN MASTERS
XXXI
its purest and his technique at its best, the songs
being mostly cast in one piece throughout." He
had gradually learned to "pare down his expan-
sive style to the limits of the lyric." E'er since
thine eyes is a love song leading to one of those
effective climaxes that are so dear to singers and
the public too.
5. Serenade (Stdndchen). As Beethoven was an-
noyed by the tremendous popularity of his Ade-
laide and his septet (both of which he would have
gladly destroyed in his later years) and Wagner
by the excessive vogue of his Tannhduser march
and the bridal chorus from Lohengrin (" Are those
the only things I havecomposed?" heonceangrily
shouted to a bandmaster), so Strauss has many
a time thought bitterly about his Serenade, which
"to hundreds is the whole of Richard Strauss,"
as his biographer, Max Steinitzer, remarks. There
is this difference, however, that in his case popu-
larity has singled out what aclually is the best of
his lyrics. Steinitzer calls it " a hybrid of theolder
and the modern styles of song;" but the public
hears in it simply a splendid lovesong — a lover's
invitation to his sweetheart to come into the gar-
den and listen to the nightingale between kisses
— set to spontaneous and splendidly effective
music — always sure to bring down the house
when delivered by a singer of the dramatic type
and played by a nimble and intelligent pianist.
It was a war-horse of Lillian Nordica. Who cares
for the audacity with which the composer ignores
the poetic accents and other" flaws" — to which
Steinitzer (p. 159) devotes a whole paragraph.
Such poetic license indulged in by a composer
unwilling to mar the natural flow of the music
is infinitely better than the slavish subordination
of the composer to the poet which is noticeable
in so many of the later and less inspired songs of
Strauss, as well as in those of Hugo Wolf and in
many other lyrics.
6. Thy wonderful eyes my heart inspire {Breit
iiber mein Haupt dein schwarzes Haar). It is now
generally agreed that the most inspired of Strauss'
orchestral works is Don Juan, which appeared as
opus 20. It is therefore not surprising that the
group of lyrics immediately preceding that tone-
poem, settings of six poems by A. F. von Schack,
opus 19, includes one of his best songs: Breit iiber
mein Haupt. Those who have heard Strauss' op-
eras, particularly Salome and Elektra, in which the
voice part is not only unvocal, but is usually lost
in the orchestral din, must marvel at a song like
this by the same composer — a simple song, in
which the vocal melody is as important and as
beautiful as the piano part, which, be it not over-
looked, has in the last four measures a lovely epi-
logue, echoing the opening phrase.
7. Why should we keep our love a secret? [Wie
sollten wir geheim sie halten). This love song also
is included in opus 19, and, like the preceding,
it is not only beautiful in itself but has a singable
melody, which cannot be said of most of the later
songs, the declamatory style of which reduces the
singer to the status of little more than a reciter
of the poems. There are exceptions, opus 27, for
instance, including three popular Strauss songs,
Cdcilie, Heimliche Aufforderung, and Morgen,
which might have been included in this volume
had it not been for considerations of copyright.
In this group (opus 27) Steinitzer finds that*
Strauss "presents himself in full maturity as the
creator of a new epoch of lyric song " — a judg-
ment which may be taken cum grano salis; for,
while Strauss made futile attempts to set to music
poems utterly unsuited for a setting, he did not,
in essential points, go beyond his idol, Liszt, in
musical realism.
8. All of the thoughts in my heart and my mind
{AW mein Gedanken,mein Herz und mein Sinn). It
is worth noting that while two of the " best ten "
Strauss songs included in this volume are from
opus 1 9, directly preceding his master-work, Don
Juan, three more of them are from opus 2 1 , fol-
lowing that splendid tone-poem. Evidently the
years 1887-88, when Strauss completed the first
quarter century of his life, were specially con-
ducive to creative activity. No one can fail to be
pleased with All' mein Gedanken, opus 21, No. 1;
or with
9. Thou of my heart the diadem (Du meines Her-
zens Krbnelein), opus 21, No. 2 — another love
song by Felix Dahn;or with
XXXII
ONE HUNDRED MV\GS BY TI N MASTERS
10. Dc. adored M »zart and Mozartian
, opus 21, No. 3. I he title simplicity, and occasionally paid it a tribute like
jests a : , and the music — strangely this.
un-Straussian in that respect — sounds like one. . r f ^~~. ,
^ l 7 /. yt^a^
ONE HUNDRED SONGS BY TEN MASTERS
VOLUME II
MY QUEEN
(WIE BIST DU MEINE KONIGINj
(Composed in 18641
'Original Krij)
G.F. DAUMER(isoo-i875)
Translated by Arthur Westbruok
JOHANNES BRAHMS,Op.32,N?9
(1833-18971
VOICE
Adagio
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te won - ne -
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Dost thou but smile, then all a - round sweet Spring is smil - ing.
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JOHANN LUDWIG TIECK (1773-1853)
Translated by John S. D wig fit
To Julius Stuckhuusen
SLUMBER - SONG
(RUHE, SUSSLIEBCHEN)
from the Magelone Cyclus
(■published in 1868)
(Original Key)
5
JOHANNES BRAHMS, Op 33, N99
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CRADLE SONG
WIEGENLIED)
(Published in 1868)
(Original Kty, Eh )
KARL SIMROCK (1S02-1876)
Translated by Arthur Wextbrook
JOHANNES BRAHMS, Op. 49, V? 4
With gentle motion (Zart bewegtj
VOICE
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JOHANNES BRAHMS Op.68 N
PIAN< I
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LOVE SONG
(MINNELIED)
( Composed in 1877 I
(Original Key)
21
K. HOLTY i 1S2S-1S87)
Translated by Arthur Westbrook
JOHANNES BRAHMS,Op.71,N'.'5
(1833-1897)
With much tenderness but not too slowly
(Sehr innig dock nicht zu langsam)
VOICE
PIANO
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sounds the song of birds.
klingt der Vo - gel - sang,
When she roams the mead ows,When she comes with step so
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V
Its \u,\\
dt r Ra ■
\
* '
mrj »'
f f f
"
r r
^ *
^ K
*
• '
i
p^
5
t-rs. When, with ten - der fin - gers' toucl
./i- /mi ^'/ r mil m r Frati
£e '(> J' L-r *
She
Mai
doth gath - cr
9
/■
=»♦** ' *
•> ;
*i 4i4^41 ^
E
«'
if.*' * -
■■'
i^f
* r b r 1 J ' Jt ^ i' i j < ^ ^
flow- ers:
Mut for thee
oil in tie
all j<i\ - were dead,
All earth's
. •>: : :
'* »
ft
/
?
-TJ
. :
;s ; ■;.
.** .*
izir
;
T
r
£
* '• • J
It
/
E'en I o^R "t «\ •• iuiil; sky
hi i ii / » 14/1 /■< >i. / ri //1
'
;
Wen for
</ uii hi mir
•>
Ml :n I
2.3
i
&=m
m
^m
me o'er - shad - ed.
schon und hei ■ ter.
Dear - est
Trau - te,
m
sov
m in
^
*==-
m
'reign of my
nig - li - che
gUi
f^m
Sri
m
t
v 4 *t- *
** f
*■ a
? :
S
i'+i'J J Js
^
N
1
r
r
r
T
j. j) j j i r app^
i
i
2
heart,
Fran,
Leave, oh! leave
wol - lest nim
me nev
mer flip
er, Bloom sweet bios - soms of thy
hen, dass mein Herz, gleich die - ser
f r r
r r r
^
rip J^ffir p r ■HJT rV">
*
love,
-4 u;
In_
mbg
my soul for ev - er, In my soul.
in Won - ne blii - hen, m'og' in Won
for ev
ne blii
ML-81-8
24
THE DISAPPOINTED SERENADER
VERGEBLICHES STANDCHEN
i
JOHANNES BRAHMS.Op 84, K I
i E
\.\< '
fcm
With animation and good humor (Lebhaftunc twit)
g ^ ^ it I r^ *
*
He All, i;<M>,l eve aing, fair
//■ G» . '<ii A /"in/ UK i)i
^ ^^ Cr r r
^^
mriid en,
good
/• ii
eve in ng,
. 1 /" ml
my
dear,
Kind .
* r r i r> r
/• ii
p
I as - '
(9
1
aing, my
I ltd mi 1 11 A'l 111/ /
^^
.>
I . e brings me here to the<
/ h kmti m am Lieb :u ,1 1 <
&T
PP
F^
.
u V
Ml 271-S
25
y*
£
^
te
W
So throw me down thy key, throw me down thy
ach, mach' mir auf die Thiir, mach mir auf die
key,
Th it r,
?m
\^
throw it down,
mach mir auf,
^m
i
rr
n
* »
^^
^=^;
rf
S
^
N^t
E^E
£
~^2
throw it down,
mach mir auf,
throw me down thy key!
mach mir auf die Thiir!
(She) My
(Sie) Mein'
ytf
£=£
S5
* "i
"&M
n>
*fc
s
Lrr nor r m
door's lock'd and
Thiir ist ver
bolt - ed; I
schlos- sen, ich
can't let you in,
lass' dich nicht ein.
tf
m
f •
1^
mm
In I 3
s
#fe
WM
g^
P
%
IP
i
£§fci
1
2=2
*fe
"" < « r i p r =P=Pp
^3
I
ich
can't let you
lass' dich nicht
in
ein;
My moth - er said, you see,
Mut - ter, die rath mir klug,
^
S:
t^
^#
-n, i ' frf
/^
j^p^
^=a
H=^¥
f^^
MI.-273-5
2fl
^
;
"
'-■
It in
• I n
me I would rue th«'
mt'i / ' 4' mii mir
day,
P^
="
I would rue
mti itixr.
•>'-: i
u
^#i
i
I©:
•>V ;
♦ =
•
•
^ ^ — I J I J
I would rue,
mii rmr.
I w ould rue _ tin- day I
war's mii mir vor - beil
»
-
:»
II. I
/.'/■
. :* *
:-
ni^lit is
kail ist
Ml
dit
* *,
:~ £b#
ILL
U
cold,
Mucfcf, .
§^ *
v.,
chill - y the
» J
r r rr r r
w t H i; J d ftJ
.
•=•** r^fr
■
4^!
:» *
3<!
h«
mj
* *•
* * m * *
i[~f f ^ ^
hill j the wind,
i /. » Wind,
>M
m "
*'-".*
\ if
a
fe*>
27
*t
5&
£
*
My heart will
dass mir das
gap
freeze right soon, And all my
Herz er - friert, mein' Lieb er
± a v ff^ ^
S 5
love be gone.
Id - schen wird,
a
^=*
*^*
9#^f
^2
^
ytf
^fe
:|
8
^
w
I
?
Cru - el maid, be kind,
off- ne mir, mein Kind,
cru - el maid
off - ne mir,
cru - el maid,
off- ne mir,
*£
-j - -t- ^, 1
I
¥
PiP
i^
m
m
Sp
r
¥
^fe
\>
^ — tp
^"|i
#
3 H*
Faster
(lebhufter)
iV
cru-el maid, be kind!
off- ne mir mein Kind!
Piu animato
(She) Now if thy
(Sie) Ld - schet dein'
P u i
S
love's go - ing,
Lieb, lass sie
then let
Id -
it
schen
jtitr
iP
fe^EJ:
I
^^
f
i
^
IEE3
z.
afil
^
^
e^
ML-278-B
as
2=
I
! I
m
p
s
• h*-n
let
it go!
Sch* >i Miir,
Pray, lei it
/ i , h ' t m (
■Is ^
^ — * — y
*.«
^
(
- »
:"
pleggiero
' r -r^ i j
*
n *i r
P F^f
:
$mm
•
?
^^
i m
for aw.
mi r in .
Ami here
/j. I »i
qo long er stayj
in I>* it . I ur Ruli.
Pleas anl dreams, young
/,'k it Nachi, mi in
''-..-
m
■
'
m
^^
>>
^
man;
Knah\
good night)
Ku U Nachi,
go to bedj
g-« /i Nachi,
pleas-ant >!t ranis, young
/, r i< t( Nachi , mi i>i
>* -.=
-'*J
s-
^mm
-J
fa
IS
•)■:-
£
' ^ ■
1
' *
'-
i
-,
'*
£ f
j
•' < I
V
7a s
29
IN SUMMER FIELDS
(FELDEINSAMKEIT)
HERMANN ALMERS
Translated by Paul England (Verse I)
and Frederic Field Bullard {Verse II)
(Published in 1882)
(Original Key, F)
JOHANNES BRAHMS, Op. SB, N<?2
VOICE
PIANO
i
&
Slowly (Latiffsam)
7— t?
fFT
< * ;> i j r
In sum - mer fields
Ich ru - he still
I
S5E3E
Sfe
gy=^
^T^s
^^
s
^^T^l
I
3 3- 33 i 3
i
m
i
i*
^m
J- j. 1 .1? r? [ ^^
£
*/
*
He 'mid deep green grass, I lie
Jio - hen gril -nen Gras \j and sen
and watch
de Ian
the
bound-less blue a
tnei - nen Blick nach-
toe
^Tk. £> *^ *
^
^PP¥
i
^
g^
Js
IFf 1 !
ff
h
T^-
^p
Copyright MCMI by Oliver Ditson Company
ML-215-3
:\t)
^rt' hjr ^ i "r J ^^
?
•
ti ay wir ti>\ rr !1; l'<> won
' /• u • JwrtVri , 'Jin f'n /- r /.iss. 11 Him
drous vi sions
iin/s blitu
I. J
=*^T
s *
'
* - t *—
? : ,-
?. J o
o
^
B
♦ ♦
f r r r *r r 5.
^r p <g it r r v r ' r * r r ^
v
heav - • ries move in<-. r<> won drous vi
. r sum urn . •' • n , 1 'i //mi mels - blau
sions heav *'ii*n rfo ri<-s
\ nun </* f- - sam i< hi
ft *;P*^ ^
/*
B
f 3 !
fc=
# ~ m
^^
^r
«
^•v ..
•V
•
V
f EE
^
/'■ II
Du
1 •
BS
q *
*
'
^
i
plf
♦ *
k
• •
k
! i p r
p
: 3 ±= 5 :
i
1
. - t j, 1 j, > ji y r * v \ - m
.
ride slow ly -. ver head, \ thwart the bl like
H' / JL-. 11 tieh'n ./<i hin , durch't /.•• /. Blau I
I
^
kfc •-*. ft fr i*4 SrhH
b . ..
.. *
j» j. j>
,//«•
;
m m
1
Ml 9
31
to jTnrt Ttfr i'T> r ^
**:
£
W
pure and
scho - ne
ra
sh7
diant-
le
vi -
Trail
- sions, Like pure and ra - diant
- me, V wie scho - ne stil - le
&J*
I I
Ul±r UL
i. ig i ^
±mr%
— ^
3
i,« k::> ■ j ^^
a
s
w
i
s
w
s_^
ag^
^^
3
1
y^
T
tb;
7
f*
t 1 * ^T g p- p
£
£
P V
2X
VI
Trait,
sions.
me;
I feel the while as tho' I long were
mir ist, als oh ich langst i ge-stor- ben
T ] ' JrTj
*5F
$ r % r i r £
e
b*
It*"
3
doliy.
to
i
i
is
•±
u
J*
3
r e r
H 'M f ^
dead,
bin,
And borne
loft to fields E - ly - sian,And
mit durch ew'-ge Ran - me,\lund
gig r ^r r' '-p- 1 r v r
r>.
3
^
£
zz:
3*
borne on wings
zie - he se
w
a -loft to fields E - ly
lig mitydurch ew - ge Rdi
sian.
me.
r>
i
I
£
WW
n?
iJtrTJ
-r
m
zHi
I- 3 5
f
#
ffff
PP
5- 3
MI.-275 3
:',•:
IIANs SCHM
- \ PPHIC ODE
S \riMlISCHF. ODE
VO]
PI ANO )
JOHANNES HKAHM 1 - Op.M V4
< ; <-
£
. E£
5=
£
Ro ses culled a1
.s> )i hrarh ich
nighl from the dark -'ning
Nachts mir a»i dutik h n
<• ■
I i t
p iii' ■•-.-'/ 1',, ■
■)i (• ^
S^
f * * f^#
m
i
I
«>
"
i
s
;
(WW
*
•'
":
£
Sweel er than by
Sw ssi >■ hauch t' n
day all their fragrance were breath - in£,
Duft sie, als j>. __ inn r<j
^J J
v -
1
*W» i y «!^l
^=*
p i i 1 ' s
-* — #■
'
r
:
=4=
*
=.
'
» »
40 0-
P "
7
- ^^ 3
s
»r f ! t r .r ?
c
the
lad en branch es were mov ing a
s/>-< !i /- ii n ich du bt i ti >i
me,
,1. .s/.
ii
* -^ ; - *
/'/'*
ft :* N
•>- ■
"• : — . 1 : r"
'* '
I w=t
* f
<:• •
• — V J»
■S- * -* — *
c
ii
« 5 1 '.
- - ' <■ ■. . : 1 J 1 -
A i > mti /i
dew
ing.
U
r'i — t— ■> II , l"~" L I i —
1
c
"
M -7 7
:r3
I
i
£
f
^
So thy kiss - es' fra - grance as naught has
Auch dtr Kiis - se Duft mich wie nie be -
tt ~ f I g ft"
W*
^
is
S=S
Ff
£
* ' ** *
rm
rT
^gs
^^
f
-&-
7
V
r
Pil^
^
i) h »J J> ;>
^±
charmed me,
riick - te,
Kiss - es caught by night from thy lips' red bios - som;
Die ich Nachis von Strauch dei - ner Lip - pen pfliick - te:
I
lac
n r ~ff^ j,>i
^
3!
€>
Tho' from
Dock auch
eyes with deep e - mo - tion glow - ing.
dir be - wegt im Ge - miith gleich je - nen,
£
*=f
£ 7^ 7 ^7^7 | y lH |
ss
iff
•— * — *
n
>i J *J
^
^^
/TN
^
r J) W'^
Tears
Th a u
were
ten die
flow
Thrd
mg.
nen.
m
^
:■£
iff
H
o
g ififria ^
*
^t # *# *
*F>V
5
ll *
f
2
3B£jP
2
f
^
<?
-o-
ML-277-2
:14
A THOUGHT LIKE MUSK'
WIi; MELODIEN Z1EHT ES MIK
■ . Key, A)
KLAU£ i iM»-
kt r.
JOHANNES BRAHMS,Op.l05,N91
I'l \.\< I
f renderly Zari
t
f
.
A thought, like mu
Wit Mt lo ■ di
sic hold
en ~ u lit
in^ Mv
- s mir
<<<• 5
^=
-^
^t> v mprr dold
P^f
7
»
-*
* ^_
•-
m
*_
^
I
^^
■•
*
^^ :
:. :♦
heart
lei
in sofl
con - trol,
</' II Si MU ,
Like
Wit
flow'rs
FViih
of spring
lings hlu
mi -
i
fe
? :
• „ •
:
.
:♦
•
*
>
_* _
'
t
fold It
<* •
I;
I*'
't
* »
S*
"
thrill - eth through my bouI,
■.-"/in ( /./ :i it Ihif! iln 111 u.
• s
- .
a<
*
r*
r
. ■ ^ ■■
Ml | «
35
SS
f r- ii^-
It thrill - eth through my soul.
und schwebt • wie Duft da - hin.
P
£
f£
*
But if a
Docli kommt das
word— be spo
Wort und Jasst
ken, Its beau
es und fiihrt
ty to con
es vor das
W:
m^
x c
ss
w
3
^=i
2
#
^
P=£
IS
£
vey,
The spell at once is bro
Wie Ne - bel - grau er - bla-sst
ken, 'Twill
es und
^^
m
t
L f t/*M>
7 [J 7
^
?
i=
#
*
SEEi
£5
van
schwin
ish quite
a
way,
Hauch,
ff
^
a
f=
±e
1
^
S3
£
£
'Twill
und
m
J?_M
^' ■ ' r i'
ML-32-4
i
£5
£
•>
van
£
a way.
< i ii //,) ucA.
(■«
^
^^
.
£1.
_
ri.. r T p "
£
- ,.
§ *
r
hid
Ret
i
•>
<!»-n, \
fra
Imr
grance lies
gi u toohl
con
rin
ceal'd,
Duff,
79
»
.-
That
I), >,
•'«•■:
*
§
bring
tears
•. / 1/
mi
bid
<ii-n.
In
* .
Ml I
37
m
fc-r
I
E
£
That
Den
bring
mild
eth tears
un
lem
bid
den;
me
Un
ein
ML-32-4
:\h
LIGHTER FAR IS NOW MY SLUMBER
IM.Ml.K LEISER WIRD MK1N SCHLUMMER
;
HhKM \NN LINGG
JOHANNES BRAHMS <'i 10 K
W and soft I Langsam und h
PIANO
lm
:
WW
fc
er far
mer I • i
is now my
slum - ber,
S( h I u m m I r
:
'
pp acmpre >■ legato
■>■ >s^ r
* m
'
,*
•:
* 5
^ gj :- •■> 3= i •■ bi' f- l,J'
$vy -
And my ^«.r rows with- oul nuin - ber
iinr wit Schlet 'i li'j-l mein hum mer
seem a shad owy
: it t> rnd u /" '•
l-> •• ' J » K J
' i
# #
Ipn •
2« *
:
» «
• .:
# »
J
# *
| :--^^5
d *- ~4
;: m
•
•>
i
* <a
Jim
t .■
1
me
Off
Oft
in
IM
• J
n
r U v
M
3D
*
\},\> 0-
£
m
dreams thy voice
Trail - me hor'
£
M
£
t
a - gam
ich dick
Call - eth to me ten - der - ly;
ru - fen d'rausvor mei - tier Thiir.
12Z
^^
But the door
Nie - mand wacht
is closed to thee-.
und off - net dir,
&
Z it rffeB
s
$ i
rrf fn
s :i,t t
$m
■M \> m m -
J .
$
p r r |J ' r
7^
Then
ich
I
wake
teach
kfc
b
and weep for bit - ter pain, bit
i<wrf tiW - ne bit - ter - lick, wei
Ng#
s
^pi
i^
*
ifW=l=l=l
9
rri
*— #
* — #
,/
7
p
■ ■
^
• p
P^
wa r r * r
*?
ter, bit - ter pain.
»ie bit - ter - ZjcA.
Pm
* j a j
pip
w
1=^*
TOil.Tjj J ;
p^^
ML 385- 4
I)
&
•
■■•
t
±.
i *
-> : ;■
* »
• -
. :
* •'*■
i
All. my ]<■■ 1 soon shall per
Ja, ich W( r >li sit r I- n mils
jgp^i
ish,
SI It.
P
f=k
:
J' J-
v
:
^
':
yj: ji i.
- ■
•
And
;ui <>th - er love thou'lt cher
.•In - tin wirst iiu ki<>
ill It clltT Wl
#£ -^gN
•:
'
v
-> ■■ > » ;p : ;
T i>J j'i
=*
J> j: J^J
# '
fa*
s
h
')■■
When
' 'I 'I
'
\
■.: 3
I'm pale
II h hi • i, li
b- k ' ^
i *
„ *
and cold,
i< 1:1/ knit
p. lie
bleich
ami
mil/
I j> j- ij> | M- 44^ "-;
^ •
rt~rH
*,,//.
I"
:.
Eh
'
I
'
r
the Ifaj wind warms the wold, Ere the
dit htat ' » I'iJ it weh'n, eh dit
h
* .
a
\
• m
t
•
'^"'
Ml Ifl I
41
*
^
£=P
thros-tle trills his tune,
Dros - sel singt im Wald:
Wouldst thou me
Willst du mtch
),. >
**
^=rt F
gff^fr
*
a - gain be - hold,
noch ein - mal sekn,
Seek,
komm'.
oh,
o
frL f* r r ^ f j
f#
- pgjhf;
teF
§E
L^. poco cre&c.
mz
mim'
£L
s
£S
^
i
i:
E
£
£
seek
kom
,piit
f
me
we
soon.
6a W,
seek,
oh,
o
*
> s » ^
i
3
S
s
^£
* t^ W:
^
3
W
¥
,*
seek
kom
me
me
fe^
■? : 1> »
— - -■
3*
soon!
6a /a7
^
*^ t
ft
is:
MI. - 885- 4
v:
i
PIANl »
*
rato
WH V ?
WW RU M ?)
i
PETER HYITCH TCHAIKOVSKY, < I N
£*TK - — ~
\ . * fffff ffff
^^
*
.
£^^=
Tell me why are the ros es so pale?
Wa - rutnsind drnn die R' - sen so blass?
i=r$= =r=F
p
&
I /t.M
.
m*£^m
£3
^^
^3?
*
Dear- est Love how their pure blos-soms faill
.mi - tses Lieb, kan)tt du so - gi " *nir das?
Why so heav ■ y with
H"ij - rum stud dt nn d> n
")'%
%%%% f f ffff f f
i
p
'
iiffff if in i it us f :;;i$:
/» — =====
: m m m m •
fl y
«
r n -
*
» ■ ' a
1
drop* mi
■ h • n \m '
Doth th< vio lei m cline her sweet head?
:i I ' • • I I, iii urn dti A' n gl /'in >iii ■ '
■ ^ *»*»•» mm*
,..ttt ttttts »$» tit ztviti ::: :^»
* • •
• ••••v >»»i :•»»•*•
' =
--.: .-.-iff
to translation in a different mHr«"
• • . n^ptm Ml riOU *
43
frt *J p r j
:>
r r p r
^
Why are ac - cents of sor - row and wrong
Wa - rum Hint mit so trau - ri - gen Klang
£
r J J>
Thrill- ing loud in the
aus den Lxif - ten der
£^
i
3=e£
g^g
"/fit ft **f** f
tttft *
• — 1»
j »» *
«S
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lark's mat - in song?
Lpr - che Ge-sang?
Why the wind thro' the green bran- ches sighs
Wa - rum rauscht in den Bau - men der Wind?
m
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als ob kla - gen - de Stim - men es sind?
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Wa - rumblickt denn die
a
its fflfim
fffti int..
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sun in the sky,
Son - ne so kalt
With no life-giv- ing warmth
und ver - dros-sen her - ab
from on
auf den
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thro' my tears?
nen tch seh?
O my love,.
Sprich wa - rum,_
I am
sii - sses
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part - ed from thee,
Lieb-chen, o sprich,
Where-fore hast
wa - rum hast
thou for - sak
du ver - las
en
sett
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a tempo
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me?
mich?_
molto rit.
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NONE BUT THK LONELY HEART
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ly hearl
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in
who
der
loves
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me!
fe.
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ba by mine,
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sleep and dream,
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ba by mine!
schla h i in!
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Sank the sun_ in
S071 - ne sank in's
o - cean blue,-
Meer hin - ab,
When three nights all had pass'd a - way
als drei Nach - te vor - it, - ber sind,
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Fought no fight in
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star - ry sky,-
gold - nen Stern-,
Near thy child my
hah' ver- wahri das
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schau - kel-te die Wie-ge klein.
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Sleep,
Schla -
O ba - by mine,
,/*>, Kind- chen, ein,
sleep and dream, ba - by mine!
schla - fe ein, schla - fe ein!
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THE CANARY
(DER KANARIENVOGEL)
German by Ferdinand Giimbert
from the Russian of MKY
Translated by Charles Fontcyn Manncy
Modcrato
(Composed in Is")
(Original Key)
PETER ILYITCH TCHAIKOVSKY, Op. 25, X'J 4
PIANO
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Spoke Zu - lei - ka
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zum Ka - na- rien-vo - gel:
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'Bird - ling, rest thee in our peace- ful pla - ces.
w Vo> - lein, ist's nicht hier tm Thurm am bes - ten,
a tempo
Trill thy song, nor
wenn du zwit - scherst,
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Copyright MCMXII by Oliver Ditson Company
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I' I if I II I I ' Ii'liIM n r I il
vain- ly fly and flat - ter Toward thy horn.- in air- y West-era spa- ces.
Zu -lei - ka, - rum zu - hi st du zum_Jir - nen Wes - t> t\?
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lands s<> far and (■ ■
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O'ei tlirirciis taut wonders lei me dream and poo dei
mm - . i r . Ii in, tin-gi mir von fir - nen Or tenl
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Are their arch - ing skies mora pure an az - ure, Are there ha - rems
Sahst du je - mals wns - ren scho-nen Him - mel, hat man Ha - rem
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and bright ca-ges yon - der? Do the ro - • ses bloom in such pro -fu sion
hat man Ka-fig dor - ten? debt's im Wes - - ten wohl so iipp'-ge Ho - sen?
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Ask
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je - nem for- nen Lan - de,
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mei-nen Kum-mer se - hen, was
da-lisqr.es may dwell here in con- tent-ment,
ich sin - ge in dem en - gen Ha - rem,
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But my song can nev- er wake to glad - ness!''
kon - nen - da- lis- ken- nie ver-ste - hen."
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SOME ONE SAID UNTO THE FOOL
I EINST ZUM NARREN JEM AND SPRICHT
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Spoke him fair and o'er him bent:
Sprach mit ihm nach met- nem Sinn:
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Du bist klug, sagt Je - der mir,
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So I bend as low I may;
Drum, beug' ich mich tiff toy dir;
Tell me where - fore must it be
Sa - ge mir, wie fang' ich's an,
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There's no more ca - rouse for me?
Dass ich kein Rausch ha - ben kann.
There's no more ca - rouse for_ me?
Dass ich keinRausch ha- bm kann?
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German by Ferdinand Gumberi
from the Russian of OGARKV
Translated by Isidora Marti >iez
TO SLEEP
AN DEN SCHLAF)
ICOIJipOSKdin lS/nl
(Original Key, £\>minor)
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PETER ILYITCH TCHAIKOVSKY, Op. 27, N21
VOICE
PIANO
Allegro misterioso
» \> U 7 N
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Now dark-some night the am- pie earth doth cov- er,
Dt'e dun-kle Nacht nun deckt die wei - te Er - de >
The f < >r- est trees a re
des Wal-des Ban-me
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mur-m'ringlow! And nowthe long- ing soul toward rest dothhov-er, Forday hath spent and
rau-schen sacht! Die See- le sehnt sich,dass ihr Ru - he wer-de, es hat der Tag sie
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worn it so.
rnitd' g?- macht.
n't.
I call to Thee, O God, hear my im-
7cfe r«/' *u dtVj o Gott, er-hbr'mein
^am
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Give
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peace to us;
Frie - den uns:
Sa
dir
cred to
set ge
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TYau
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seinl
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few
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griev - ous loads are bend
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lass' sie im Trail
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DON JUAN'S SERENADE
(STANDCHEN DES DON JUAN)
German by Ferdinand Gumbert
from the Russian of A. TOLSTOI
Translated by Isahilla G. Parker
Allegro non tanto
(Composed in 1818)
[Original Key, B minor)
PETER ILYITCH TCHAIKOVSKY, Op.38,N°l
PIANO
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In thy bal - co
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Thou, my hearts su
dass ein Weib wie
r , r i \ r P
preme de - light?
dw so schiin,
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WHETHEE DAY DAWNS
"
Andantinu
OB HELLEK TAG
R [LYITCH T< HAIKOVSm I 17,N°<
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O - der Stil - le der Ndck -
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Wheth-er I dream or life's pa - geant I see,_
ob nur ein Traum, ob das Le - ben drdngt mich,.
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All - warts mir fol - get, mein Sein gam er - fill
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lend.
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nur ein Ge - dan - ke,
a ho - ly voice call -
der Ruf hoh' - rer Mdch -
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Mil ihm nicht furcht
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that my spir - it have blight
bar Vcr - gang'- nes mir schei
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net,
Love in my heart reigns e - ter - nal - ly; —
regt dock im Her - een er - neut Lie - be sich-.
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Cour- age and hope
Glau- be und H°ff
and tin - sel - fish
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was in der See - le sich ho - lies ver - ei
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net, Al - Its durch
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Mi er my days.
Ofc m< 1 1 • 1 ,1
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pass in joy ■ r in sad
au< /1 /:< 1 - /» r. ofc /ri<
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eins weiss ich nur, dass dock stets bis zum To
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me,
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All do I give, i n love's heav- en - ly mad - - ness,
al - le Ge - dan - ken, die San- ge, die Lie - -be
i
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On - ly to thee,
sfefi nur fur dich.
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on - ly to thee! .
stets nur fur dich,-
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in loves heav-en - ly mad
ten, die San- ge , die Lie
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dan
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and
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EDOUARD TURQUETIZ
Translated by Frederick H. Martens
SERENADE
(SERENADE)
(Composed in 1SS8)
(Original Key)
PETER ILYITCH TCHAIKOVSKY, Op. 65. N r Jl
Allegretto quasi andantino
\ 1 T » T _J_ \ U
PIANO
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Hon - ey- sweet, a- stir at dawn - ing, Breath of day's re - cur-ring- round,
rent de miel qui vient d'e - do - re } frai-che^Jia- lei - ne d'un beau jour?
1
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OMand la JeuQ - la pal - pi - Ian - t'' - s ' "> - ble f r i$- ton - i\cr da -
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Whom the
un ma
sun - beams kiss'd and
tin de flam - me et
woke?.
d'or?_
Seek my love, for now time
Va plu-tot, souf-fle d'au-
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fra - grance cloak;
lit em - ban, - me
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l'o - deur des bois et des mous - ses,
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ers, I h> nights ol me, the ten- der
SM '/ ({U'l-quts p,i - ro
Balm - y breath of woods and flow
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dow ers I springs rapt vj^hs .• voice,
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PAUL COLLIN
Translated by Alexander Blaess
Moderate
PIANO
DISAPPOINTMENT
(DECEPTION)
(Composed in ISss
(Original Key, E minor)
85
PETER ILYITCH TCHAIKOVSKY, Op.65,X92
I
te
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While the sun shines in wont- ed
he so - leil ra - yon- nait en-
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Fir p p
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splen-dor,
co - re,
The deep woods I
J'ai vou -In re
fain would be - hold, Where in bliss our
voir les grands fcots, oil -nous pro - me
m
g
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love we first told 'Mid sweet pled - ges, with faith - ful can -dor.
nions au - ire - fois no - ire a - mour a sa belle
au - ro - re.
Thought I with
Je - me di -
I
m
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Copyright Mi VII by Oliver Ditson Company
ML-aiss-a
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My love I'll
- ni i « ,
v J' I ^ ^ ^ -'^
^
i
Be low the i v n iltr,
j« /a re - trou- vi rai dou - t-
/r
f
: :
5£
gEg
53E
$e£^*ee^ •
?
■ ■ through tliirk - ets (lis - creet,
main s< /• n - </ra r< >\\ >,i main.
Our hands en-twined in
1 1 nous nous re »i< /
f^F
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./'
:> : ;v ?
c
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f - ^ J. J' I J
.Piii n
"if
JL
m
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V< t I seek thee, my love,
]< re - gar - il> p.tr - t> ;<t
si - lent wi
in vain!
En vainl
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plead mil; It. uk ness fall ing
r>
i
87
sky
leil
and
pd
Efefe
r f i r h
plain,
lil
£=£
Dead and scat - ter'd leaves are con - ced - ing,
les pau - vres bois sans ra - ma - gel
I
&=
^m
^
f-
m
p < i *
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pp^
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While my heart's to death slow-ly bleed-ing,
mon pau - vre a - mour, quel dom - ma - ge
That thy trea-son our
st vi - te per -
M J J' ;■
poor love has slain.
du dans I'ou - bit!
P*
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HH
HANS CHRISTIAN
I LOVE THEE
ICH LIEBE DICH
■ i
Orig
KIAAKb GRIEG, N
.
PIANO
Andante
^ .MlU.Ulli
i ybtb J 1
'-•
1. My t bought
/. Du rtn in Gc
M 1 > £ t -h ^ ±
PP
&
thoughts, my \<\ \ in most be - inj, r ,
loi mv i • Vv thought is burn - ing,
i/,)»i - k>\ du ni'i< S'i>i vnd \\ ■ >■ - dent
./-in, kannstetsnur dei - ><>>• d> » - kin,
i
i u i i 1 4*
Thou
Bap
Du
m r
"ii - ly
py my
rtl I I - Hi S
di i - nt n
i i i i J J
=;■■■:
T r » r ' I
PI-
')
#
_
£r
KVII ti "l>»»r - runr
M lift 2
89
i
&
&
^^
I love thee
Wher-e'er God
Ich lie - be
Wie Gott auch
s
pE3j
feE*
3
more than all else un - der
wills my path in life be
dich wie nichtsauf die - ser
mag des Le -bens Schick • sal
heav
turn
Er
len
en,
den,
ken.
ich
£
I i i n j? id
r=e
3Fi^iF=r
w^-K
* a * * # #
3
»r=£
^
t7«f£ sempre
r J» J 1 J>
love but thee thro' all e -
lie - be dich in Zeit und
ML 1565-S
'Ill
•
CRADLE SONG
W1EGENLIED
pOMd n 181
• ■
HiWKIi GRIEG, <)p B W 2
'■
PIANO
fe
Non It nto, ma n
w—&
L ; ;
I. Sleep,
i Sleep,
3 N. v
\ Dosi
f.Schlaf
g.Schlaf 1
.?. At.
#. Ob
my son,
my sen,
er thy
thou feel
mi in S. /:n.
ttU in //< rz
so// 4' i
uohl di i
oh,
sleep
slum -
pla -
sweel morn
thy moto
ur.d schlicmm
cht n. traum
ne sckan
ne Mut
k .
m
ber
cid
inp
IT
re
von
re
tlY
Well!
ly!
-joy
dear
4M5J.
v;,r.
B'ust
sit h
III • is
s
* •
£a
*$a
^
*^
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v .
r
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k .
v
-
4 -
p
fh -
Shall
Pi
iru
die works
thy fa
his cm
thine in
Uin ist
{■ r sit
b> n </' I
im Srhlum
nt>
the
ther
el
cence
d> in
ft
m
m> r
sooth
sits
grief
h<.v
Fa
dii r
M r
u
»
/
III;***
::
illg spell;
l»y thee,
de ■ stn
rin^ near?
r.i dii s
f>i t dir,
gm luit,
b< r dich?
Ay.
Rocks
Ne\
Dost
Ach,
aif
nn
I. tii-hit
rhs
al -
thee
• r
thou
iu
A"<
muls
J*
tho!
with
shall
see
dii
dich
the
mi
thy
her
das
tnii
di i u
to
*J
g
. . .
r i
—
« &s
ft £j
:
in
/•
A'ltt
'. skill,
■
'h.
■
l> th
W,,.. 1,1
B •
When
•i him
1 1 1 h'-t
led
•■ i tears
thj smile
FD< t
I II
du
1 II
dich
./.I ti »i
th-
in
in
</< m
m\t
n. i
mi 'h
fri in
his
an
hal
l.,,b
Thra
Mut
.
• I
all
Mir -
t, -i
14 n d
m n
t,r
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:t ••*•'*
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u u
Mil
91
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£
hold:
ill.
prise,
gleams?
Grab.
Blut.
Blick.
lein?
She
Lone
Sleep,
Noth
Kann
Ein
Schlaf;
Va
p O "P i"r ^^
may
iy
my
ing
nun
sam
mein
ters
not
seems_
babe,_
can
nicht
ist
Gold^
Blick_
thy
the
in
thy
zu
es
ohn'
sie
dreams
world
slum -
fa -
J 9
um
Sorg'
nim
at - tend,
to him,
ber deep,
ther see,
der Stund'
ihm her,
und Muh,
mer sieht,
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m
r p cj
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s
O'er
Liv
Ti
Noth
kics
lebt
klei
To
thy
ing
ny
ing
ne
des
rose -
mid
Life_
mouth may
this tri
from Death.
but Deaths mis
dei
Qual
To
we
nen
and
des
he
Ro
Jam
knos
not bend,
al grim ;
sleep!
er - y.
sen- mund,
mer schwer,
fe, bliih!
ihm gluht,
Will not catch thy
Sor- row's heav-y
Fa - ther now has
On - ly thy frail
sah dein er - stes
und der Sor- gen
Va - ier hat nur
und nur dei - ne
first smile start:
weight and ache
on - ly thee
hand_ in- deed
La - cheln nicht,
dunk - lc Last
dich al - lein
klei - ne Hand
MI.-l.i67-*
£
|!
:
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3 /in.
oh, slum ber well,
und "iin r< suss,
. I .. 1 , 1 . 5 . 5 . J
i j .* j . v
Cra ■ works the
H'i s letti isi dein
i_ i " : * •' *
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o $a
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\ al - tho'
at 't i/t' dtr
the fjrave so cold
<fas /. • hi it p-afc
^ . I ; I ; * . I . ^ . \ . I . I . I . : < ;, < j »» . ; f , f . | . - ^ ^ ; >;
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9.\
1
Ay,
Ach,
al - tho'_
die dir _
m
the
das
m
grave
Le
so cold
ben gab,
PP
Doth
lie
thy gen - tie
get in dem
pj j-pj u i T^
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moth
kal
er hold,
feit Grab,
Doth thy gen - tie moth er
lie - get in dem. kal ten
7 J . 7 J , 9' j g
b |l g " |: H
*
f*
a
77'
:
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f=
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MI- l.i87 - I
94
HKNRIK
■
SOLVEJG'S SONG
SOLVEJGS LIED
-t'ginai A'-y)
EDVARD GRII <■ N?l
PIANO
I ■ Andante
=+
•>c
-7.
^
'^
/
i
i/im.
J
8
i
fiP
— -v
i
j f r r ii nr7 it i ' n
The win - t<r may wane and the
!>■ r Win ii r ni<ii, r schei-den, der
spring-time go by, tin-.
Fruh 1 1 n< ii . A' r
^m
S
t
i
o
i
I
,
'-.
5
I L J p i''
: ;
Mr M
^< .
spring - time go by,
A rn/i /l ii^' 7-. r ^'i /in
The
sum - mer ten. may van ish, the
N' in inn- "i'',c "•■ ' wel ken, das
i
J » m m
\
> »
, /y.w
■
/,iA>
die;
:i • h il
it < »j, | ;,|^ p ^ * ; -
Bui one day you'll re turn, ili.it in
i/n i< /i > i •! iii 1 1 r K rn t.
£ j ; ! t
'.
•)
„ s
■
Ml !
95
I
lip
irpn
0\
truth I know, in
wiss, du wirst mei-n, ge
truth I know,
wiss, du wirst mein,
And here_
ich haV
m
a=
I'll a- wait you as I
es ver-sfro chen, ich
I p r "iff «(t J, — Jm i i r p a r J' | ;,LJ >
*feE
3t
prom-ised long a - go, I
har - re treu-lich dein, ich
prom - ised long a go.
har - re treu - lich dein..
i
&=M
(humming
to herself:)
-dor sic A hin
sumtnend.)
Ah!.
-irfetU-
*5
^ glj i,J
IS*
3
•*
^
Jt?
o\
$*
i
XT
W
*£
Allegretto con moto
w=w
m rj
w^-fw
m
^^^
^wr#
£
s
I
ttjt >t ^ J
f
3=^
9B^5
/>/> ////# cord a
a
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$&
^
simili
Tempo I
jyt
EatEs
B
E
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i
SI
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fefc
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ML-1579-4
•Hi
§
J J
r
1 \ f m * m ~~ m
May God guide your feet, it" on earth still you rove, on
(• Air. wenn du dit s n n< noch siehst, die
'r\
= F^f
=*=g=f
i
S
t
p e '
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5
?
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5
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V
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f^P
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earth still you rove
in noch stehst
bless ed peace be yours, it'
seg ne dich, wenn du
in
§
r,
animate
I m I ji » -' ? [ 7 j 7 1 ? :
^
• m
v * «L
bove, in
ii i/i»i kniest, zu
realms ;i - bove.
Faith-ful- ly I'll bide till a
/<7| r*' I // </' I l|. r /mi l. 11. /m'.\
i
il il h
~ . L _' V> '"
./'
* 8
*
'. !■• it. Bui it yon wait in h«-.i\ en,
./li >ti i r i,,i/i Wld II i I /" N
VI •
97
poro sostenuto
m
p
JV ^ I J? J J
PP
n\
TT
Ih
m
c p t »p
e^
last I'll meet you there,
tref - fen wir tins da,
at last I'll meet you
so ^f/" - J~ en wir tins
there!.
da! _
jwoco sostenuto
U
%
Ah!.
4_
/T\
Ha
S
V
£=r
p
On
£e
S
^-
u
i»- ■•■
Allegretto con moto
r- ^T^rrntw'^rTr'j ' r'.r
-s^
rrr rJM^^D
m
U=t
4
E
^-f:
tf *
jt^o «/m cor da
(2
TT
■&-S-
gg^
K?
f
PT
:h:
r
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«£&
<£&.
«&&.
$a.
simili
ML-1579-4
<•->
HBNRIK II
aim . ■'■
dante 1" n t< nut"
A s W A N
EIN M'HWAN
KDVAKH <;K!H, • 25 N 2
& i ; i > > ^ J* i -b—fr-4
PIAN< I
: ?=r :
v
My swan. my treas-ure,
Mi IM ni ii. nu in stil l> r.
With
i
ETfr-r ;:
•--..■
F
!
■
-
!
pS
:
/hi/ p
-e-
.
• m:
z
s
.
snow- y - white featfa - er,
Of his songs sang me nev - A
d'i ni won tit g' n Eri< dir Ttr
Mil
rt". th
fci in
'
'-'
s
*
?
V
pp mol to li gato
' *
>'
«=z
::■
.
■>.
F
^
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:i •
^7
I
g .
W
h Ji j j> ; i
tir»'
Tr>l l,r
SI y ly fear in^ th<-
dolce
animate
o
< />.w
IK ';>!,71 .1.
fe
^
k
g\\Uk\ <tu hur thitui all
rrr/ir-
t, I ,»nr
WI 1
99
i
r.? i
s
y agitato
£
P 1 '' ,1
=E
£
there mid the rush- es.
zeit in die Run - de.
3
And yet, when death came And
Und doch be - zwangsi du zu
•~i~ •
i
■i i
P&f
b \ r, h ^ r
^F
&
/•//
5
^
r v
¥
£
2
fe^
part - ing a - larm'd me j With sweet song he charm'd me, And
letzt michbeim Schei- den mit iru - gen- den Ei - den, ja
song . with death came!
da, da sangst du!
i
t
A
/"«/
m
ff
i rit.
i
^
=3=
izz:
fe
22:
-<9-
&
bj^.
tranquillo
Eli* J) J J 1M tJ>NW> J>
^
S
£
>> thJ '
£
ii«
And, with its ring-ing,
Du schlo-ssest sin- gtnd
His spir- it passd on, then;
die ir - di - sche Bahn doch,
He died while
du siarbsi ver-
I
f
1
- pt s t
f
jop tranquillo
■W-
m
i
-<2r
a
SZ2:
77
jftP^ fr
o
Lento
£^^> b I r r < I * * * i'l s
^
*=it
22Z
I
sing- ing.
Win gendj
Z-
£
W
-v : i, |j bJ
Was he on- ly a swan, then?
du warst ein Schwan doch?
i rJ-
-&■ •
PP
^
a swan, then?
ein Schwan doch?
X*
^3f
5
C^
Ml.- 1381 :.'
im>
J PAU1 -
THE FIRST PRIMROSE
MIT EINEP PRIMULA VERIS
td i a 18
KDVARD GRIEG.Op 26.N I
< ■■■ s
PIAN< »
Allegretto d( ilcissimo
k :
k -
=£
?'
h \ jy p r p
£— 0-0 —0-
<> take, thou love ly child <>t Spring, 'I his Spring's firs! ten der
M dir. tin tar tes Fruit lings kind, dies er >■!■ />'.':.»!
h
I • ••/ i>
S
y ^ ii ^
•
ii j' I i J 1 i i
•-.-
i^N^
^^
.
mm
r i
m=^
— 0-,
jjt'ih" '2p r ^^
"P J jl i Q 'f J j>
flow
•1 rn> ii
De
Em
i
f ' u» J j
spise
t/"".<'
it not thai
l;it - er on
schmdh es nit 1st.
Fail
NW
Hi •. ;
.
•
-
•> w
-' ^^
:
«= =■
••
'
£
-, ■
»
■> , ,
r<>
'■ . r- :
:■.
v .
ses June _ will
i.r
* ' ' t
m
m
m
show <T.
kmti men
m ',
; . -
The snin • hut has its
W< hi lich
^
t t
'
0'-'
m E£
F ^ J J 1
.» * »
:
£
»
/
;
mm ■■
■m, In
S' i/. ./■ r
/
(Ml tiimii 1 ■ .i i I s ,i i .•
'n
>> }
. -.
'
gay,
//• > .-
i: ■
./• i
•
Ml II
101
poco n't.
¥P£
V
f, I J J) J ^B
£
^
s^
2^=S
time
Lie
V
spring is love - li - er
Lcnz doch ist der Won
than all, The
nig - ste mit
of love and
bes - lust und
\
I
^ a d j ^
' j: ^' p p E f^f
p r p
p r p
/5»
// tempo
£=£
^=i
P
^^^
play
Seller
thee and me, O dear
tms, o 7io/ - <£e Maid,
est maid, The
er - ghiht der
wm
k
Ff
<r tempo
\
.
C
&£
"^
£
^S
£
!=£=§
light of spring is
Friih - lings Mar - gen
glow
son
ln g;
ne:
Then
take the flow'r and
nimm die Blum und
£*
m^
h
V
m j. j>
p^f
1 U p
? ;
r
.7
^^
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i> j~j
«
fiS?
r
r*
r
l
^ r r f
«?«!». £ /70C0 A"?'/.
~2_
SI
P I C-J P ^ ^
rap - ture yield, Thy
gieb^ da - fiir dein
heart on
Herz mit
me be
set - ner
stow
Won
ing.
ne.
i
1
•n^
£
^
P ~ "P P
§
f p r p
w
^m
rfim. e poco
n't.
I
-V
I
?:
^^?
f
■Sa
*
MI. -1582-2
102
ri.w >
SPRINGTIDE
DER FRUHLING
■
EDVARD GRIEG, Oj 9 N .
Andanti ssivo
X " < " /.
ii ; j j) J'' r ^^
t fctf
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I . ould see I he sun beams a dan - cing;
W\ !■ >■ i h '/in ill m Friih li" chen,
piii »«<i/ i'i /i sah auf L> m hii geln gau kiln.
Hi.] ges and trees by the
Birds 'mill the blooms all a
We\ lorn er bliih U mil
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Wen leam ing and
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Now
No
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for
once
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noch eiii
se
die
gain
me
mal
Lenz
went the
is that
konnt' ich
lust von
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ice from the
spring- life so
Eis - fid - chen
neu - era ich
land, The
gay Which
schaiin de-nt
sah, die
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There - fore
Schnee sah
Doch jetzt,
were
dis -
ich
voll
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heart
schmel
Schwer
ers; I
en'd am
• zen und
ninth, schon
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7 T i T
pools ex - pand With
and I say: Can
we, voll Grau'n, sich
ich mir nah' die
bright
this
wdl -
let* -
wa
be
ters
the
zen nnd
te der
flow - ing.
last time?
sprii - hen.
Stun - den.
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Green grew the grass
Well, let it be!
Ma t - ten ,
Mog' es
die g r u
ge - scheh'n
and the mead - ows once more Were
re - col - lee - tions un - told Of
nen, noch ein - mal konnt' ich seh'n, mit
denn, im Le - - ben, so wert, viel
=^i
js.
D
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ste
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ward tnir
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as of yore, F"r spring's
it 1 hold! Lnd all
r/i< . i ■ scfi i »i
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id some
things must
m< r vol I
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^ »-»v-v Till i ji ___•__ __l_._i 1 _ 1"I7"I_ ' ~L — 1 ,. J .1 . -«_, .-I ^i .
8. Once more 111 go to the spring -ver-dant vale Which glad -dens my vi-sion;
3. Ein -mal mickfuhrfsnach dem lenz - fri-schen Thai, das Sehn - sucht mir stil -let,
3
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Some-time I'll find there a home and shall dwell In re - gions e lys-ian,
dart find' voll Son - ne ein Heim ich ein - mal, wo Lust mich er - fill-let.
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All that by spring to the val - ley is giv'n, The flow'rs that sur
Das, was der Lenz mir hie - nie - den ge - bar, die Blum, die ich
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ICH
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pfliick - te,
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Seem now to me like fair spir - its of heav'n And whis - per a-
schien mir der se - li -gen Gei-ster heh- re Schaar,der Erd' schorl ent
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i It si .
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< fwn mo/to
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to mine ear in this birch- haunt- ed glade Does s - gg a
iKi rum t 1: h r /• riti und auf Tritt • in rath sel haft
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ft mII<
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uak - en;
- of the
I. tin te, auf F/<i - ten, die
pipe thai I made With weep
ft ich mir schnitt, wii S.uf
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ON THE JOURNEY HOME
(AUF DER REISE ZUR HEIMATH>
A.O.VINJE(i8ihhs7..
English version by Nathan Huski 11 Dole
German version by Edmund Lobedanz
1 ' 'ompi >< d in l^vt '
(Original Key)
EDVARD GRIEG, Op.33,Nl'9
VOICE
PIANO
Andante tranquillamente
I*
^ I J' J) J' J ' p p ^^
£
vey
stream
schau
ing
- inS
der,
- men,
Which in my long - past youth I used to
When 'neath the drifts green grass be - gan to
gleich de - nen, die ich in der Kind - heit
wenn wie - der nn - term Schtiee ich Grii - nts
UiiiiU
iiiiiiii
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pp .
breez
in
Stirn
noch,
es round my brow are
the old days I went
we ht kith - ler Wind her -
so konnt' der Kna - he
I i I i
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Light gold
the blue
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still
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to
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My child-hood speech I hear
Ami as 1 the sun
ich hor' il> r
I>-s Ta
Kind It- it SfracV
St i ■ it • >■ sliirb
a boul me
so bright ly
so frisch,so
du
say - lug
beam - ing
bit </< r,
Rau mi >i.
The words thai
Once more <!<>
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• inst, tv< tin
':
f
'Tp ? M P M j
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make my hear!
I for
./.i ii i> ii
with sweel grief glow.
<lav's toil and woe.
d- ■ Ii 1 1 h Itch i/n ■
in Liif !• n. lau;
With such keen re col lee tions is it
I find a < aim a bode where 1 would
mil- OMtcht Er inn' rim- a . f aut /■< ^ind
liiir nill ich ru st> n in ,/. ,s W.il d> s
I • '.in w. ilk as my lone way is wend ed.
i sim set home '.".atil for the eight would guide me.
u /'» mannt mich da kaum kann K' «
■ l.i ein tick' ret Heitn willsi r- 1
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LUDWIG UHLAND (1787-1862)
English version by Charles Fonteyn Manney
THE WAY OF THE WORLD
(LAUF DER WELT)
(Original Key)
10 <♦
EDVARD GRIEG,Op.48,No3
VOICE
PIANO
§n
Allegretto leggiero
PP
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An
long the mead-ow - path I stray Each
je - dem A - bend geh' ich ans, hin
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p J> I. J' p I J. J' I flftflcj I J fl i 1
day at twi- light hour
«!(/" den Wie - sen - steg
And she,_ to meet me_
Ste schaut aus ih - rem
on my way, De
Gar- ten - kaus, es
gyp
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that's the way the world is made,
ist nur so der Lauf der Welt,
£
Yet that's the way the world is
es tst nur so der Lauf der
fe
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P
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M I. - 1599 - 4
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diinkt es
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Young Zeph-yr woos the
Das Liift-chen tnit der
bud-ding rose, Nor
Ro - se spiel t, es
asks if him she
fragt nicht: hast rnich
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Her flami and glows \ an - swVing pas sion
chen sick am Thau > kiihlt. is / nichi tan
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she loves me, lei oei ther says "Yes,
/»'< /» / mich, dock kei net sagt: ich
pr<
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FRIEDRICH von BODENSTEDT (1819-1892)
English versionby Charles Fontcyn Mo nney
VOICE
PIANO
Andante
A DREAM
(EIN TRAUM)
{Original Key)
P
113
EDVARD GRIEG, Op.48,N°6
BE
y i) j> J^ jS i) l h JQ
^S
In dreams I had a vis - ion fair:
Mir traum-te einst eiii send - ner Trautn:
p 3
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con Pedale
r
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MOM T
I wooed a maid with gold
mich lieb - te ei - ne blon
en hair;
de Maid,
We met in love - ly
es war am gril - nen
J^ rf rf
r
^ f Ji
mm
*
y P P p
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for - est glade,
Wi/ - des-raum,
Where spring had spread her ver - dant shade;
es war zur zvar - men Frith- lings-zeit:
v — r i
S<
n\ rf $ $W rf rf
r r
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v J-, i. js j'. j'i ii |j) p r
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s£e£
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The wood-bird sang, the stream - let flow'd,
die Kno . spe sprang,der Wald - bach schwoll,
p. - < g. " " —
very softly
Copyright MCMVIII by Oliver DiUon Company
ML-1602- +
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tur<- glowii,
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Our hearts were held in Miss sub-lime.
iii n kin /,'ijuz in S< /'V k> \t
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//// poco mosso
tip dolce
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Thai gold eu dream
I'mi Si h" ii' r noch,
was nol so fair
<i/.s » I ii. s/ ./' i Trau m,
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\ gain we
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115
iffc
(■/•esc.
yj ] Mp p h r ip p l | j ' ^' Jl JV' ji
in for- est glade,.
;re;i W&/ rfes - return,-
Where spring had spread her ver- dant shade;
es war ztir war - men Friih-lings-zeit ';
P
poco a poco stringendo e cresc.
i
j> p- -'* J I * ;> J^ i' ^ p
^
5
^
The stream - let f lowd,
der Wald - bach schwoll,
the wood - bird sang,
die Knos - pe sprang.
A sound of bells the
Ge . laut' er - scholl vnni
T^ "tif¥i ^^
p poco a poco stringendo e cresc.
^m^
i=f
M" U
'
breez - es bore,-
Dor - fe her: _
I held
Ich hielt
thee fast ,
dick Jest,
ft ? ;> f- p r i y J '' r V m i p" p
£
I held
ich hielt
thee long,
t£tc/i lang-
And I shall leave thee nev - er - more!.
und las - se dick nun nim - mer - mehr! _
ijj. ffi-^j?jg
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Thro' life thou'rt ev - er dear tome!
du libst in mir dutch n! ■'■ /.'it!
Mill
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EROS
(Original Key)
117
OTTO BENZON
English version by Nathan Haskell Dole
German version by Mans Schmidt
EDVARD GRIEG. Op. 70, N° 1
Allegro con passione (J.-uO
VOICE
PIANO
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Hear me, ye north-ern-born heart s,cold as snow,
Hort mich,ihr fro - sti - gen Her - zen'im Nord,
m
Ye who seek peace in re-
ihr, die ihr Gl'uck iyyiEnt-
xs:
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g
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to.
P I? |J r r
noun - cing re-sign'd - ly v
sa gen wollt fin - den,
PP
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Ye wan-derblind-ly, V ye wander blind-ly,
weW euch, ihr Blin-den, V vceh' ench.ihr Blin- den.
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. Where are the snows of a
V und nth men Ju gend und
year a - g '
Lusi mil sich ft rtl
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V • : tnes the past at your yearn-ing re - turn-ing - ,
t'du "!•! nicht, >u ren Kranneuch t.. bin den,
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Cher ish her who is whol
Hal - tet um -fasst sie, die ganz -
— trem.
ly thine own,
sich euch gicbt,
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Cher - ish the one
stark, wie die Jit,
thou lov - est a - lone!
gend ein - zig nur liebt.
stretto e cresc poco a poco
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VI IfilO 4
JUSTINUS KERNER (1786-1862)
Translated by Charles Fonteyn Manney
Very slowly
(Sehr langsam) p
To the memory of my dear father
TO REST, TO REST!
(ZUR RUH, ZUR RUH!)
(Composed at Vienna, June IK, 1888)
(Original Key)
12 1
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J.V. von SCHEFFEL (1826-1886)
Translated by Charles Funteyn Alaiiney
Rather sustained
(Ziemlich gehalten)
BITEROLF
IN THE CAMP OF AKKON, 1190
(IM LAGER VON AKKON, 1190)
(Composed at Vienna, December 2H.1886.)
VZ.i
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War-worn and trop - ic-tannd On this
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Go greet my home - land there,
geh',gruss' die Hei - math mein
Far o'er the sea!
weit ii - ber Meer!
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EDUARD MORIKE (1804-1875)
Translated by Charles Fontcyn Manney
SECRECY
(VERBORGENHEIT)
(Composed at Perchtoldsdort March 13, 1888)
(Original Key)
VOICE
PIANO
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(Ma'ssig unci sehrinnig)
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Morike Songs, N° 12
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Lie - bes - ga - ben, lasst dies Herz al - lei - ne ha - ben
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(FUSSREISE)
129
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t^tvthtit. ,,;„,„„ (Original Ki-i/.D)
EDUARD MORIKEii804-iS75) ■"
Translated by Charles Fonteyn Manney
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M 'T17-6
EDUARD MORIKE (1804-1875)
Translated by Arthur Wcstbrook
SONG TO SPRING
(ER IST'S)
(Composed at Perchtoldsdorf, May 5, 1888)
( Original Key)
135
HUGO WOLF
Morike Songs, N2 6
VOICE
PIANO
i
Molto vivace, joyously
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ML- 1721-4
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EDUARD MORIKE (1804-1875)
Translated by Charles Fonteyn Manney
MORNING
(IN DER FRUHE)
(Composed at Perchloldsdorf, Maj S, 18S8 I
(Original Key)
Very sustained; heavily and darkly
(Sehr getragen und schwer)
i:i»
HUGO WOLF
Morike Songs, N° 24
VOICE
PIANO
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No sleep has cool'd my
Kein Schlaf noch kiihlt das
burn - ing eyes,
An - ge mir,
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And now up - on the east - ern skies The light of day is break- ing.
dort ge - het schon der Tag her - fur an mei - nem Kam - mer - fen - sier.
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My tor- tured soul is sway'd a - bout By waves of
Es wiih - lit mein ver - stbr - ter Sinn noch zwi-schen
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strongcon-flict- ing doubt Mid shades that night is mak - ing.
Zwei-feln her und hin und schaf - fet Nacht - ge - sfen - ster.
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EDUARD MORIKE (18«4-1875J
Translated by Marie Boileau
WEYLA'S SONG
(GESANG WEYLA'S)
(Composed at Unterach, October 9, !S88>
(Original Key, Dl>)
141
HUGO WOLF
Morike Song-s, N946
Slowly and solemnly
(Langsam und feierlich.) pp
VOICE
PIANO
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Hail, sa - cred Isle! dear land!
Du, bist Orp - lid, mein Land!
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FROM HER BALCONY GREEN
(AUF DEM GRUNEN BALCON)
Translated from an
anonymous Spanish poet
by PAUL HEYSEfi830- )
English version by Charles Fonteyn Manney
(Composedat Perchtoldsdorf, Decemberia, 1889)
(Original Key\
HUGO WOLF
Spanish Songs (Secular,) N° 5
VOICE
PIATCO
U
With swift and delicate motion; gracefully
(Leicht bewegt, anmuthig)
PW ^
n n Mr r^ g
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From her bal-con - y green my fair one Sends her glance to
Auf dem grii-nen Bal - con mein Mdd-chenschaut nach mir durchs
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me be - low;
Git- ter - lein.
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Tho' her
Mit den
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eyes con- vey lov- ing greet - ing,_
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Still her fin - ger says_ to me: No!
mit dem Fin - ger sagt sie mir: Nein!
*' Pedal with each change of harmony.
(nachjedem Harmonie?iweehsel: Pedal.)
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HUGO WOLF
Spar. - N 7
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Hen with scald-ing (ears 1 am, Wfeighl
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Thou canst make me like a lamb.
Dn nur schaf-fest, dass ich weiss
White as snow; heed my pe - ti - tion.
■wie das Vliess der Ldm-mer wer - de.
M M MEM M^'P rlT II J
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Til - gen willst du ja den Scha - den dem, der rev. - ig dich urn
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mmm mich an.
Lord of
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E'EN LITTLE THINGS
AUCH KLEINE DINGE
■ 1891
:
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HUGO W
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Eon lit - tl<- thing-s can yield us per- feet pleas ore,
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Denkt an die Ro - se nwr,
with heart a-glow,
wie klein sie ist.
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Thanks, dear heart!
ha - be Dank.
con espress.
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ha - be Dank.
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M
HERRMANN vonGILM
Translated by Isabella G. Parker
Andantino
To Heinrich Vogl
NIGHT
(DIE NACHT)
'Composed in 1S82- 1S83.)
(Original Key)
sotto voce
ir>7
RICHARD STRAUSS, Op. 10.N93
VOICE
PIANO
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Com - eth now.
Aus dem Wal
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die Nacht,
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lei - se.
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schatit sich um
ness
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■wei - tern Krei
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All the bright
Al - le Lick
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the day,
ser Welt,
All the flow- ers, all the
al - le Bin - men, al - le
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ALL SOULS' DAY
AXLERSEELEN
KI» HARD SIR ■ 10 N -
Place "ii the board sweel mi gnon-ette be.
Stell'auf den Tisch die duf- ten-den Ri
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■/>ii, </i< A /: - ten m - tin n A - stern /'"A' her bet,
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t h h «
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more in glad sur - ren - der,
ich sie heim-Iich drii - eke,
It mat-ters not
und wenn maris siehf,_
what an - y one may say
mir ist es ei - ncr - lei,
3=±
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Bend on me one look, warm and sweet and ten
gib mir nur ei nen dei - ner sil ssen Bli
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der, As once
eke, wie einst
in
im
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May.
Mai.
How sweet - ly blooms.
£s bliiht wnd duf -
each grave with fra
/ et heut a uf je
grant
dem
<£&.*<£&*<£& * <£&.
# «Sa.
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[62
i
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Si - cred to souls <>f ;ill mir dead,
m'ii I . imjaht isi ja •{• n
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t> i: i > ■ i <• mm an nu in
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thro' all the bless
<A;.v- 1.7; i/if/i a N
ed hours,
iv 1 1 •inst im
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Ml 1911 II
163
E'ER SINCE THINE EYES RETURNED MY GLANCES
(SEITDEM DEIN AUG' IN MEINES SCHAUTE)
ADOLF FRIEDRICH von SCHACK (1815 - 18»4)
Translated by Charles Fonteyn Manncy
Larghetto
P
(Composed in 138H)
C Origin al Key)
VOICE
PIANO
nW J
E'er since thine eyes
Seit - dem dein Aug'
'
fe
m
R/CHARD STRAUSS, Op. 17, N2 1
PP
£
^^
re - ttirn'd my glan-ces
m mei - nes schau - te
And love, as if from
und Lie - be, wie vom
m
IS
p cantabile
mm
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^
5
sur^ =f
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f
fe^ii
ff^= =f
ro
i
5
r
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^^
heav- en pour'd,Be-dews my heart,
Him-mel her aus ihm auf tnich
+ #
my soul en-tran - ces,
her - nie - der than - fe,
What high-er joy_
was bo - te mir_
molto espress.
P' \ KJ^
^
m^
t5^-
can life,
die Er
af
de
ford?_
Now_
Ihr—
earth.
Be -
tit
^~EJ?' EJ i fP
&
iP^
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ti
t t
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5
1
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m
r
N.B. High tenors are recommended to transpose this song to Ek
Copyright MCMX by Oliver Ditson Company
*
ML- 1917-2
164
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- fil'd my heart
with hliss
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world u;i-. i hanged to ^1<i
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165
ADOLF FRIEDRICH von SCHACK(isi5-i894)
Tra.7i.sla.ted by Isabella G. Parker
SERENADE
(STAND CHEN)
(Composed in 1886)
{Original Key)
Vivace e dolce
VOICE
PIANO
RICHARD STRAUSS, Op. 17, N9 2
mm
j 'M M
m
oth - er from shim
Kei - nen vom Schlum
ber a - wak-en!
mer zu we - cken,
Copyright MCMII by Oliver Ditson Company
ML-191S-8
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lent -ly, dear- est,
se, mein Mad-chen,
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at<y die Klin - ke ge - legt.
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Haste thou t « > me.
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Breathe out their per- fume, Love a -lone can-not sleep
und duf - ten itn Schlaf. nur die Lie - be ist wach. _ __
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with de
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wacht,
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ML-1918-8
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To Frdulein Emilie Herzog 1 / •»
THY WONDERFUL EYES MY HEART INSPIRE
(BREIT UBER MEIN HAUPT DEIN SCHWARZES HAAR)
ADOLF FRIEDRICH von SCHACK (1815-1894)
Translated by A.M. von Blomberg
(Composed in 1S87)
(Original Key)
RICHARD STRAUSS, Op 19, NO 2
VOICE
i
PIANO
ggfEpE
Andante maestoso
P ^_
P P P
^
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J J^ b
Thy won - der - fill eyes my heart in - spire V 'Neath thy
Breit ii - ber mein Haupt dein schwar - zes Haar, V neig' xu
V=*=t-
p molto legato
>B
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con Pedale
~o
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m
hiz
^^
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locks' en -chant - ed
mir dein An - ge
gloom, VThey kin - die my soul with their sa - cred
sicht, V da strb'mt in die See - le so hell und
I
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p
ap
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fire,
klar-
V And with their light il - lume.
V mir dei - ner Au - - gen Licht.
A.
VWhat do I
V Ich will nicht
P
w
82
—p^
3
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l".
3
%&.
Copyright MCMX by Oliver Ditson Company
ML-1924- 2
174
I
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3 cresc
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sun - 1 Fair,
x \' < a cht,
. Or the star
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night?.
A' i .i n z.
. My night shall be
. ich will mi
dei -
thy ra
- ven
fa
1
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ckt Cl.in; mottO isf,r, 88,
f.^-r^
•
To Frdulein Emilie Herzog
WHY SHOULD WE KEEP OUR LOVE A SECRET?
(WIE SOLLTEN WIR GEHEIM SIE HALTEN)
^Composed in 1887)
ADOLF FRIEDRICH von SCHACK (1815-1894) (Original Key)
Translated hy A. M. von Blomberg
Allegro vivace
175
RICHARD STRAUSS, Op. 19, NO 4
VOICE
PIANO
fcft
P=W =
t
^w :
m
$
r ^JT.
u
Why should
Wie soil -
************ ?***
we keep our
ten wir ge -
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p
1
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love
heim
a se - cret? No, let
it soar in hap-py flight!
lig-keit, die uns er - fiillt?
tt f f f f f f f f f f f f ^flf f f f f f f f ff f ■ f
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Yea, o- pen wide our hearts' re-cess
Nein, bis in set - ne tief - sten Fal
Ht*
es,
ten
Let
all_
al -
men know our
- len un - ser
I
fefl-^
p
h J' Jb i
cresv.
Eg
deep
Herz
de
ent
light! When two in
hiillt! Wenn zwei in
love have found each oth
ZiV - be sich ge -fun
*t:
0-0-9$^ — — -
************ * * * *** *****
er All
- den geht
*
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ill in i nn i
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177
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The ver
und rauscht
von lu
sky —
seems bright
gend- lust
3001
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durch - bebt. Zu
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33
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warm
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/tern Glanz
and sweet
m«4 J?m/"
er fra - granceThe buds
te bre - chen die Knos
are burst
fen auf
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this fair day_
Gluck der Zwei .
'IT
And clear
und su
er sing thebrooks and thrush
sser rauscht es in den Bd
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en unc
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the month of May!
cher gldnxt der Mai.
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let it - in happy flight!
v - lig-keit, di> uns er-fulli?
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all
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U n. si t a! - /- m itn - c< r Stent >.t
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Mil-
179
To my dear sister
ALL OF THE THOUGHTS IN MY HEART AND MY MIND
(ALL' MEIN GEDANKEN, MEIN HERZ UND MEIN SINN)
FELIX DAHN
Translated by Charlrs Fonteyn Manney
(Composed in 1888)
(Original Key)
RICHARD STRAUSS, Op.21, N91
Allegretto
J) J) J) J> [ EpE^j
I
i
VOICE
of the thoughts in my heart
mein Ge - dan - ken, mew Hem
and my mind
und mein Sinn,
fe=£
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PI AN
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1
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m
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Fly to my dar
da, wo die Lieb
ling one, rest there they find.
ste tst, wan - dern sie hin,
te
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On
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t'H - res We
they wend
ges trotz
wall.
/
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i-der them, bars quick- ly fall,
da halt kein Rie - gel, kein Gra - ben nicht vor,
Swift as a bird m air
gehn wie die Vo - ge - lein
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ML-1929-8
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M I I
181
marcato e calando
a tempo
ife§i
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his greet
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bear, We come from your
Jfin, wir kom - win torn
lov - er, his greet - ing we bear,
Lieb - sten und griis - sen dich fii>n,
Un-
mach
V W
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SP
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jV»r «■■)» hp p p
bar,
un - bar
mach auf, -
with - out fear."
lass uns ein.
I
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THOU OF MY HEART THE DIADEM
du meines herzens kronelein
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KH'MAKl) STRA1 SS,Op.21 N! 2
PIAN< i
[ante
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i of my hear! the <li t dem, Thou ;trt of Id
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ife
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Thou'rt .
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sweet and un - af - - feet
it'stf gar sanft und
ed;
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dear
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thou art to ev - 'ry heart
des Htrz sick dein er - freuf,
Is giv'n thee —
dein Glilck ist's,
not ex -
nicht dein
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pect-ed.
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While oth-ers fain would win eofod will \
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While oth-ers fain would win gofbd will With count
Die an - dern su - chen Lieb und Gunst mit tan
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less hoi - low phras - es, Thou
send fal - schen Wor - ten, du
scorn-ing con - scious
oh - ne Mund z und
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ing lone, Her ow n love
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li-ness on
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To my dear sister
DEAR LOVE, I NOW MUST LEAVE THEE
(ACH LIEB, ICH MUSS NUN SCHEIDEN)
FELIX DAHN
Translated by Charles Fnntcyn Manney
(Composed in 1888)
(Original Key )
RICHARD STRAUSS, Op. 21, NO 3
Andante
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PIANO
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ich muss nun
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leave
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den
O'er hill and vale
gehn ii - her Berg
to rove;
und Thai,
The al - ders and the
die Er - len und die
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wil - lows Are weep-ing for our love.
Wei - den, die wei - nen all - zu - mal.
How oft they saw
Sie sahn so oft
us
uns
Copyright MCMX by Oliver Ditson Company
ML- 1931- 2
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