FIFTY SONGS BY FRANZ SCHUBERT

Transcription

FIFTY SONGS
BY FRANZ SCHUBERT
FIFTY SONGS BY
FRANZ SCHUBERT
EDITED BY
HENRY T. FINCK
FOR LOW VOICE
OLIVER D I T S O N
COMPANY
THEODORE PRESSER CO., DISTRIBUTORS
1712 CHESTNUT STREET
PHILADELPHIA
COPYRIGHT, 1 9 0 4 , BY OLIVER DITSON COMPANY
Renewed 1932, b y Abbie H.C. Finck, a n d
Assigned t o Oliver Ditson Company
S
3ffS2-
CONTENTS
COMPOSED IN
1814 Margaret at the Spinning Wheel (Gretchen am Spinnrade). O p . 2
1815 Hedge-Roses (Heidenroslein). O p . 3, No. 3
Restless Love (Rastlose Liebe). O p . 5, No. I
T h e Erlking (Der Erlk'onig). O p . I
1816 Hunter's Evening Song {Jtigers Abendlied). O p . 3, No. 4
T h e Wanderer (Der Wanderer). O p . 4, N o . 1
W h o ne'er with tears has eaten bread (Wer nie sein Brod mit Thrcinen ass). O p . 12, N o . 2
1817 In Praise of Tears (Lob der Thranen). O p . 13, No. 2
Death and the Maiden (Der Tod und das Madchen). O p . 7, No. 3
T h e T r o u t (Die Forelle). O p . 32
1818 T h e Maiden's Lament (Des Madchens Klage). O p . 58, No. 3
1820 Faith in Spring (Friihlingsglaube). O p . 20, No. 2
1821 Mignon's Song (Lied der Mignon). Posthumous works, No. 48
T h e e , love, I greet! (Set mir gegrusst!) O p . 20, No. I
1822 Wanderer's Night Song (Wanderers Nachtlied). O p . 96, N o . 3
1823 T o be sung on the water (Auf dem Wasser %u singen). O p . 72
Whither? (Wohin?) O p . 25, No. 2
T h e Questioner (Der Neugierige). O p . 25, No. 6
Impatience (Ungeduld). O p . 25, No. 7
Morning Greeting (Morgengruss). O p . 25, N o . 8
T h e Favorite Color (Die liebe Farbe). O p . 25, N o . 16
M y Peace T h o u Art (Du bist die Ruh). O p . 59, No. 3
1825 T h e Young N u n (Die junge Nonne). O p . 4 3 , No. 1
Ave Maria. O p . 52, No. 6
T h e Almighty (Die Allmacht). O p . 79, No. 2
1826 T h i n k me the angel I soon shall be (So lasst mich scheinen). O p . 62, No. 3
None but the lonely heart (Nur wer die Sehnsucht kennt). O p . 62, No. 4
H a r k ! hark! the lark (Horch, horchy die LercV). Posthumous
W h o is Sylvia? (Was ist Sylvia?) O p . 106, No. 4
1827 Good Night (Gute Nacht). O p . 89, No. 1
T h e Linden T r e e (Der Lindenbaum). O p . 89, No. 5
Spring Dreams (Fruhlingstraum). O p . 89, N o . i£
T h e Post (Die Post). O p . 89, No. 13
T h e Gray Head (Der greise Kopf). O p . 89, No. 14
T h e Raven (Die Krahe). O p . 89, No. 15
I n the Village (Im Dorfe). O p . 89, N o . 17
T h e Stormy Morning (Der sturmische Morgen). O p . 89, N o . 18
T h e Guide-Post (Der Wegweiser). O p . 89, No. 20
T h e Inn (Das Wirthshaus). O p . 89, No. 21
Courage! (Muthl) O p . 89, No. 22
T h e Mock Suns (Die Nebensonnen). O p . 89, No. 23
T h e Hurdy-Gurdy M a n (Der Leiermann). O p . 89, No. 24
1828 Springtide Longings (Fruhlingssehnsucht). "Schwanengesang," No. 3
Serenade (Standchen). " Schwanengesang," No. 4
M y Abode (Aufenthalt). "Schwanengesang," No. 5
Atlas (Der Atlas). "Schwanengesang," No. 8
Her Portrait (Ihr Bild). "Schwanengesang," No. 9
T h e T o w n (Die Stadt). "Schwanengesang," No. 11
By the Sea (Am Meer). "Schwanengesang," No. 12
M y Phantom Double (Der Doppelg&nger). "Schwanengesang," No. 13
»AGE
I
II
14
19
28
30
34
39
44
46
52
56
60
64.
69
70
77
83
86
90
94
96
100
107
IIJ
119
122
125
128
134
140
140
I52
157
16c
163
168
170
175
178
182
184
188
194
199
J04
208
210
214
217
IND EX
[ ENGLISH ]
[ GERMAN ]
PAGE
Almighty, T h e . O p . 79, No. 2
113
Atlas. "Schwanengesang," No. 8
204
Ave Maria. O p . 52, N o . 6
107
By the Sea. "Schwanengesang," No. 12
214
Courage! O p . 89, No. 22
178
Death and the Maiden. O p . 7, N o . 3
44
Erlking, T h e . O p . 1
19
Faith in Spring. O p . 20, No. 2
56
Favorite Color, T h e . O p . 25, No. 16
94
Good Night. O p . 89, No. 1
134
Gray Head, T h e . O p . 89, N o . 14
157
Guide-Post, T h e . O p . 89, No. 20
170
H a r k ! hark! the lark. Posthumous
125
Hedge-Roses. O p . 3, No. 3
11
Her Portrait. "Schwanengesang," No. 9
208
Hunter's Evening Song. O p . 3, No. 4
28
Hurdy-Gurdy Man, T h e . O p . 89, N o . 24
184
Impatience. O p . 25, No. 7
86
Inn, T h e . O p . 89, No. 21
175
In Praise of Tears. O p . 13, N o . 2
39
In the Village. O p . 89, No. 17
163
Linden T r e e , T h e . O p . 89, No. 5
140
Maiden's Lament, T h e . O p . 58, No. 3
52
Margaret at the Spinning Wheel. O p . 2
1
Mignon's Song. Posthumous works, No. 48
60
Mock Suns, T h e . O p . 89, No. 23
182
Morning Greeting. O p . 25, N o . 8
90
M y Abode. "Schwanengesang," No. 5
199
M y Peace T h o u art. O p . 59, No. 3
96
M y Phantom Double." Schwanengesang," No. 13 217
None but the lonely heart. O p . 62, No. 4
122
Post, T h e . O p . 89, N o . 13
152
Questioner, T h e . O p . 25, No. 6
83
Raven, T h e . O p . 89, No. 15
160
Restless Love. O p . 5, No. 1
14
Serenade. "Schwanengesang," No. 4
194
Spring Dreams. O p . 89, No. 11
146
Springtide Longings. "Schwanengesang," No. 3 188
Stormy Morning, T h e . O p . 89, No. 18
168
T h e e , love, I greet! O p . 20, No. 1
64
T h i n k me the angel I soon shall be. O p . 62, No. 3
119
T o be sung on the water. O p . 72
70
T o w n , T h e . "Schwanengesang," No. 11
210
T r o u t , T h e . O p . 32
% 46
Wanderer, T h e . O p . 4, N o . 1
30
Wanderer's Night Song. O p . 96, No. 3
69
Whither? O p . 25, No. 2
77
W h o is Sylvia? O p . 106, No. 4
128
W h o ne'er with tears has eaten bread. O p . 12, No. 2
34
Young N u n , T h e . O p . 4 3 , No. 1
100
PAOK
Allmacht, Die. O p . 79, N o . 2
A m Meer. "Schwanengesang," No. 12
Atlas, Der. "Schwanengesang," No. 8
Auf dem Wasser zu singen. O p . 72
Aufenthalt. "Schwanengesang," No. 5
Ave Maria. O p . 52, No. 6
Doppelganger, Der. "Schwanengesang," No. 13
D u bist die Ruh. O p . 59, No. 3
Erlkonig, Der. O p . 1
Forelle, Die. O p . 32
Fruhlingsglaube. O p . 20, No. 2
Fruhlingssehnsucht. "Schwanengesang," N o . 3
Fruhlingstraum. O p . 89, No. 11
Greise Kopf, Der. O p . 89, N o . 14
Gretchen am Spinnrade. O p . 2
Gute Nacht. O p . 89, No. 1
Heidenroslein. O p . 3, No. 3
Horch, horch, die Lerch'. Posthumous
Ihr Bild. "Schwanengesang," N o . 9
Im Dorfe. O p . 89, No. 17
Jagers Abendlied. O p . 3, No. 4
Junge N o n n e , Die. O p . 43, No. I
Krahe, Die. O p . 89, -No. 15
Leiermann, Der. O p . 89, No. 24
Liebe Farbe, Die. O p . 25, N o . 16
Lied der Mignon. Posthumous works, N o . 48
Lindenbaum, Der. O p . 89, No. 5
Lob der T h r a n e n . O p . 13, No. 2
Madchens Klage, Des. O p . 58, No. 3
Morgengruss. O p . 25, No. 8
M u t h ! O p . 89, No. 22
Nebensonnen, Die. O p . 89, No. 23
Neugierige, Der. O p . 25, No. 6
Nur wer die Sehnsucht kennt. O p . 62, No. 4
Post, Die. O p . 89, No. 13
Rastlose Liebe. O p . 5, No. 1
Sei mir gegriisst! O p . 20, No. I
So lasst mich scheinen. O p . 62, No. 3
Stadt, Die. "Schwanengesang," No. 11
Standchen. "Schwanengesang," N o . 4
Stiirmische Morgen, Der. O p . 89, No. 18
T o d und das Madchen, Der. O p . 7, No. 3
Ungeduld. O p . 25, No. 7
Wanderer, Der. O p . 4, No. 1
Wanderers Nachtlied. O p . 96, No. 3
W a s ist Sylvia? O p . 106, No. 4
Wegweiser, Der. O p . 89, No. 20
W e r nie sein Brod mit T h r a n e n ass. O p . 12, N o . 2
Wirthshaus, Das. O p . 89, No. 21
W o h i n ? O p . 25, N o . 2
113
214
204
70
199
107
217
96
19
46
56
188
146
157
I
134
11
125
208
163
28
100
160
184
94
60
140
39
52
90
178
182
83
122
152
14
64
119
210
*94
168
44
86
30
69
128
170
34
175
77
&*"*> $%%+*&*
From a photograph of the original water-color portrait by Wilh. Aug. Rieder (1796-1880^
Painted in May, 1821;
FRANZ SCHUBERT
THE GREATEST OF SONG-WRITERS
[BORN JANUARY 31, 1797; DIED NOVEMBER 19, 1828]
1
I
N 1838, tea years after Schubert's death, been laid in his grave two years before. H e lived
Liszt referred to him as "the most poetic only thirty-one years—fron; 1797 to 1828.
musician that ever lived," and he confessed
There was one man who might have helped
that his songs, as sung by Baron von Schonstein, him to contemporary appreciation of his genius,
had often moved him to tears.
and that man was Beethoven. But, strange to say,
Widely as musicians diverge in their opinions, although Beethoven lived in the same city as
in onething all agree—that Schubert is the great- Schubert for three decades, he did not discover
est of the song-writers. But he was not always so his merits till shortly before his death. A friend
considered; his music was too original and too brought him some of the Schubert songs, and
deep to be appreciated at once. Goethe, for in- after perusing them he exclaimed several times:
stance, who always professed a great interest in "Truly, Schubert has the divine spark!" But it
music, and who was delighted with the shallow was too late to do anything for his modest young
songs of Zelter (now forgotten), not once, in all colleague, who, moreover, followed him into the
his numerous books and countless letters, re- other world a year and a half later.
ferred to Schubert, who set to music no fewer
In those days few concerts were given in Vithan eighty of his poems. A few years before his enna, and it was not customary to sing Lieder
death, when Goethe was an old man, Schubert in them. Opportunities were therefore lacking to
sent him three of his songs {Postillion Kronosy To make the general public acquainted with the songs
Mignorty Ganymede) with this letter:
of Schubert. A few families for whom he played,
" If I should succeed by the dedication of these and his friend the tenor Vogl sang, knew about
settings of your poems in expressing my bound- them; but even they would, no doubt, have been
less veneration of Your Excellency, and perhaps greatly astonished if some one could have told
in winning some regard for my insignificant self, them that Schubert would be rated a century later
I should regard the realization of this wish as the as the greatest of all song-writers.
most fortunate incident in my life."
It is pitiable to read about this young comOn the day when Goethe got this humble note poser's struggles with poverty. Like many other
he also received a quartet from the sixteen-year- men of genius, he was too much of a Bohemian to
old Mendelssohn; to him he sent a gracious let- occupy a regular position as conductor or teacher,
ter of thanks two days later, but Schubert he ut- andhis compositions brought him a mere pittance.
terly ignored. Some years later, it is true, when For his instrumental works there was hardly any
he heard the great Schroeder-Devrient sing The market, and for his songs he was glad to get a few
ErIking, he kissed her on the cheek and exclaimed: dollars; some of the very best of them, indeed
" T h a n k you a thousand times for this grand ar- (included in the JVinter Journey cycle), he sold for
tistic achievement. I heard this song once before twenty cents apiece,—and this was toward the
when I did not like it at all; but when sung in end of his life!
your way it becomes a true pifture." But poor
A song-writer needs above all things a good
Schubert never heard of this triumph, for he had piano; but Schubert was too poor to own one ex-
FRANZ SCHUBERT
X
cept in the last years of his life, so he used to call
on his friends when he felt like playing and improvising. H e liked particularly to play on the
instrumentof Wilh. Aug. Rieder, the painter, who
subsequently became custodian of the Belvedere
Gallery. But sometimes Rieder was busy and did
not wish to be disturbed; so it was arranged that
Schubert should come only when the shade of a
certain window was up. Neighbors often saw the
composer hastening around the corner and looking eagerly atthatwindow; if theshadewas up,his
face beamed with joy; if down, he sadly walked on.
It often happens, especially in German countries, that a man whose greatness was not understood during his lifetime, is fully appreciated immediately after his death. Sometimes, indeed, the
pendulum swings too far in the opposite direction,
This was not the case with Schubert. Even after
his death, decades elapsed before the majority of
musicians and music lovers began to realize that
he belonged in the very front rank of composers,
The songs of Weber, Mendelssohn and others,
vastly inferior to his own from every point of view,
were sung in every household; while Schubert's,
with a few exceptions, were negledted.
It was a pianist, and not a singer, who at last
turned the tide and revealed the abundant treasures of Schubert's songs to an astonished and delighted world. Franz Liszt took a large number
of the best Schubert Lieder, arranged, or rather
translated them forthe piano,and played them in
the cities ofEurope till the audiences "shouted for
joy." The singers, professional and amateur, took
the hint, and from that time on Schubert's supremacy as a song-writer was acknowledged; but the
process of popularization was gradual, and it cannot be said that even now these songs are as often
seen on concert programs as they should be. It requires temperament as well as technic to do them
full justice; and few singers have temperament
CHARACTERISTICS OF SCHUBERT'S SONGS
were many great composers before Schubert; why, then, did it remain for him to praftically create the lyric art-song as late as the first
quarter of the nineteenth century? Because Bach
and Handel, Gluck, Haydn, Mozart, Beethoven,
Weber, and the other great predecessors and contemporaries of Schubert, preferred to put their
best melodies into larger works,—operas, oratorios, symphonies, etc. H e was the first who put
the very best that was in him into the short songs
he wrote; and as his best was unsurpassable, he
became at once the originator and the perfefter
of the modern Lied, or art-song; which not only,
like the best folk-songs, mirrors the mood of the
poem to which it is wedded, but which also has
a pianoforte part as eloquent and important as
the vocal melody itself.
Before Schubert, we might say that sunflowers,
hollyhocks and floweringshrubs and trees chiefly
engaged the attention of all the musical gardeners.
T h e humble violet was little regarded, although
THERE
1
Mozart paid it a pretty compliment. 1 What Schubert did for the small delicate flowers is comparable to what our modern gardeners have done
for the fragrant violet's cousin, the pansy, making it a thing of beauty and a joy forever by ereating an endless variety of quaint markings and
rich colors which thrill every lover of flowers,
And he composed many other kinds of flowers
besides pansies!
Even if Schubert had not felt a special predileftion for the lyric branch of his art, he could
have afforded to squander immortal melodies on
his songs, for he was a melodic millionaire,—the
most inexhaustibly fertile and spontaneous melodist of all times and countries. It is a great mistake to suppose, as many still do, that Italy is the
chief source of melody. Schubert alone utterly
refutes that notion. In 1823—five years before
he died—the Viennese were so intoxicated with
Italian melody that the whole opera season was
given over to Rossini exclusively, and no one
Sit the first number in the collection of " Fiftv Mastersongs b\ Twenty Composers**
FRANZ SCHUBERT
would then have dreamed of ranking Schubert as
high as him; but, as I have said elsewhere/ "what
has become of Rossini's melodies? With the exception of the Barber of Seville and a few tunes
from his other works, age has staled and withered
them; whereas Schubert's melodies are as fresh
and as modern as on the day they were born. Rossini's tunes had the ornamental stamp of fashion,
and fashionable ornament is transient; whereas
Schubert's melodies have the lasting quality of
chaste folk-songs, with the added charms of the
highest harmonic art. Schubert liked Rossini's
music; but his instinft taught him a higher, nobler
style which fashion cannot affeCt."
Some of the singers who produced Schubert's
songs while he was still living used to urge him
to make concessions to the taste of his time, and
write ornamental passages,—runs, trills, roijlades
and other embellishments; but not an inch would
he budge from what he considered to be in good
taste. This stubbornness retarded popular appreciation of his genius; but hq now has his reward,
if immortality is a reward. The fifty songs in this
volume will be sung as long as mankind retains
its interest in any music written hitherto; and
the general appreciation of high art has risen so
much that very few music lovers to-day would
fail to realize that embellishments of any sort
would have marred the glorious perfeftion of these
songs.
The gift of spontaneous, original melody is of
superlative importance to a song-writer; it comes
from heaven,and the "infinite capacity for taking
pains," which has been miscalled genius, can never
give it. But Schubert had other gifts, equally divine; preeminent among them an unprecedented
faculty for modulation. A modulation is, as Philip
Goepp has aptly remarked, a musical change of
scene; "it may be graded or sudden, as in wandering through a plain or over a mountain. Indeed, the quick surprise of new turn of view is
just the same sort of pleasure as the charm of
sudden shift of key." It has been said of Chopin's
Opus i, the Rondo in C minor, that it is "charac1
XI
terized by a freedom of modulation such as Beethoven seldom permitted himself." Schubert came
before Chopin, and he, too, from his earliest years
indulged in this freedom of modulation, which
constitutes one of the greatest charms of these two
masters, and which revolutionized the art, ushering in the modern romantic spirit.
In harmonic modulation, even Schumann and
the ultra-modern Liszt learned more from Schubert than from any one else; and so did Dvorak
and Brahms. No musical historian has yet given
Schubert full credit for his tremendous influence
on these and other composers, especially from the
harmonic point of view; he showed them that
there is nothing that more deeply stirs the emotions of educated music lovers than an unexpe&ed
yet appropriate change of key.
Particularly characteristic of Schubert is the
frequent alternation of major and minor keys.
This is conne&ed with his minute regard for wordpi&ures and changes of mood in the poems he set
to music, and the eflfed: is often thrilling. As Sir
George Grove remarked: " I n almost every song
some example of such faithful painting may be
found. A word will often do it. With Schubert the
minor mode seems to be synonymous with trouble, and the major with relief; and the mere men
tion of the sun, or a smile, or any other emblem
of gladness, is sure to make him modulate."
Schubert was the first to show on a large scale
that, in the words of his friend Vogl, "the finest
poems of our greatest poets may be enhanced,
and even transcended, when translated into musical language." There is reason to believe that
one cause of Goethe's disregard of Schubert was
an instinctive jealousy of a composer whose
genius was so great that it made even his best
poems play second fiddle, so to speak, to the
music.
On the other hand, it is most interesting to observe how Schubert's creative faculty was stimulated by good poetry. The editor of the present
collection was himself surprised to find that the
best seven 2 of the first two hundred and sixty-
"Songs and Song Writers," New York, 1900. This volume uludes a sketch of Schubert}s life.
• Including "N'dhe des Geliebten" beside the first six numbersf this colleclion..
xii
FRANZ SCHUBERT
two songs written by Schubert are all based on
poems by Goethe. Sometimes, indeed, the paroxysm of inspiration was so overwhelming that
he could write first-class music to a second or
third rate poem; but as a rule the best poems
tvoked the best music. For this reason it is to
De eternally regretted that Heine's verses, which
are superior even to Goethe's for musical purposes, did not begin to appear till toward the
close of Schubert's life.
It has often been said that Schubert was uncritical in the choice of his poems; but that is not
true. Dr. Theodore Baker says: " A s to his alleged carelessness in choice of subjects for musical setting, the fa6t is that he took seventy-two
[eighty] poems by Goethe, forty-six by Schiller,
forty-four by Wilhelm Miiller, twenty-eight by
Matthisson, twenty-three by Holty, twenty-two
by Kosegarten, thirteen by K6rner,etc.—that is,
the best at his command." And as Dr. Mandyczewski adds: " I f we take the works of all the
poets he utilized, it would be impossible to make
better seleftions for musical purposes than those
he made."
One thing cannot be denied: Schubert wrote
too many songs. The Breitkopf and Hartel Edition, in ten volumes, comprises six hundred and
three numbers. This includes fifty-two which appear in two versions, two in three versions, and
three in four versions, so that the real number of
songs is five hundred and thirty-eight. Schubert
himself was aware that many of them were far below his high-water mark. Most of these belong to
his early years. In 1815, when he was only eighteen, he wrote one hundred and forty-four, and
in the following year one hundred and ten. Once
he set to music eight songs in a single day.
Under such circumstances an editor has his
uses. While it is true that Schubert had written
about a dozen of his tfest songs (see table of contents of this volume) by the time he was twenty
vears old, a large proportion of the other three
hundred is hardly any better than the majority
of the songs composed before him and now deservedly negleded. A Schubert specialist will find
many interesting details (flashes of genius) in
these, too; but the amateur, whose attention is
claimed by a score or more of other great songwriters, wants only the mastersongs of each composer. The editor has attempted to bring together in the present volume those which represent
Schubert's genius at its very best. Had he written
only these fifty Lieder,he would still be the greatest of all song-writers; and it may be said without hesitation that there is as much genius, and
almost as much variety, in these Fifty Songs by
Franz Schubert^ as in the numbers of the volume
of Fifty Mastersongs by Twenty Composers included in this series.
The " H i n t s to Singers" contained in the volume just referred to may be commended to the
attention of those who take up the study of Schubert. Bear in mind, too, what Schubert once wrote:
" T h e way in which Vogl sings and I accompany,
so thatfor the moment we seem to beone,\§ something
quite new and unexpected to these people." Hiller wrote that" Schubert had little technique,and
Vogl but little voice;" yet they moved their hearers to tears because they merged themselves in
the music: "Voice and piano became as nothing;
the music seemed to want no material help, but
the melodies appealed to the ear as a vision does
to the eye."
Only a small proportion of Schubert's songs
was published during his lifetime, and the opus
numbers of those printed before as well as after his
death are purely arbitrary, and utterly misleading
as to date and sequence. They should therefore
be entirely discarded. In the present collection
the songs have been arranged with reference to
the dates of their composition, which was made
possible by Schubert's good habit of nearly always writing the date of a completed song on the
manuscript.
1. Margaret at the Spinning Wheel— Gretchen am
Spinnrade. The first of the great Schubert songs
—an epoch-making product in the history of the
Lied—is Margaret at the Spinning JVhtel. It is
the thirty-first of the preserved songs, and when
Schubert wrote it he was a boy of seventeen. W h o
had taught this youth to express the deepest feel-
FRANZ
SCHUBERT
xiii
ingof the human heart—a maiden's love—more Love, Bauernfeld relates that when it was written
eloquently in tones than Germany's greatest poet the paroxysm of inspiration was so fierce that
had expressed it in words? That is the miracle of Schubert spoke of it years afterwards. With the
genius. Goethe's Faust has inspired not a few of same irresistible impulsiveness the singer and the
the great composers—among them Spohr, Gou- pianist should reproduce this passionate love
nod, Liszt, Berlioz—to write their masterworks; song.
but in this case it inspired a boy to create a new
thing in art,—the modern realistic song. How 4. The ErIking—Der Erlkonig. Schubert was
pidhiresquely the whirling, monotonous figure of only eighteen when he wrote what many judges
the accompaniment suggests the motion of the consider the most wonderful of all Lieder ever
spinning-wheel! Round and round it goes until composed,— The Erlking, the one hundred and
Margaret,—and this is the finest stroke of gen- seventy-eighth of his songs. Regarding its origin
ius,—in dwelling on her lover's charms and do- Spaun relates that one afternoon he went with
ings, recalls his kiss in a passionate outburst of a friend to call on Schubert. They found him all
song. Here her feelings are so overwhelming that aglow reading Goethe's Erlking aloud. H e walked
she forgets the wheel, and it stops for several up and down the room several times, book in
bars. Then, slowly and softly, the spinning, and hand, then suddenly sat down, and fast as pen
a little later the song are resumed—softly, but could travel put the superb composition on paper
more and more excitedly, until, at the close, there nearly in its present form, though he subsequently
is a relapse into the melancholy, pensive mood made some changes.This ballad by the boy Schubert is as splendidly and realistically dramatic as
— " M y heart is sad."
anything Wagner wrote in his most mature years.
1. Hedge-Roses—Heidenroslein. Goethe, as was The incessant galloping triplets in the piano part;
intimated in the introductory remarks, was not not only impersonate the horse, but conjure up
enough of a musician to understand Schubert's the storm.The coaxing Erlking, the terrified child,
original genius. ("I am no judge of music," he the soothing father, have all a language of their
himself wrote in 1796.) It is not likely that he own, different from the narrative, and the singer
would have appreciated a through-composed must modify his tone and style accordingly. The
song like Margaret at the Spinning Wheel (in which dissonance of the child's shriek was something
the music changes in the different stanzas), for he new, thrilling, terrible, epoch-making in music.
was old-fashioned enough to believe that the same (See Songs and Song Writers, pp. 72-76.)
melody should be repeated without change in the
several stanzas of a poem. There was nothing, 5. Hunter's Evening Song—J'dgers Abendlied. A
however, to prevent him from liking the Hedge- lover's reverie, this song must be sung very slowly
Roses, for that is of the strophic kind he wanted. and softly. It is one of the songs which Goethe
It is simple as a folk-song, yet imbued with the probably would not have liked, because the mufragrance of individual genius. It follows the ac- sic is so much more beautiful than the poem.
cents and the spirit of Goethe's poem with charm- Schubert, although he adored Goethe, had the
ing fidelity, and must be sung tenderly and courage to omit the third of the four stanzas,
which has no poetic merit.
naively.
3. Rest/ess Love—Rastlose Lie be. Sir George
Grove speaks of " t h e almost fierce eagerness"
with which Schubert attacked poems that seemed
to him suitable for composition, and of "the inspiration with which the music rushed from his
heart and through his pen." Regarding Restless
6. The Wanderer—Der Wanderer. Another one
of the early songs that reveal Schubert's genius
full-fledged. Were it not for The Erlking of the
preceding year, it would seem almost impossible
that such a Lied could have been written in a
paroxysm of inspiration in one evening by a
xiv
FRANZ SCHUBERT
youth of nineteen. It is, and has long been, one
of the most popular of all songs, both in the parlor and the concert hall. Its publishers made
twenty-seven thousand florins with it in the years
1822-18 61, and to-day more copies are sold than
ever; but poor Schubert, when he died,left worldly
possessions valued at only twelve dollars.The passage in The Wanderer beginning with the words,
"Die Sonne diinkt mich hier so kak," was used
by Schubert in 1820 as the theme of the adagio
in his C major fantasia for pianoforte. H e knew as
well as any one when he had written something
particularly good.
her in soothing words not to dread him, since he
has come not to punish but to let her sleep gently
in his arms, his monotonous, cavernous tones and
the strange modulations tell us his real intentions. Note the simple but wonderful modulations
from the words "bin nichtwild" to "schlafen."
Sir George Grove, who did so much to popularize Schubert in England, refers to those celestial
modulations in a letter to a friend: " I am glad to
send you the theme, because it is too delightfully
mournful to play, and the last three notes (mind
you make the turn and catch the B natural) are
like an escape into heaven." Schubert himself,
who was twenty when he wrote this song, knew
7. Who neer with tears has eaten bread— Wer nie full well that its brief theme was pregnant with the
sein Brod mitThrHnenass. Among the one hundred suggestion of countless ravishing beauties. These
and five songs of the year 1816, three are preem- he subsequently revealed in the slow movement
inent,— Who neer with tears has eaten breads Hun- of his D minor quartet—the most inspired set of
ter s Evening Song and The Wanderer. The first- variations in the whole range of music.
named is, like several other Schubert songs, based
on the lyrics interspersed in Goethe's novel Wil- 10. The Trout—Die Forelle. Still another song
helm Meistery being the second of three Songs of which Schubert subsequently utilized as a theme
the Harper. It is simple, yet full of feeling. Note for variations in the quintet, Opus 114. With the
the unconventional ending—one of Schubert's exception of The Er Iking it is the only one of
his songs of which he made four versions. It was
peculiarities.
written at midnight, and the first manuscript has
8. In Praise of Tears—Lob der Thrclnen. This is a large blotch of ink over its first bars, with a few
one of the most tuneful of Schubert's songs — explanatory lines in Schubert's handwriting at the
as simple and spontaneous as a bird melody. The bottom of the page: " J u s t as I was about to hurpiano part also is easy, and altogether it is a good riedly throw on the sand, being somewhat sleepy,
Lied for singer, player and hearer to begin with I seized the inkstand and calmly emptied it. What
in making the acquaintance of the greatest of a calamity!"
song-writers. It is probable that the lovely melody rushed into Schubert's head assoonas he had 11. The Maiden's Lament—Des Mddchens Klage.
read the first stanza, which sounds like a spring Schiller did not inspire so many mastersongs as
poem, for it is less appropriate to the other stanzas, Goethe. Of the forty-four of his poems used by
Schubert only one, The Maiden s Lament^ can be
which suggested the title of the poem.
included among his best fifty songs; but this one
9.- Death and the Maiden—Der Tod und das is a gem, both poetically and musically,—a wonMiidchen. No song ever written has so much gen- derful mood-pidure. Never has the "ecstasy of
ius and emotion condensed into such a few bars woe" been more eloquently expressed than in
as this. Certainly there is none that conjures up this Lied. An interesting facsimile of one of its
a sombre mood with such simple means. After versions, dated May 15,1818, is printed in HeuL
the poor girl has begged the "skeleton man" to berger's Franz Schubert , page 2$. The first two
pass her by because she is so young, how full of stanzas of Schiller's poem appear in his Piccologloomy foreboding are the two bars leading over mini, A6t I I I , Scene 7, where Thekla sings them
to the second speaker—Death! And while he asks to the accompaniment of her guitar.
FRANZ
SCHUBERT
12. Faith in Spring—Friihlingsglaube. Uhland's
poem is like many others that express our joy at
the return of spring; but few spring poems have
received so spontaneous and melodious a setting
as this one. Its air is like a spring zephyr.
XV
pianist fully shares the honors with the singer,
if he is an equally good musician. Indeed, while
the voice adds much to its effediveness, especially at the climax, it also makes a fine piece for
piano alone. How admirably the accompaniment
refleds the shimmer of the water over which the
13. Mignon's Song—Lied der Mignon. The Miboat glides, and how varied to the ear is the seemgnon poems, in Goethe's novel Wilhelm Meister,
ingly monotonous rhythmical figuration!
were special favorites of Schubert. Among them
there are two settings of So lasst mich scheinen bis
The Beautiful Miller-Maid—Die Schone
ich werde, which have been strangely negleded
Mullerin
hitherto, although one of them was a favorite of
Liszt, who arranged it for orchestra. The first of THREE song cycles are included in the list of
them, dated 18 21, with which we are here con- Sehubert's works. The first of them is The Beauticerned, is so exquisitely musical and spontane- ful Miller-Maidy a setting of twenty poems by
ous that it cannot have been dissatisfaction with Wilhelm Miiller (the father of Max Mfiller),
it, but simply a delight in the poem, that induced which Schubert: composed in one week— the first
Schubert five years later to give it another set- seven in one night! (See Songs and Song Writers,
ting (see number twenty-six of this collection) pp. 83-85.) They tell the story of a young man
entirely different. Both of them are ravishingly who has learned the miller's trade, and who one
beautiful, pervaded by a euphony of melody and day follows a brook that leads him to a mill whose
harmony such as was rare before Schubert.
owner has a pretty daughter. H e secures a place
as assistant, and promptly falls in love with the
14. Thee, love, I greet!—Set mir gegrilsst! At
girl. Apparently she loves him, too; but her mind
first sight this song seems rather too cheerful for
is changed by the appearance ofa gay young huntsa lover's lament that his beloved is so far away.
man.The first ten songs present the various phases
The key to the spirit lies in the last lines: "Time
of the young miller's courtship. In the eleventh he
and space cannot affed true love. I am happy at
is at last able to proclaim that the beloved maid
the mere thought that I am holding her in my
is his; but with the fourteenth the hunter aparms and kissing her lips."
pears, exultation is displaced by jealousy and
15. Wanderer's Night Song—Wanderers Nacht- wounded pride; and convinced that she is lost to
lied. The famous poem on which this exquisite him forever, the young miller drowns himself in
song is based was written by Goethe on a Septem- the brook, which in the last song sings his lullaby.
ber night in 1780, with lead pencil, on the inside
It is not customary to sing these twenty songs
wall of a ducal hunting pavilion near Ilmenau. It in succession. Not all of them are of equal value,
is one of the briefest poems in all literature; yet . and while it is not possible to admit all the good
what a wonderful pidure of Nature at rest it con- ones into this colledion, it must be admitted that
jures up before our eyes! Of Schubert's music it about half the numbers of the cycle fall considsuffices to say that it is fully equal in beauty to erably below Schubert's high-water mark. The
the poem. Note particularly the ravishing efFed five chosen for this volume will doubtless induce
of the climax at the word balde (soon). There most singers to acquire and study the whole cyare only fourteen bars in this song, but they are cle for their own gratification. For the entertainbars of gold, containing more of the quintessence ment of others, it is allowable and preferable to
of music than many a long symphony or opera. take a few of the best songs separately; and nothing is lost by so doing, provided the hearer
16. To be sung on the water—Aufdem Wasser zu
knows the general outline of the story as just
singen. In this song, as in so many others, the
xri
FRANZ
SCHUBERT
given. The bond of union is in the poems rather
than in the music; although it might be said that
the songs are musically united by the sound of
the ever-present brook, which is represented by
an amazing variety of rhythmic devices, modified to suit the diverse scenes of love and jealousy, hope and despair.
17. Whither ?— Wohin ? On listening to this,the
second song of the Miller cycle, could any one
fail to guess that he is supposed to hear the babbling of a brook, and the voices of the nixies who
are telling the young miller to follow it as a guide
to the pretty maid of the mill? Here is aquatic
realism equalled only in the opening scene of
Wagner's Rhinegold.
18. The Questioner—Der Neugierige. This, the
sixth song of the cycle, was a special favorite of
the Bohemian composer Smetana, who arranged
it for pianoforte. T h e lover implores the brook
to tell him: "Will she say Yes or N o ? "
me under the greensward—for green is her favorite color." The pathos of the situation is much
heightened by the exquisitely tender and sad music. Note the lovely duo which the pianist's left
hand sings with the voice. T h e F sharp in the
right hand might be taken as symbolical of green,
for it is as persistently repeated as the references
to that color in the poem.
• •
22. My Peace Thou Art—Du bist die Ruh. This
favorite song belongs to the same year (1823) as
the Miller songs, being separated from them by
only one song. It is, as William Arms Fisher has
aptly characterized it, "one of the most spiritual
flights in all song literature."
23. The Toung Nun—Diejunge
Nonne. " W h o
was Craigher, the author of this splendid song;
and would he ever have been heard of but for
Schubert?" asks Sir George Grove, who further
remarks that in this wonderful Lied, which has
also the advantage of a strong religious element,
19. Impatience—Ungeduld. The seventh song
"the personal feelings and the surroundings are
of the Miller cycle is not particularly well named.
so blended—the fear, the faith, the rapture, the
It does not express the lover's impatience so
storm, the swaying of the house, are so given—
much as his eager desire to have every tree and
that for the time the hearer becomes the young
flower and bird proclaim his love to the world.
nun herself. Even the convent bell, which in other
Nothing could be more superb than the outhands might be a burlesque, is an instrument of
burst of passion with which he makes all nature
the greatest beauty." Though written in 18 2 5, this
proclaim to her: " T h i n e is my heart."
song is ultra-modern in declamation, harmony,
20. Morning Greeting—Morgengruss. Number and general spirit—as modern as Parsifal, which
eight of the Miller cycle. Lovers generally sing was written fifty-six years later, and which it actutheir serenades in the evening, but here is a morn- ally suggests at the words "undfinsterdieBrust."
ing serenade, or rather, aubade, which vies in me- Parsifal was Wagner's last work, and the Schulodic charm and spontaneity with any evening bert songs were among the compositions which he
song ever sung by a romantic lover since court- continued to admire most to the end of his life.
ship was invented.
24. Ave Maria. Another great religious song fol21. The Favorite Color—Die Hebe Farbe. Num- lows close upon The Toung Nun—the far-famed
ber sixteen of the Miller songs. The miller's rival Ave Maria, one of several settings of poems from
is attired in green, and he hunts in the green for- Sir Walter Scott's Lady of the Lake made by Schuest—hence green has become the favorite color bert. It was written in 1825, during the summer
of the pretty maid whose heart he has stolen. In of which year he had the one delightful vacation
his despair the young miller asks himself, "Shall of his life, seeing the fine mountain scenery of
I, too, hunt in the green woods in green attire?" Austria, and with Vogl visiting friends and enter"But no," he replies, "my quarry is Death. Bury taining them with his ravishing new music. The
FRANZ SCHUBERT
xvii
Ave Maria, being e*sy to understand, was partic- it as a solo song, Schubert set it as a duo, and as
ularly admired. H e wrote that his new songs from a quintet for two tenors and three basses. In the
The Lady of the Lake had been very successful. version here given it is the best known of his
"People were greatly astonished at the devotion Mignon songs.
which I have thrown into th H ymn to the Blessed
28. Hark! hark! the lark—Horch, horch.die Lerch\
Virgin, and it seems to have seized and impressed
Not a few amateurs consider this the most deeverybody. I think that the reason of this is that
lightful of Schubert's songs; like The Erlking it
I never force myself into devotion, or compose
has also become very popular in Liszt's version
hymns or prayers unless I am really overpowered
for pianoforte. The circumstances under which
by the feeling; that alone is real, true devotion."
this serenade was written admirably illustrate the
25. The Almighty—Die Allmacht. Still another spontaneity of Schubert's genius. One afternoon,
great religious song, surpassing even the other as he was sitting with some friends in the gartwo in grandeur and fervor. It is worth noting den of a tavern near Vienna, he saw a volume
how near together are these three religious songs of Shakespeare on the table. H e took it up and
—which may be safely sung on Sundays by the turned over the leaves till he came to Hark!
most pious; being numbers 469, 474 and 479 hark! the lark, in Cymbeline. After looking at it a
in the list of Schubert's Lieder* Liszt, who was few moments, he exclaimed: " A lovely melody
as deeply religious as he was musically inspired, has come into my head; if I only had some music
adored The Almighty , of which he made an ar- paper!" One of his friends drew a few staves
rangement for tenor solo, chorus and orchestra, on the back of a bill of fare, and Schubert, undisin order to bring out all the sublime effe&s of turbed by the tavern noises,jotted down this maswhich he felt it to be capable. But it can be made terwork. An attempt has been made recently to
thrilling with the voice and piano alone, provided cast doubt on this story, which was told by Schuthe singer and the player are endowed with emo- bert's friend Doppler. Heuberger points out that
tional warmth and the gift of building up a dra- the manuscript is in a note-book containing sematic climax. The greatest of religious composers veral other songs. But this does not disprove Dop—Palestrina, Bach, Handel, Liszt—at their best pler's story, for Schubert may have copied the
song from the bill of fare into his note-book when
never surpassed this song.
he got home. While generally known as a sere26. Think me the angel I soon shall be—So lasst nade, Hark ! hark! the lark is really an aubade, or
mich scheinen. See the comments on number thir- morning song.
teen, which is a setting of the same verses—one
of the Mignon songs. Some of the poems of 29. Who is Sylvia? — Was ist Sylvia? Schubert
Goethe and Heine have been set to music by a composed three songs to Shakespearian poems,
hundred or more composers, and in a few in- all in July, 1826. Next in popularity to Hark!
stances (including The ErIking^ The Lotos Flower, hark! the lark, from Cymbeline\ is Who is Sylvia^
Thou art like a flower) several, mas tersongs have from The Two Gentlemen of Verona. The third,
resulted. But who except Schubert could have the drinking-song from Antony and Cleopatra, is
written two mastersongs on the same text? The less interesting. The music of Who is Sylvia, like
pianist must be careful not to spoil the climax that of all the Schubert songs, speaks for itself,
by playing the chords of the crescendo in the sev- and needs no parsing or analysis to make it comenth bar from the end incorrectly or stumblingly. prehensible.
Winter Journey—Winterreise
27. None but the lonely heart—Nur wer die Sehnsucht kennt. Beethoven composed the text of this SURELY the luckiest of all minor poets was Wilsong four times; Schubert five times. Beside using helm Miiller. In 1823 Schubert set to eternal
xviii
FRANZ SCHUBERT
music his Miller songs. Four years later he immortalized him again by using his Winter Journey
poems as a basis for a second song cycle. These
poems were dedicated to Karl Maria von Weber;
but a greater was destined to use them. It may
be said without the slightest hesitation that the
twenty-four numbers of this song cycle include
the best songs ever written. Had Schubert composed nothing but these, he still would be the
greatest of all song-writers. They are ineffably
sad, like all that is best in art; and this sadness
is partly the result of his artistic temperament
(he had no comic vein), partly of the circumstances of his life, and partly of the gloom that
pervades the poems." M y musical compositions,"
Schubert once wrote in his diary, " are the product of my intellect and my sorrows; those which
were born of sorrow alone, appear to give the
world the most satisfa&ion."
Spaun relates that for some time (in 1827) his
friend Schubert had been in a melancholy mood.
One morning he said to Spaun: "Come to Schober's to-day, I '11 sing you a cycle of weird songs.
I am anxious to know what you will say. They
have affected me more deeply than any of my other
songs." Spaun went, and Schubert sang the whole
of the Winter Journey. His friends were dumfounded by the gloomy mood of these songs, and
Schober remarked that he liked only one of them
— The Linden Tree. Schubert replied: " I like
these songs better than any of the others, and you
will come to like them too." H e was right, for,
as Spaun adds, " W e soon became enthusiastic
over these melancholy songs, which Vogl sang incomparably."
The opinion of these songs current in the highest musical circles is well summed up by Heuberger, who says: " We of to-day know that beside the most touching pages in the literature of
all times, beside the Book of Job and many passages in Ecclesiastes, the Winter Journey of the
thirty-year-old Schubert must be placed as equal
in grandeur."
every amateur should possess complete), there
are at least thirteen which cannot possibly b*
omitted from a collection of the best fifty^Schubert songs. They are Good Night, The Linden
Tree, Spring Dreams, The Post, The Gray Head, The
Raven, In the Village, The Stormy Morning, The
Guide-Post, The Inn, Courage, The Mock Suns,
The Hurdy-Gurdy Man. T h e very first of these
brings us into a new, bewitching musical atmosphere, even if we are familiar with the other
Schubert songs; and in this atmosphere we remain to the end of the cycle. In Good Night, the
transition from minor to major at the words "Will
dich im T r a u m " is of ineffable beauty.
31. The Linden Tree—Der Lindenbaum. T h e
Winter Journey poems (reveries and lamentations of a disappointed lover) do not tell a continuous story, as the Miller cycle does, wherefore they can with even more propriety be sung
separately. Schubert himself did not follow the
order adopted by the poet. The Linden Tree has
long been a favorite in circles where its more
doleful companions are unknown.
32. Spring Dreams—Fruhlingstraum. A winter
dream of spring and love in which joy and sadness, anticipation and longing, are mingled with
Schubert's incomparable art. It is interesting to
note that whereas in M tiller's cycle this poem
comes near the end (number twenty-one), Schubert, with keener psychologic insight, makes it an
earlier number (eleven), rearranging the poems so
that those which express the most poignant grief
and despair come at the end.
^^. The Post—Die Post. With number thirteen,
the Winter Journey songs become more and more
gloomy. The Post depi&s the anguish of soul resulting from the failure of the coach to bring a letter from the city where the beloved dwells. This
song is in major and rather animated in tempo;
yet, as Sir George Grove has remarked, " Even
in the extraordinary and picturesque energy of
The Post there is a deep vein of sadness."
30. Good Night— Gute Nacht. Among the twenty- 34. The Gray Head—Der greise Kopf. A deeper
four numbers of the Winter Journey cycle (which vein of sadness pervades this characteristic song,
FRANZ SCHUBERT
xix
in which the unsuccessful lover laments that the
grave is still so far off.
a minor key—a vain effort, disconsblate, like all
the others.
35. The Raven—Die Krahe. In this gruesome
poem the young man fancies that a raven has followed him from the town in the expectation of
dining on his body. For days it has hovered over
him — "faithful to the grave." The Raven was one
of Rubinstein's favorites.
41. The Mock Suns—Die Nebensonnen. Another
doleful song in a major key! Schubert in every
bar. What the three suns are is not clear from
the poem. Max Miiller wrote to Friedlander regarding his father's poem: " I share your belief
that the sun and the two eyes of the beloved are
meant. As these two suns shine no more, he wants
the third, the real sun of life, to go down too."
36. In the Village—Im Dorfe. Barked at by the
chained dogs, the disappointed lover roams the
streets while all others in the village are asleep,
enjoying in their dreams the things they have
not. " W h y tarry among the sleepers?" he asks
himself; "have I not dreamed my dream?"
37. The Stormy Morning—Der sturmische Morgen. Blustering rhythms introduce a song in which
the unhappy youth fancies that the gray sky and
the flying clouds aie simply the refle&ion outdoors of the winter in his soul. In nineteen rapid
bars Schubert has here portrayed a miniature
storm as perfed in its way as the introduction to
Wagner's Valkyr.
38. The Guide-Post—, Der Wegweiser. Sadder and
sadder become the poems, more woe-begone the
music. The Guide-Post shows us the sign-post
which points to the "undiscovered country from
whose bourn no traveller returns." It is heartrending music, andone of its sublime touches is
the unchanging G of the melody during the six
bars in which the lover's eyes stare fixedly at the
guide-post. Here is musical realism in the highest sense of the word.
$g. The Inn—Das Wirlhshaus. If possible, a still
greater miracle of genius and ineffable sadness
than The Guide-Post is The Inn. This "tavern"
is a graveyard which seems to invite the weary
wanderer; but every room is taken, and there is no
rest for him. Here again Schubert has written in a
major key a song more pathetic than other composers have written in minor keys.
42. The Hurdy-Gurdy Man—Der Leiermann.The
disconsolate climax of the Winter Journey is
reached in this wonderfully realistic and pathetic
song. The hurdy-gurdy is an instrument played
with a crank, but otherwise entirely unlike a handorgan, though played inthestreets. It isastringed
instrument, and two of its strings yield an unchanging drone-bass of two tones a fifth apart.
This drone-bass Schubert imitates by repeating
the notes A E (in the original key) incessantly
throughout the sixty-one bars of the song, producing an ineffably melancholy and realistic effedt,
which is heightened by the equally characteristic
melody. Though the music is thus simply a mirror of the text, one cannot help reading into it
a bit of autobiography—for did not Schubert,
also, sing on incessantly; and did not his tray,
too, like that of the hurdy-gurdy player, remain
forever empty? Lachner saw him selling some
of these Winter Journey songs to a publisher for
twenty cents apiece.
Swan-Songs—Schwanengesang
SCHUBERT'S last pen-strokes were made in correcting the proof-sheets of the Winter Journey
while he was in bed with typhoid fever. In the
time betweenthe writingand the printingof these
Lieder he wrote thirteen more detached songs,
beside the fourteen which form the Swan-Song
cycle and which were published as his last gifts
to singers. The title was of course given by the
40. Courage ! — Muth! The lover shakes off the publisher, but it appears that Schubert had insnow, and tries to sing merrily to keep up his tended these fourteen songs, with more to come,
courage. But the song, though brisk, is mostly in to form a series, and that their sequence was de-
XX
FRANZ SCHUBERT
termined by himself. There is no connection between these compositions, or between the poems,
which are by three writers,—Rellstab, Heine
and J. G. Seidl.
43. Springtide Longings—Fruhlingssehnsucht. In
1825 Rellstab seleded some of his lyrics, copied
them on separate sheets of paper, and gave them
to Beethoven for composition. After Beethoven's
death they came into the hands of his friend
Schindler. In his house Schubert came across
them, and two days later he brought back three
of them, including My Abode, set to immortal
music. Four more were composed subsequently.
T h e third of them is Springtide Longings, one of
the most vivacious of Schubert's songs.
a climax as can be found in vocal music. T h e
most delightful of interludes is the eight bars following the words "bleibet mein Schmerz." The
A sharp (original key) in the sixth of these bars
is one of those strokes of genius which make the
study of the Schubert songs a source of ever-increasing delight. Only in the white heat of genius could that A sharp have been written.
46. Atlas—Der Atlas. T h e greatest calamity that
ever befell the musical world was the early death
of Schubert. Ever to be regretted, too, is the fad
that Heine's Book of Songs did not appear till
shortly before Schubert's death. Heine remains
to-day the favorite poet of the great composers;
and how well adapted his lyrics are to inspire immortal music is illustrated by the fad: that of the
44. Serenade — Standchen. Of all the Schubert six Heine songs set to music by Schubert, five
songs this one is the most easily comprehensi- clamor for a place among his best fifty songs.
ble, and therefore enjoys the widest popularity. They are the last of his Lieder, except the last
T h e publishers were always begging him to write of all,—Seidl's The Fishermaiden; and they are
easier piano parts, and here he seems to have com- as different from one another as Shakespeare's
plied with their request.
plays, Chopin's preludes, Beethoven's sympho45. My Abode—Aufenthalt. This is one of the nies and Wagner's operas. T h e first of them emcpmpositions which made Rubinstein exclaim bodies the gloomy, tragic, heaving agony of Atlas,
rapturously: "Once more, and a thousand times bearing on his shoulders the sorrows of a world.
more, Bach, Beethoven and Schubert are the This song is as ultra-modern as The Young Nun.
highest pinnacles in music!" It is a song which, Compare the agonizing "brechen will mir das
if well sung, sends the cold shivers down one's H e r z " with the Amfortas music in Wagner's
back, whether it be heard the first or the hun- Parsifal.
dredth time. There is in it as superb an energy 47. Her Portrait—Ihr Bild. H o w utterly differas in The Erlking. T h e pedants by whom Schu- ent from the gloom of Atlas is the tender pathos
bert was surrounded (Lachner in particular) used of the youth who, in Her Portrait, gazes at his
to annoy him with the charge that he knew no beloved's pidure as in a dream, and cannot becounterpoint; and he had adually made up his lieve that he has lost her. This is surely one of
mind, shortly before his death, to take lessons of the ten best of Schubert's songs.
Sechter. But if counterpoint is the art of making
every voice or part in a composition melodious, 48. The Town—Die Stadt. In The Town the poet
where is there a better specimen of it than My fancies himself being rowed away in a boat, and
Abode, with its glorious melodious bass, and me- the rays of the setting sun give him a final glimpse
lody in every note of the harmony ? Schubert's of the city where his beloved dwells. In this song,
genius taught him more about counterpoint, so as Mr. Elson has remarked, " t h e steady plash
far as it has any musical value, than a thousand of the oar «f the boatswain and the gray stillness
Sechters could have taught him. Of other re- of the waters at eventide are pidured with graphic
markable things, note the high G (in the origi- power by a constantly recurring broken chord."
nal key) eighteen bars before the end—as grand There is much realism of this sort in Schubert.
FRANZ SCHUBERT
49. By the Sea—Am Meer. T h e greatest of all
songs of the sea." Listen," says Philip Hale, " t o
the few chords that introduce and close By the Sea.
They at once suggest a mood. They speak of the
sea at nightfall, and yet how simple the main accompaniment! How simple the structure of the
song itself!"
50. My Phantom Double—Der Doppelgdnger. Just
as Wagner created not only one epoch, but two
epochs in the history of the opera, so Schubert
created an epoch in the history of the Lied with
his Margaret at the Spinning Wheel and The Erlkingy and another one with My Phantom Double,
the last but one of his songs. Heine's poem brings
before our eyes a man who goes at night to gaze
XXI
at the house where his beloved used to dwell. In
front of the house, to his dismay, he beholds a
pale man gazing at her window, wringing his
hands in agony; and the moonlight shows him
that this other man is his own self—his phantom
double. Schubert's music, bar by bar, would fit
no other poem but this gruesome tale. The music enters into the minutest details of the scene,
not only verse by verse, but word by word; so
that we have here an anticipation not only of
Schumann but even of Liszt. In declamation, in
.harmony, it is as modern as Wagner. It is the
most thrilling, the most dramatic of all lyrics;
and in penning it Schubert helped to originate
the music of the future.
BIBLIOGRAPHY
Biography in English
F R O S T , ft. F . : Schubert. London, 1881
HELLBORN, KREISSLER VON : Franz Schubert. Translated by A. D.
COLERIDGE.
2 vols. London, 1869
Biography in German and French
A U D L E Y , A.: Franz Schubert. Paris, 1871
B A R B E D E T T E , H . : Franz Schubert. Paris, 1866
HEUBERGER, RICHARD: Franz Schubert. {Illustrated) 1902
NIGGLI, ARNOLD: Schubert. (Reclam Edition.) Leipzig, 1889
REISSMANN, AUGUST : Franz Schubert. 1873
Essays and Sketches
BACH, ALBERT B . : The Art Ballad; Loewe and Schubert. London, 1890
C U R Z O N , HENRI : Les Lieder de Franz Schubert. Paris, 1899. (Gives a chronological list of Schubert's Songs)
ELSON, Louis C.: History of German Song. Boston, 1888
FINCK, HENRY T . : Songs and Song Writers (pp. 40-104). New York, 1900
FISKE, JOHN : Famous Composers and their Works, John K. Paine, editor. Boston, 1891
FRIEDLANDER, MAX : Beitrage zu einer Schubert Biographic (The same writer has in preparation an exhaustive work on Schubert)
Supplement to Peters' Edition of Schubert's Songs
HANSLICK, E . : Geschichte des Concertwesens in Wien. 1870
LA M A R A : Classisches und Romantisches aus der Tonwelt
Musikalische Studienkopfe
M A N D Y C Z E W S K I : Revisionsbericht, accompanying the Breitkopf and Ha*rtel Edition of Schubert's Songs
REISSMANN, AUGUST: Geschichte des deutschen Liedes. 1874
Articles on Schubert
DVORAK, ANTONIN: Schubert. Century Magazine, July, 1894. (Pronounced by Sir George Grove the best
article on Schubert ever written)
GROVE, SIR GEORGE: Schubert. Grove's Dictionary of Music and Musicians, Vol. Ill, pp. 319-382. See,
especially, pp. 371-372
R I E M A N N , HUGO : Geschichte der Musik seit Beethoven, pp. 121-140, etc.
SCHUBERT, FERDINAND (brother of Franz Schubert): Biographical sketch. Neue Zeitschrift fur Musik, April,
May, 1839
For other articles in German periodicals see Grove's Dictionary of Music and Musicians, Vol. Ill, p. 373
See also article in Wurzbach's Biographisches Lexicon and in Chrysander's Vierteljahrsschrift fur Musikwissenschaft, 1893, PP* 166-185, and Deutsche Rundschau, V.ol. XXIII, No. 5
There are countless editions of the songs of Schubert. The most complete are those of Breitkopf and H2rtel and
of Peters. Grove's list 1* now superseded by the lists given in the above-mentioned works of Mandyczewski and
Curzon.
SCHUBERT
Is there a sweeter note than thou hast sounded?
Has life some primal undiscovered chord
Strung to the tenser moods of hope, and rounded
In that diviner sphere where Love is Lord?
WILLIAM J. HENDERSON
FIFTY SONGS
BY FRANZ SCHUBERT
MARGARET AT THE S P I N N I N G - W H E E L
(GRETCHEN AM SPINNRADE)
(Composed in 1814)
(Original Key, Dminor)
From "Faust"
JOHANN WOLFGANG von GOETHE (1749-1832,
Translated by Frederic Field Bullard
FRANZ SCHUBERT, Op. 2
A l l e g r o n o n t r O p p O (Nichizu
VOICE
geschwind) (J .=72)
¥
Met
A
f \\
sempre legato
mi •mrrmnm
i
inn i
ffz$
I
pp
PIANO
m
J3JL sempre
=r
smemie
7
p
W
- ne
i
J
- er
re
- de
sie
p r
g
"Twill
oer;
tcft
scAzper;
gEafe
F
r
nev /in
-
er,
de,
'twill
ich
f
Copyright MCMIV by Oliver Ditto* Company
nev fin -
H—i li> j - ^ - > - H
T
ML-MT-*
2
*=F
$
* * ' L=^$J
Since my
Wo ich
$
world
si \l
with
- ze
woe
Welt
j-*&^
doth
ist
love.
ihn
o
is
in
not
nicht
J^&^
ver
ML-627-10
$
¥sore
u p 'r
dis ver -
mtr_
P
tressed,.
riickt,
My
ar -
mein
v »r r r r»r r r frj^j i cXr i
•
* p i ach
r -
m r m
%
m
m m- m
/
^
^
#—#
^
^
"'rrrrirfnjjM
^
V
?•
I
^
i
V
<l
O
ly
Jfei- ne
r
^
heart .
Ruh'—
»
is
ML-627-10
ML-637-iO
r
W
•
*
2
r
r
s
g
-
high,
stalty
tf'
^
And his
set - nes
mer
Mun
- ry
- des
ere -
laugh - ter,
Lii - c/iefri,.
- seen -
*
and the
set - ner
- do -
ML- 62?-10
6
i> >U'
*
might.
Au -
. of
-gen
his
Ge -
£
g
The
eye,
-waif,
r
magset -
Up
1C
ner
ML-6^7-10
£
p^£
^
o'er,schwer;
'Twill
nev
-er,
icA
/in -
- de%
P
^
g
turn
film
'twill
ich
^
> j>
*
- er
nev
J>
re
^
er
- more!
- wer
- mehr.
decresc. -
s
4V
*
f
a
«
ttj v i>J* j
r
v J»
f<
i
4
4
i
4
ML-6J57-IO
8
fc£^
5p
Or'' 'T
would
diirft'-
^
back!
I
*
might
icA
seize
^/as -
J^ j
him
- sen
.h it
and
und
M~~-/' iM
?
And
kiss
him a und
kiis -
-sen
hold.
^
gam,.
ihn%
^P
him
-ten
^
^
as
so
ML-627-IO
9
fenns
^
kiss -
mg
EMS
sen
were
griev
t?er
b
r-
r=*
?S
£
h
(•'
r-
«
t
ous
wrong!
Aen
sollf,
<
r
J'
Oh,
0
J> /
ML-UT-10
10
t
griev
*
P
i |J-
ous
wrong,
Al -
though.
hen
sottfy
an
sei -
S
ih~T~Jr
mg
were
sen
ver
griev
-
g*e -
^S P
that
*
ous
wrong!
hen
solWl
ML-i*T-10
11
HEDGE-ROSES
(HEIDEN-ROSLEIN)
(Composed in 1815)
(Original Key, G)
JOHANN WOLFGANG von GOETHE (1749-I832)
Translated by Charles Fonieyn Manney
FRANZ SCHUBERT, Op.3,N? 3
Con tenerezza (Liehikh) (J=69)
r
lh M J^ JU^ J I Jj ^
VOICE
Once a boy a
Sah ein KnaV ein
PIANO
h ^ - J TJ~^^
rose es - pied
Ros - lein
In the hedge-row bloom - ing*
steh'n,
Ros-lein
auf
der
Hei -
den,
W^t
PP
^m
^m
^
B
^
| | "ff Jt J J .H jg Jl
Fresh and young, the
aar
i
so
Jung
und
J> Ufl
I ,> J
£not her
hide,
charms to
^
morn-ing's pride,
mor - gen - schon,
Thinking
lief er schnell, es
nah
k
^
zu
*j
^
seKn,
T
j 1
93F^
/TN
&** J? J l ^ i J ^ ^ i
All
satis
the
mit
air
vie -
per len
rtf.
h J> J ii m£
/T\
fum - ing.
Lit-tie
wild rose,
wild rose
red,
Freu
JRas- lein,
Ros - lein,
Ros - lein
roth,
-
den.
Copyright MCKIV by Oliver Ditson Company
ML-«2«-S
12
a tempo
I
In the hedgerow
bloom -ing.
Ros.lein
Hei
auf
der
-
n J> J' J i
Said the boy "I'll
J?«a .feesprach: ich
den.
/I ilj?
*
#"
n
^
^
| M J3J3 j
*
^
^
^
c ^
p
i j> j q Jt i J T » i J J> ^ J i ^ 5
gath-er thee,
In the hedgerow blooming."
Said the rose "My
bre - cAe
Ros4ein auf
Ros - lein sprach: ich
dtcft,
i
£a|
der
Hei - den!
W
*
=
thorns you'll see,
ste - che
dich
if
*
S
£
Pain-ful will the
du
e
- wig
end - ing
be
Of
your
rash
pre
denkst
mich,
und
ich
will's
nicht
an
sum -
ing:
lei
den.
-
*
Lit - tie
wild rose,
wild rose red,
Ros - lein,
Ros - lein,
Ros - lein
roth,
In
the hedgerow
Ros - lein
auf
der
bloom - ing.
Hei
-
den.
ri ji/gi
ML- 6 2 S - 8
13
i fe
I J) J) JWE
J) J J^ Jl I J? J ? J
$*m
k
*h CJO*
Un-dis-may'd he
Und der a>*7 . de
mf
plucks the rose
JTna - be brack
In the hedgerow
s RosJein auf der
J
^^f
7r=m
y
r__*r
rf'ii J p n ji j i j i j i i j g J 3 j - i J M Jiiyjitf
bloom-ing,
JTet - (ien,-
t
k
ments her woes
sich und stack,
Vain-ly she la
Ros-lein wehr ie
m
y 4 y
r=f
«
V4jj J y n g
f
y
Vain-ly doth her thorns oppose
half ihr dock kein Weh unaAch,
f
1
j
A
T
¥=^
Iw
f y
y
SE
o>
Gone her sweet
mussV
es
e
pei
-ben
W*' » j ~ ~ *
lei
-
den.
i
a tempo
^
pp
s£
In
the hedge - row
Ros - lein aw/ der
wild rose,
Ros-lein,
/C\
%
cresc.
*
*^
#
Lit-tie
Ros-lein,
fum - ing.
rit.
f
^
wild rose red,
Ros * lein roth,
r\
I
bloomT- ing.
Hei - den.
ML- 648 - •
14
RESTLESS LOVE
(RASTLOSE LIEBE)
(Composed in 1815)
(Original
KevyE)
FRANZ SCHUBERT, Op.5,N?l
JOHANN WOLFGANG von GOETHE (1749-183^
A l l e g T O a p p a s s i o n a t o (Schnell, mit Leidenschaft)
semrelegato
j ^ ^ | ^
(J =152)
.
PIANO
im
ere - vas
der
Kliif
^
mm
ses, t\p
tef dutch
^
-&
mm
fog
2ft
P
ir
gy
pass
fteZ . dilf
>r >EEv
68
*e
int-
Copyright MCMIV Oliver Dittos Company
^
er
titer
on!
sw/
ML-•St-5
15
=»
to
J
_zz
scorn!
RuK!
J
JSj 7g IJiJflJJÎJJ'^JJ'jj]
"2C
r.
&
Bet
Lie
f P
sn
ter such
her durch
dan
Lei
-
T
£
gers
den
here
wollV
pp &3
to be
ich mich
dar schla .
ing,
gfctt,
^35^?
sA
I
§
^
r
Than
han
r
all
all
so
J3»
tip
ir " i
the—
th
triel—
|1
pleas Freu -
S
ures of
den de$
nV 1V1
£
life
Le
-
to be
bens er
16
I
*
^
^
m ' m—
shar - ing,
tra
-
All
Al
seen.
m^h W E
mf
zen,
\
mf
das
Net
lp
i^
Ah,
sad - ness.
m^m
.
so
ei
in
love-
zen
zu
s
-
gen
s
brings
schaf
pain and
. fet
es
fei53 ^ § i
gn^
£
Wie,
Her
WW
p,.p i*r r
but how sure - ly,
wie
of hearts
von
P
£
r
«''?
Then/
shall I
Schmer - zen!
ing
gen
i?P
achy
S
^
fe
%
mad - ness-
this
le
^
i
&m
s
5Pf
Her
of
£
pair
* soW tcA
fly?
flieKn?
r
for
sp
*''
est-ward
WizZ
der-warts
\ih Jfri JTI
H
i<ft"^
X*' #
hie?
zieKH?
All,.
At
nay,
Zes,
all's
aJ
un-a Zes ver -
Ml- 629- i
17
joy
£in
Glilck
my heart,
oh - ne RuKT
|Mr3 M'r
True
Lie -
love thou
- be
bist
True
art..
duy .
Lie -
«
love thou
- be
bist
£=£ £
roy - al, rest
£
O
Kro -
- ne
cies
Le -
art,
oh,
duy
o
-
1
less
- bens.
pit.Tfty.fra ^ f t ^ :
mkm
5
f
ML-Wt-5
18
m
$
Gliick
i f Air
true
Lie -
in
oh
ne
Ruh\
tp J> i,i
love thou
- be
True
Lie -
my heart,
-
bist
art,
du}
£
True
love
Lie
love thou
be
bist
art.
art,
Oh,
du,
P
ML- «29- 5
19
THE ERLKING
(DER ERLKONIG)
(Composed in 1815)
(Original Key> Q minor)
JOHANN WOLFGANG von GOETHE (1749-1882)
Translated by Arthur Westbrook
ii
FRANZ SCHUBERT, Op.l
A l l e g r o (Schnell) J = 152)
4444444444^4
PIANO
*S
^ ^
s^t?.
v
VfVVVVf
3
wm
ffi
s jy
|jMff **r
*#
|^p
«L*
J*
*#f **
J 4
¥
'
\ # # #
>»
i
«?^
jrffjf
^
ffl
«p J*
w*
i^
»
7
^
4=£
Jf *f jf -Tfv*
i
TT
V*
W*
v*
^
f f f1 f f f f
Jf J c J' J»ip
3.3.3.1
'^'Jtfjjjli*-
*fea
sFi 3 ?
32
f f l f f f f l f
f
J ' J * 1 J* r J f J ! I J* J*
#«
*
^tf
*•-*
# . if
s
i
SPHJ i U
IZZ
Who
rid - eth so
late
W^r
ret
sfdt
4i i ii
- tet
so
m
#
-4h
through night
durch
Nacht
j?
#-+
w~$ w
Copyright MCMn Oliver Ditson Company
and
und
*d*
4*
ML-630-t
20
*
f
wind?
It
Es
w <i i
*
* J I P*
has
Aa*
He
child;
Kind}
fa
Va
-#M-
the
boy
Kna
set
•
*
—
#
£
holds
him
tfen
fasst
#
Jf M-
«• «r
~*T*
»
safe
wohl
so
Jen
-
# »
He
er
arm,
Arm}
^
ter mit
#
~^~'—^
it
«
with
his
nem
fe
"*rv
0 ~m
ther
*
<tz*
*=
tfk
the
der
ra-
ii
£
4
tf
is
ist
£i
m
w
*
*
*
*rv
•
~^~"^
tight-ly
si - e?Ae^
his
dem
m
he
er
A H?
holds
Aaft
1him
ihn
warm,
warm.
I ffff fplf
i^5
¥^?
f^
<r H" H* «r
• «•
/•
* = =
£
fc
My
Mein
•t^«=>
If—*
# # # -+
+r-+
#
#
#
#
* XL
son,
Sohn,
#
in
was
*
#
-#
+r-m
?
^
ML-630-f
21
4£
i
ter
birgst
*
m
ror
du
why hid
so bang
t
est
detn
J i y£
The
den
m
thy face?
Ge - sicht ?
Oh,
Siehst,
Erl
king dread - ed,
/c?* - ko
-
/u^
$M
robe!
Schweif?
My
Jtfei'tt
son,
So/in,
'tis
es
but
ist
1
^ - s -
^
with
mit
p
Crown,
and
und
Krorf
a u . J>J
a
e*>i
streak of mist.
iVi? - &e/- streif.
ML-630-3
22
m
*
*t
&
"My dear
est
child,
jyDu
bes
Kind,
lie
mm
ft *:*:f;f
*r «#• **• *K
^S
*
# #
I
£
^"
^3
^
*
V
-^-
^
a
sin
man
bun
2
I'll
ich
ft
with
thee.
mit
dir;
B
^
9
For
mancK
tf[f[fgfi
«
xdP
£
- ers
are
bloom
mg
men
sind
an
dem
i^^
gay
flow -
te
Bin
-
TFtFtrtFi
mm
m
come,
komm,
V
'*» *fMf»Ff#
^
^
g^Fr M
#
i • i i 11 * j
plays
Spie
^
decresc.
V
«:
m
4
'
«i
#| '
jiF
Tl
^3
Mt-«30-*
£
$
there,
Strand,
er has
man-y
gold
Mut
ter hat
bianch
gul
My
m
Mein
*
»
*
fa - ther,
and hear - est
Va - ter,
und
ter,
»
»
#i* #i* a
"W'-W
mein
i
H
Erl - king whis-pers so
Er - len - Jfcd* - nig
mir
soft
in
r «r r"*f
g
mt
#
qui - et,
ru - hig,
'
fcr
if
if
Set
if
if
i
•1
i
#
oh, be
qui-et, my child;
blci- Je
rw - Aig", nteitt Kind',
WW
#
Tis but the
in
a
t# V9: }
D=
hhjiiJ Jii>
P if
if
i * a* m
-Hi*-
H
?Be
ear ?
<f
£
w
t>er - spricht?
«f
zvas
if #r nr* *f
-e-
"my
lei
*K
-f
»J. £
decresc.
*
#K
What the
nicht,
+*-m
*
«r «r #|
i *£
*
#*
h -h.i J
^
*
du
•#• »• * • w
*
*
*
thou not
rest
i* m #
*
*
ho -
*r «r ir
m
y
J>J
J>J
fa - ther, my
»
i f f
«:
^^m
ii
Va -
#F-*^
3i
,Bfc
tt
en robes for
den Ge -
«r 'r r piffr * r 'r r in r~+f^
wand!'
i
t
3=^
thee."
m
moth
met - ne
ff'ff'frtfiWffi
m
t
* #
And my
diir-ren
^
£^
£
E
s
f
^
dead leaves stirred by the
Blat - tern
if
sou - self
m
tier
¥
iffrf
Ki.«::«' !•
24
U
jgfc
8=1
i
wind.
Wind.
M <• T f
#
11
'Ml j
nil
?
daugh - ters
with
msjimr.
me? My
mir gchn?
mei-ne
Jjijjjjjijj
KRP
j i ' J ' J M M ^ 'J j
j
3 S •
•
^
fair
- ner
T T
^ S 3
M
boy, wilt thou go
Kna - he, du mit
# &
w.
f f: f f
"Come, love • ly
„Willst, fei
shall
wait
*
?
on
ten
*
•*
•
-^-JU>
5
T
^
•
^
*
t h e e , T h e r e my d a u g h - ters l e a d
i n the
schbn; met - ne Toch - ter fuh - ren den
m g&sji^jmgMj^*T§
Toch - ter
sol - /en dich war
y y
ytj J
^4
m
^
ndcht - li - chen Rethn
sing
a
is
si
wie
^
^
rev - els each night ;
m*±
^J
^S
They 11 sing
und
^
tan - zen und
M "
^
i xn
m ^m
P
andtheyll dance andtheyll rock thee to sleep,
rock
£
thee
f» J <
^
My
sin - gen dich ein"
rj J J J j J J J Jg
-i-4 # ^
* J. -4
JTjiji^M
f-
3FR
sie
to sleep."
JtfclM
#
s
They'll
wie - gen und tan - #en und sin - #eft rfifafc ein,
and they'll dance andtheyll
- £-e*? i/wrf
*
s
*
*
*
«* M
decresc.
*
^
t iiL
ffl=
ML-630-9
n
4
25
-*9-
c~r r * r '
M
fa - ther,
and see - est thou not
the Erl-kings daughters in
Va
Va - ter
and siehst
Erl - ko-nigs
-
ter,
mein
jQt
«
f
du
#
*
w
^
#
#
es
#
*f *f
#Ht
frj 1 »f
M)r
son,
Mein
§ohn,
'Twas
es
ge - nau,
*f
P
*
*
K»
my
son,
mein
Soft n,
on - ly the old-en
wil
low so
schei-nen die al - ten
Wei
den so
I
^
gray.
grau.
*
dgL 4L
*
U4.l\iE
.0*==—
cresc.
*
fe
3X1
f
am
* t|«M^£
r i rui'j'j
know
To eft - ter
<<f
i
p
j. j>i r
I
*f <
St
Or^?
and
dort
Jf Jf tf #
spot ?
- dterw
see,
sefl
nicht
JQC
dim
* *
du
m
tf
22
if
yon
i
" P ' r * J iJ J J t ^
fa - ther, my
df
U
r
r
frX3T
flyT
SI
*r
if
»
«p if
i
f
if
J- J-
a
•
«•
i>
£
^
^
^TrJrr r
^
I
»Ich
36
pip
îj c i r p-ty r p p I ' T - r U'|
love thee so, thy
lie
-
be dich, mich
i
§H r
not,
ml
i *lea
-
*=t
# •
rI
it.g
%
so
»•
will
beau - ty has raV- ished my
reizt
dei-ne
scho - ne
3
car
ry
ic4
braudi
i
sense;
Ge - stalt,
will
und
bist
*=£
f
thee hence ?
Gc - wait"
fe=e
p » »
i£
fa - ther,
now
Va - ter,
jetzt
X
X
X
^
@g£
S
X
or
du
nicht
W
ther,
fa
fe?5
X
my
mein
X
«P—«P—«H—4
m
*
ing
W
My
*^—*
^w
WiJi'-
p&fe
-
Mein
X
X
m m 4'
«
And,
J ^1
i
±=i
^
grasps
he
my
arm,
fasst
er
mich
an!
i
*
m
X
X
X
X
The
X
X
m* m
#•
Erl
-
king
£has
Erl
-
ho
nig
^
X
«H—m
9
£
?
-4P-
XL-»i10-^
27
W
t
£^£%
^
*
to
clasps
halt
his
in
bos
Ar
^
om
men
:
\i' i\ i k k
m
*
*
*
-
*
'i
$m
M
de
Kind,
£
*
<
Jt
JL
#-*
J I .).
He
reach
cr
reicht
'J^jpff
Sf^¥
es
home
den
Hof
^
^
with fear and
mit MuK
und
ji
?P
i<i
* = =
dread;
M
it
-
-JL
Clasped in his arms
Noth}
*
sen
ach
pir
li-ii
^
UP
das
•
Jt
*
r
rr
i
m
sob - bmg- child;
JP
m
1=
r ifpale,
the
M-
in
X
#
hJ*' J* J* J*
war todt.
it
s- * *• §••
#•
was dead.
Ar. men das Kind
rr\
uE
• • J« J*
sei-nen
T1
the child
§
35
3Ei
^
Andante
fr
EfcE=E
3EHS
> ' L . i;:j('.-»
28
HUNTER'S EVENING SONG
(JAGERS ABENDLIED)
(Composed in 1816)
(Original Key, D\>)
Translated by Charles Fonteyn Manney,
Lento e piano
(Sehrlangsam,leise) 0*'= 63)
wm
3
VOICE
1. I
2.
3.
/ . Im
3.
FRANZ SCHUBERT, Op.3, N9 4
cross
thou
thought
Fel wan ist
the
fields
with
sim of
thee
- de schleicK
deist
jetzt
es,
denV
with
pie
can
ich
wohl
ich
foot grace
soothe
still
still
nur
m
fall
dost
my
und
und
an
PIANO
Copyrig-ht MCMIV by Oliver Ditson Company
ML-63t-2
29
P
&
ps?
face
vi las,
sii sich
nicht,
>m *}}}
B
Then comes
Ah!
dost
My
spir da schwebt
jind
ach}
ein
stil -
cline;
wold,
beam;
rohr,
Thai,
seh'n:
£
and
i
form
sioned face
I
do
sses
dirk
one
Bild
nicht
mxr
di
be
but
mir
ein
to
thou
- it
so
mein
ler
my
ne'er
finds
licht
schnell
Frie -
en with
undein
ver de
±
^
- rap eye
- trou lie - ran kommt
- tured
of
- bled
~ hes
- schend
auf
in-
1.2.
£^PP3
vine,
hold.
2. When
3. The
vor.
mal?
2. Du
S. Mir
sight
love
rest
Bild,
Bild
mich,
/T\
1
dream!
- scheKn.
I 1.2.
»^M s
r\
•i-IJaM
PP
rs
ML-631-2
30
THE WANDERER
(DER WANDERER)
(Composed in 1816)
(Original Key, E)
GEORG FILIPP SCHMIDT (1766-1849)
FRANZ SCHUBERT, Op.4,N?i
A d a g i o (Sehr langsam J =63)
tf ji _.
y
IT
T
t?
PIANO
^5
^
•0*5
•OTJ
P
13X3
EE J) & i j| J. J ^ ^ *
I come here from my mountains
Ich kom - me
#
#
#
^=Sf-
vom Ge - bir - ge
PP
W^
TTO-
i
1\ t >J,
1
S
i I i »J^
J5Z
The vale
is
dim,
es dampft
das
Thai,
e$ bratist das
>P
=?j*:j»: j»fj»
J> <•
te
the
Meer,
es
*—*»
£fe$0.
3 &
1
^
wand-le
S^
zzz
on with pain and care,
*
IcA
da?
*r *
s
I wan-der
doth
sea
braust
B HI
<f
J:i:j:jt: #1*1
^
^
The sea doth moan,
*
SI
f-f
+*-+•
P
*
her,
# /
w
\
lone,
stt//, bin we - nig* /roA,
§m
3£
Copyright MCMII by Oliver Dittos CowMny
* • *
lH»H»
>
>
^
^
ML-Ut-4
31
^\
rrnrfF
\ih i | J. J. | j , J^fffjr
A _ Ji
*-S.-WT >•>«•
And
ev
er
I ^^
und
im
-
mer
Afilro
asks
fragt
ttitr
my
o inert
m o
sigh
- ing,
"Where?" ev-
- er, "Where?"
The
der
Seuf
- mer:
Die
-
zer:
Wo?
im -
Wo?
*r—it 1
A- A- &A' &
PPP
^m
5
[$-* J.~«ftj>3J
sun
ih
mich
hier
so
W=f
^1—rn
la ^ ^ * H - ^
8 <i ?fjjt3
sie
mm
re
-
life__
Le -
-the
welk,
^m
^
feel
a
den,
fee
bin
ein
TM
i
3 j J 4
5)-
J
3f
is old. Their
- hen alt,
und
f
s
TBT
?stran - ger .
ev - 'ry-where.
Fremd - ling
il - her - all.
^
^
s
HPP
^
#—»
s
^
g
rer Schallj ich
das
f
n?
*
emp~""T ty sound, I
-
* •
Blii -
but
H4fei
*
*
flow'rs are fad-ed and
die
w> * J. J J._j3 J ~r J ^J^[ J ^
was
*
Ix
halt,
33
speech doth seem
^
cold, The
m
4 44 »
*
J JjJJJ>J_> jsl-NJ J ,
t
ti# j #
to m e _ seems here so
Son - ne diinkt
^
^
^
K
PF
PlU
i i u mOSSO
IIIU^SU (Etwas
(jira»as geschwinder)
gescnwtnaerj
Where art
Wo
hist
thou, where art
duy
wo
hist
thou,
du,
My be - lov - ed land?
mein
ge - lieh
- tes
In
Land?
MX-W2-4
32
m
i
m
SZ
3x:
^
hope,.
sucht,„
I
seek,.
ge - ahnij^.
yet
und
nev nie
m
- er
s tf m m h w&fe * iJ3 j tej t
V,
y'ljtfnitljtf!?^ m jp*« k
I
fc
i
*
^
PP
P
AUe§?TO (Geschzyind)
i i
know.
kannt!
i
£ fei
^
That
Das
land, that land where
Land, das Land so
PEEK
1* M
< >
m
{^^ r f P F
»
A
fe*# FS F*
Hll
P"
M r > r J JMP J, J j>N J j JMJ J 1 ^ ^
^"^
1
f
~
m
m
hope is green, The land where ro - ses
hoff-nungs-griin, das Land, wo met - ne
Pm
?
iiiqs
+f
I
t
F^
5.
£dear
44
v «H
^^
:
W
bloom for me,- Where
Ro - sen bliih'n, wo
roam the friends so
met - ne Freun - de
l l l l
£1
i»
n; I
cresc.
«
•
f> I f
p SÊEg
|'ir p J
P^^ ^ p
to me, Where all
my dead will
wan-delnd gettn,
wo met - ne Tod - ten
^
•
P
live
a - g a i n , That land where they my
auf - er- steKn, das Land, das met - ne
ML- 632 - 4
33
T e m p o I, AdagfiO- (We anfangs, sehrlangsam)
i Oi
£
Jil J.J].HM.fe
E£
art thou?
Ian - guage speak, O
land, .where
Spra - che
spricht,
o
Land,
bist
wo
P *t!F 11]Sw
^m
i
&
#J¥^
i
3S
I
wan - der
Ich
wand - Ze
i*
on
sft7f,
S
£
And
und
>
>
WPrfri
3E
M>IJ.J>J
^ g j ;
an-swer comes:
der Seuf - zer.
Im
mir zu - ruch
wo?
du
£
5
3t
Get - ster-hauch tonfs
r\
12:
a
ia'i. aU
there
dort
nicht bisty
2tr
*
^
*
wo?
PPP
*
wo
im - mer:
«fr >
^f
33 3
ev
mer
In spir - it - voice the
'There, where thou art not,
1
ev
im
,*
JLJL JL* i t .
pp=Errpir
F
„Dori,
s
my sigh- ing"Where?" ev - er, "Where?"
SPPf
?^m
si 3 i
1
"r
/?\
g
fragi
g»
with pain and care,
6in
we - tug* /roA,
>: j : J: JU
dim^
i
32
JCE
1
*
IP
XT
^
asks
*
n
* = =
*
#
*
B=g
5»
|^.ffff i J 3 J : l
I
£
ft
?
S
du?
5i?
thy
is
ist
rest!"
das Gluck!"
*=F*
F *
i
"3"
f
SI
t
^
f
ML-632-4
34
WHO NE'ER WITH TEARS HAS EATEN BREAD
(WER NIE SEIN BROD MIT T H R A N E N ASS)
(Songs of the Harper, N9 2)
(Composed in 1816)
From"Wilhelm Meister"
(Original Key, A minor)
A d a g l O (Langsam)
FRANZ SCHUBERT, Op.l2,N?2
C\
/CN
n
r £jm
3
PIANO
r r
xr
m o
una corda
«
^
-
r ir
/
*
It
•"37^
r
P.
Who ne'er with tears has
Wer
fe^
h w J)
r;
g-p-«"P
ne'er at night the end-less
nie
P*
die kum - mer - vol - ten
nie sei/n Brod
unit
Thra-nen
?S£
Ndch - te
ass,
wer
s
2
hours
1 w
eat - en bread, Who
Has
auf
wept
up
te
a - way
set -
nem
Bet -
rs=p
^
^
^
P
a
jBt
/T\
te
£&
^
7
*
=
^
^
J.
on
wei -
J^J
his bed,
He
knows
r
you not
Pr
rce -
les
- nend sass,
der
kennt
euch nicht,
ihr
himm -
m^pipipiijjipijyjp.
Copyright MCMIV by Oliver Ditson Company
tial
-
-
- li - schen
PffiTftlF]
ML-633-ft
35
Ato
ijih^
- t hi
ers!
fa/
pow
Mack
Who
Wer
m&m £
ziz:
I
legato
^
EgSH
#
&fe hJ>
w
j&
a
W
f
-^T
P hJ> j \ jiJi i
g
(i
* *
ne'er
withtears
has
eat -
en bread, Who
fii«
setn 2?rod
mii
Thru -
nen ass,
^
te '
Has
auf
wept
a - way
sei -
nem
Bet
i
w=^
#
at night the end-less
ttte
die kum - mer-vol - len
up
on
his bed,
He
ic-
&ei -
nend sass,
der
2
W*P P*&i
fc=*
te
££
ne'er,
S
3
hours _
wer
t
= /
knows
r
you not,
p r rce -
kennt
euch nicht,
^
les himm -
ihr
-
-
-
- tial
pow
- li - sc/ien
jSfacfc
rj**jj* rjj _Q^
/
^g
3 t
^ ~
•
^
_ >
t
^
ML-633-5
36
I
kfc
*
J
i lead
r usp mor-tals
p* ^
Ye
Ihr
fiihrt
=i
I
i
te
r
life,
life,
ein,
T
| p
P
ie let
let the
the
Ye
ihr lasst den
Le - ben tins
hin
3s
s
&
ins
Jin I- to^
i
m
3
lr
i f p * r cr p ^
wretch for
for -- sake
sake
his
wretch
his
Ar - men
schul - dig
God,
G - den
wer
}
kk
V \\>%
s
!M
ss
EZ2
t=»
•HJ\ J i J \ JnE
^
ban it -
- don him to pain and
- ber-lasst
ihr
ihn
der
d * • _p, _fl»j3=Tg3
M
te
1
crese.
6
ip=K|E
r
r
£
strife:
Pein;
*
r
For
denn
if
P
7
ev al -
[2 v j3 v J J » j 3
^
r r r r
*
ry sin
le Schuld
r r
^
*
ip
^
ML-633-5
37
j *Û\0t
brings
racht
here its owr
sich auf Er -
i t t J.
lead
fiihri
J
us
ins
Ji i^m
mor-tals
Le - 6en
Wm
mk
i
p rr
God,
wer- denj
mft
in - to
nits hin
ZOI
j rr-
p
life,
ein,
Ye
ihr
the wretch for - sake his
den
Ar - men schul - dig
I
I
i i
let
lasst
iip-
w
h»
:T7
( ^ ^
a
4
*
&
^T"
• r
Adann
ban
don.
6er
£
.him
lasst
^
to
ihr
m m ro mm
&
$
m
^=r
;
I , I
^
^
strife:
Pein;
and
der„
pam.
ihn
1fe
For
denn
m ra r p r n ftfe
tei
•4TK
'ry sin brings here its
Je Schuld rdcht sich auf
al
fr
Ihr
I
» Ms 7>
^
- —
Ye
re - ward.
den.
. # - — ,
-
own.
Er -
te
as
re
\p
r ir • r w
MJL-«»33
38
ife
PPP
E
Ye
ward.
den,—
! *
m
ihr
S
let
lasst
the
den
wretch
Ar - -
for .
- men
jT^ jT^ j*T^ J"I
- sake
schul -
3=51
IJ—*•
PPP
I
fce
?
A-ban-
God,
wer - den, dann il -
p^
24
g^HB
s
-don
him.
- her - lasst-
to
ihr
g
.and strife.
.der Fein:
pain
i7m _
m
<:>•
For ev'denn al -
w
4 * * J~J .OH4J^
^p^jpplî
J
raa
p^
^&
*
sin
brings
Schuld rdcht
i*g
—L #
\n
TOS
-6t
34
^
ZZ
here
sich
"3"
#
its
aw/
m
own
Er
W
p~
^m
re -
- ward.
den.
jNjjJ.P'ljJPP p J J J J j T ^ I
H :
TSt
ML-633-5
39
IN PRAISE OF TEARS
(LOB DER THRANEN)
(Composed in 1817)
(Original Key, D)
AUGUST WILHELM von SCHLEGEL (1767-1845)
Quasi adagio
P'ii
PIANO
i
(Ziemlich
8-
langsam)
\,^-y^Mi
mH
sdt
m
i
J
$fixfis$
rrprffP
&m
I&JflS&
n^fr
0 f=
f
k PÊ
k
FRANZ SCHUBERT, Op. 13, N9 2
*£-:
^H ^
^
£
1. Sun
- ny
show-
-ers,
fra - grant
l.Lau
-
Liif'-
- te,
Blu
e
* ^ g
i
^
^
-
flow-
men - duf -
-ers,
-
Spring
fe,
a/
and
-
le
g^gf
jQ
ML-634-5
40
f
g
treas-
^ j=j=£
-
. ure,
Trau -
ben
grow-ing
pleas -
Nek - tar
ran -
1
ure,
- hen;
^g^>
Mer
fer - ry dan
dance
and
jest - er's
l?ei - hen - fan#
und
Spiel
M. igjgjjh|g M M M. i
und
B B B B B H I g=p
BS
p
t
&
rh
2t
art;
Each
Scherz:
was
£
pleas-ance is
wtr
die
*$ *EJg|fgff
^
to
Sin - nen nur
^
JUlIf
E
^
m m
sens-es:_Can it
the
ge - win*nen: ach, er -
f> [7- ty
sat
is - fy
the
fullt
es ^ je
das
• ^jj |
^
z£
^
*/:
lH
TSt
Pfc=*
#
^
heart?
Herz,
SI
^
Can it sat a >h, er - fullt
CJJCU^
ss2p
I
;i
- is - fy
es
je
heart?
the hea
das Herz?
mm *=*m i
rftjEJ? Jî^JTPl
§
^
sk
Sfc
I
t;
i
»-*
pp
t
S
¥2*
i
I
IT Bife
£
2.When the ten
2. Wenn
^
die
- der
feuch - ten
Si
tear - drops
Au -
gen
rtf tfttf I
^g#i
ML-634-5
41
ren - der
Trib - ute to
leuch - ten
von
m
m
m
=#
p
m
$
der Weh- muth lin
-
dem
Thau,
erf &cf $
W
There
dann
re - fleet - ed
ent ~ sie -
gelt,
are
de.
drin
ge-
g^£gq
§^g£4e
p^
g
K
wmr
tect - ed Glimp-ses
sf>ie - gelt,
£
a sor - row-_ true,
gr~cJr~Jn
sick
of
the heav - en's
demBlick
v:i" flJ fil p
die Him
*
R; f
plete - ly
g^
blick - lick
loscht es
je - ,
mels
-
Oh, how sweet
au.
Wie er~ quick
P^g crimen
55
f
"5r
-
ly
-
andcom-
WcA
au-gen-
-«t
^
Wild-er pas -
-
J^ J? J-* I
13
£
biue:
h. theii show-er
r p makes
O^
the
i
^
- sions then are sped,
- <fo
t«i7- *fe
As
Gluth!
"UWUJMWW
Wi'e
%%%%%%
row
Re - gen Blu - men
mA*
PP
.#>:
"3
i
fclr )_J J A'J) I j "
flower Lift on high
its droof) .. iiig head,
E§
Lift on
high
£/*fe - gen, Ac - bet sich
der mat -
he - bet
sich
yj' rJ=SL i
S
6^#=5
j> p' f
T5r
m
fe
Muth,
m
¥ T
P
#• f
^
its droop - ing
der mat -
cXJ&cicrj
w
te
42
i
£
head.
Muth.
.«•
P' * ' ff
9W-
fpfflpl
33
to
*
P
m
i
^
JfljîJ?
f=
^
^
3. Not
at
4. End - less
moun - tains'
long - ing,
3. Nicht
mit
4. Ew' - ges
sii Seh -
- ssen
-nen
-t2-:
,
&
&
^Pl
m£
Did
ProCover - ed
ser . fliis
in
Thrd
zwang
und
zz:
our.
with.
theus un die star -
-
sen
nen,
Proum
tf-Effrari
32
sern.
re—
Pî
£
clay,
But with
Earth, her
tears.
Leim:
Welt,
Nein,
die
mit
in
i J
sad
eld Thrd
Ar -
tears.
- er,
-
nen;
- men
U'. ji
So
firm
.
the
ly
drum
sein
im
Er.
*4
^ ^ 1
^
P ^
Was
floss
^m
ing foun . tains
ing, mourn . ing,
&
me - theus wet
all
the earth
me g-ai
>• JUT
flow
weep
SJ cu
E£-
K
-j^j^jj?!
f=
W
77
m
<?
long
held
years,
her
Seh bar -
- nen
- men
f- J 1 A J)
Weep - ing oft,
we live.
On
her heart, throughout _
und
im
im Schmerz
mer - dar
sind zanr_
um-flu -
to
the_
da - thend
£
day.
years.
- heim.
halt
S^
Floods less
Should thy
Bit - ter
Soil
dein
m
te
ML-634-*
43
t
3t=§=g
bitsoul
-ter
a
schwel
We -
- len
sen
would
gain
die _
denn
fitw hoi Quelne -
be
be
se
ge
n-yiiiii4M
- ter
- ly
For
an earth
Freed from taint
- len
- sen,
fur
von
den
dem
im
of
erd Er •
-
WW
- den
pris - oned
earth - ly
fang'- nen
stau - be
U U}UJ-\^
m
*•
t
si
K
soul;
dust,
Sinn,
los,
But
weVe
Weep - ing
dock
nusst
sie
im
m
pris - on Toward the Sea
n e v - er Swell that Sea
e - ver, ceas-ing
drdn-gen
Wei - nen
aus
dich
rJP*
zzz
^1
F
&
£
ris - en from our
den
ver ,
En- gen
ei . nen
in
das Meer
je - ner Was -
J=*
US
I?-
t
5
in
je
Schooss,
das
•
*
of Love
of Tears
der Lie -
Sea
Sea
Meer
ser
-
h
3
3t
§
toward the
Swell that
told,
must,
hin,
"3
Un
you
der Lie - be
- ser heiV . gem
g£g^
z£
fp
m
of
of Love
of Tears
heiV-
PIP
(Jn - told,
you must.
- be
hin.
- gem Schooss.
3=£
rP fp$n
i
I
^
i
r f><r
i
o^
-rcflrfl rcP rfrfjfl
a
i ^ J J 3 ^ . Jfljfljfl
^
^
y?
Wt:
g^
**-
/Ts
f?-1-
/TN
-«pMt-t*4 S
44
DEATH AND THE MAIDEN
(DER TOD UND DAS MADCHEN)
(Compewd ia 1817)
MATTHIAS CLAUDIUS (ma-isis)
PIANO
i
(Original Key)
FRANZ
Moderato CVrtss*>)(J = 5*)
t^pM1
rJ»
*
g
•RP—t—4"€3
I
SCHUBERT, Op. 7, N9 8
—w
i
J.
(THE MAIDEN) Pass on - ward,
(DAS MADCHEN) Vox - i* - 6er/
I
Ich
and blood - less man!
chen-mann!
g pi
il
*—«h-^
*1—m
£
(Etwas geschwinder)
i t J^ i p J
der Kno -
ft
PPi
:
J00C0 piu moto
P
J*
B
i if
Oh! pass
on - ward,
ach,
u
vor -
-
f
Go,
icr/
fezd
i
am
still
young,
noch
Jung.
p
t vp i
A
:T:
i
*
0 0 0 0
t
[»
^
m
cresc.
r * >gif ft * »fff
P
#
way
lie -
then,
and
her!
und
f.'ijiji •
i
£
P
^
touch me not, I
ruh - re mich nicht
pray,
Oh,
an}
tind
*
touch me not,
32:
•
»
pray.
an.
#
f
^
y
^
Copyright MCMII by Oliver Ditaon Company
d
I
riih - re mich nicht
m
32
n P * *E£fi
^
-6*-
3t
ML- 635- S
fT\
^
(DEATH) Give
{DERTOB) Gieb
m
m
i
PP
dim.
m
$=W
f
J
my
du
i fairj . and
j> t ejn - der
schon und zart
M
~cn—
As friend
bin Freund
JpC-
^=P4
m
s
—m—fc~wtr—*I
come, and not
und kom - me nicht
ZSL
to
zu
W1
ir
I
ich
cheer!
Muths!
i
m
&-
El
•=
Be
Set
* = *
*
To
sollst
ncr
sleep
sanft
w—w
m
thee rest;
nicht wild,
bring
bin
- ten
- fen.
•#
IZZ
IBt
chas .
sira -
W
tn
Ge -
VP
r\
e £^£
i
hand,
Hand,
*
17
$
child,
bildl
me thy
dei - ne
a.
/TN
1&
45
Tempo I
&_*.
^f
»
:r
with - in these fond arms
in
mei - nen Ar -men
has
schla
£
*2=
P
of good
gu ~ tes
p
iMzafc
izz:
/T\
#
^
ten!
/en/
42.
ra
4fe
W
£*
v
fa
°P
3t
3t
zr
zr
»=
z*fc
it SB
m
£
E
trig •
lEr
•£•
<c\
f*
o
J ^ " ~ ^
3St
Kt-63.1-2
46
THE TROUT
(DIE FORELLE)
(Composed in 1817>
CHRISTIAN F. D.SCHUBART (1739-1791)
Allegretto
(Original Key, DV)
(Etnas
lebhaft)
PIANO
^'•"•V-J
J
u
II
«
i V Ji | i
Down
In
s
trout
schoss
a
•^
swift
il -
es
it
s
B
in
a brook swift - run
ei - nem Bach - Zetn Ac?
ning A
le, da
7 ^) | J^ J^ pEp
both small and_
in
fro
- her
¥
d^
a s _ ar - row flies.
ier__ one
ein
Pfeil.
ifaife
ft
wise
Did
dart with
Eily
die
lau - ni - sche Fo - rel
hap - py
cun
ning, As
le
-i >
j flJiiJ
^
i
r
the
an
bank I
dew_ Ge -
jy
Copyrijfht MCMIV by Oliver Ditson Company
[
vor
s
*^=
Up - on
left stand
s
me, And
laid
sfa
jjp
*
*
ML 63* 6
47
ItT
with
with
in
ZZÛIA
watched,
sah
swftftt
sweet con - tent.
tent,
sii - sser
RuK
*£
^^r.hp
trout
kla
a
£
on pleas-ure
ren Bach-lein
-
g
trout
JWa
j)iJ-
£P
-
bent,
zu,
The wa - ters
des mun - tern
nn
-MJ?J*
The
des
wa - ters
mun - tern
&
y, The
de im
cool and she
shad
Fisch-leins Ba
cool and
Ftsch - letns
shad Ba -
-
m
y>The
<£e i m
si
on pleas-ure
ren Bach-lein
bent.
zu.
7 j ^ i«h
With
Um
JÊE*
rod
and line an
-FY - scher mit der
an
Ru
gler A the wohl
ML 636 6
48
)\?%m
&H* ji
fish
an
9
* *
ing
dem
came
IT -
that
yir
way ;
stand,
¥
?
And> cru und
sah's
<
PP3
Jy
«
pa
h J' i ji
ult
Blu
u
P^3J
#
I
lang'
ing, Saw
te.
wie
the
das
i
S
am
dew
where
sich
n
not _ mis
Wis - ser„
tak
el
mit
-
ly ex
kal - tern
jjjjij: j i
|
Jai
a g
trout -V
let
Fisch - Icin
p
3=5
lay.
wand.
h i ' 1 ji
;>
en" Quoth I,
le,
so dachV
"the
ich,
"if
So
^
S
s
brooks
ntcht
so
ge -
W^
u^ S
S
The
so
clear
bricht,
I
* *
i
pf
'"""LJ
£
trout
fangt
will
er
S
ne'er b e
rfz'e Fo
g^
^
J
^
^
tak
re/
en,
le
Tho'
mit
1
S
BP
ML-636-6
49
&v j
he
ner
long
set
P^
tak
re/
I'"I"LJ
P
M *
I
per - se - vere,
An - gel nicht,
I
j>
last
end -
The
so
P3SBJ
fnr^li
en, Tho' long
le mit set
he per - s e - v e r e .
ner An - gel nicht.
trout _
fdngt^.
"Z2
will
er
ne'er
die
be.
Fo
*
-
J
At
J
sis
j>
the
focA
j>
per
owr-d
P
I
=mm
-
se dem
Dock
-i
P
.KP
»> >!)> j J ? ? ^
*£
J'in J
ji n 11
cu
Die
m
FT'
g
tor
&6
J:
P
i
£
PTP
p^
Stepped down
die
Zeit
^
the
zu
>>** t^SNSSEh iitfft ifnThitfff.ifffTi
wm
n n ii
cresc.
*
ML-686-«
50
I
*£
m
wa
**£
&
And
Er
bank
lang.
P
trout
had
Fisch - lein
p f j if
ter 5
When,
quick
6e,
s
^
seized
the
zaf - felt
stirred
macht
and
das
dimmed
Bacft -
J> Ji
the
lein
crys - t a l
til - cktsch
^Pi
s
er than a
word,
ich es ge - dacht,
te
bait,
d'ran,
J^
And
und
His
so
fe
I,
ich
with
mit
^
grief heartre - gem
ML-636-*
51
¥M
&¥ g
I,
ich
m
ing, Be - held
te
sah
die
rend
Bin
with
mit
his era - el
Be - trog'~ ne
rs gm
J>
grief
re -
£
E
fate,
an,
And
und
PF^
h }i I A
ing, Be - held
heart - rend
gem
Bin
te
sah
his cru - el
Be - trog' - ne
die
m
s
^
rfiV».
JTOTP LJ
< JTlHlW
s
/r>
Id:
1
rt
J:
^
SB*
&
' ^
PHP
1
/?\
P
P
P
j5>
1
ffi
}/r\
pn?
fczt
ML-636
6
52
THE MAIDEN'S LAMENT
(DES
MADCHENS KLAGE)
(Composed in 1818)
FRIEDRICH von SCHILLER (1759-1805)
(Original Key, C minor)
L e n t O (Sehr langsam)
VOICE
PIANO
-
1
W
pr *
>
«?
to
-y-
isFTW
1. The trees
8. "My heart
/ . Der Eich
2. „Das Herz
ist
^
2*
are moan - ing, the
is brok - en$ the
clouds
world
wald bran - set^ die
ge - stor - Jew, die
Wol
Welt
^hhi^rjJu p ^ l £ ^ J) i Jill
maid
fond
Magd wei
-
sits lone-ly,
_ de-sires of
nor heeds—L. the blast.
my youth_xan re-store.
lein si - tzet
ter giebt
sie
an U
fers Grun,
dem Wun - sche nichts mehr.
-
p^
fly fast, _
no more,
A
The
ken zieh'n,
ist leer,
das
und
jji^gg
The bil - lows are break-ing with
Kindheav'n, hear my cry, when to
es bricht
sich die Wei - le
Du Hei - li - ge, ru - fe
mit
dein
tf^nj^fliW
Copyright MCMIV by OliTor Ditson Company
ML-CS7-4
53
^
$
might,
thee
Macht,
Kind
gloom
known.
fin
ir
with might,
I
call,
mit Macht,
zu - ruck,
y — night;
. them all,
stre^ Nacht,
dische Gluck,
Her
I've
das
ich
rnr
Her
The
und
ich
sighs
joys
sie
ha
eyes with
loved _ and
An - ge
ha - be
3
(?• 11' -r M
breathe
of
seufzt
be
their sad
this earth
hin - aus
ge - nos
hot tears ^_ are o'er-flow
IVe been
be - lov
vom Wei - nen ge - tru
ge-lebt
und ge - lie
ness to
I have
in die
sen das
mg.
ed?
bet.
betl>
1 3 r
ML-637
4
54
te
lin
M , j*p ^ j n Q V o J
3. uMy tears
4 ."The tears
3. Es rin - net
4.,,Lass riif - nen
Pi ^m
m
S f = *
»
tears,
grief.
Kla .
we
i
«f
ing, un - seen- — and vain,ing, un - seen- — and vain,.
are fall
are fall
derThrd
derThrd
nen
nen
li-cher Lauf,.
tucker Lauf) -
ver - geb
ver - geb
fl^flîRlî
•••
mm
No
And
die
es
S B — ^
&
can wa
ne'er wa
ge, sie
eke die
we
Kla
ken
kens
the
the
dead,
dead.
cket
Se
die
den
Tod
Tod
Re
The
a - gam;
a - gain;
ten nicht
ten nicht
-
doch
Das
aufj
aufl
\pA jlflyflfâ
plh
J
J) J) J> Jl J> - IhJ'
veal
then, I
pray,
swreet . est re - lief
nen
sii
-
ne, was
sses - te
tro
Gliick
whatbrings
for the
stet
fur
und
die
peace
sbr
hei
trau
i' i
p
to the
row - ing
breast,
breast,
let
Brust,
Brust,
ern
die
de
p- ft I
When
When
with
the
nach
nach
der
der
ML-637-4
55
w
fe
9
?=¥
joysdear
est
scho
scho
&
$
fcb:
of
of
love,
all —
nen
nen
Lie
Lie
1
w
I no
hasbeen
he ver be ver -
O J L^ ^'"
heav'n,
love's
this sol own tears
Himm - li-sche, will's
Lie
be Schmer
I
r=T f
§
long
laid
er am blest,
torest,
schwun
schwun
-»fr-
acecon-ced
ev - er flow
nicht ver - sa
- zen und Kla
=
ing.
ing"
de - tier
de - ner
Lust}
Lust,
sind
O
Is
die
der
66
FAITH IN SPRING
(FRUHLINGSGLAUBE)
(Composed in 1820)
LUDWIG UHLAND (1787-1862)
{Original Key A)
Translated by Charles Fonteyn Manney
A s s a i l e n t o (Ziemlich langsam)
FRANZ SCHUBERT, Op. 20, N? 2
PIANO
1
£
hrr
p Q' J
^
A - wa
Die
lin
-
*
i
breez - es
sind
er
*
*>:, 7
r
i | i- j .
r
f
ll '• 8 D
~
S
s
ji
light,
wacht,
They
sie
g
r
HP
ir
.
the
te
j
j
±
r
r
' c ^ r ? * ^ ij9 g
f^
mur - mur
gen - tly
sciu - seln und we - hen
day_
Tag—
and
und
jt
ji
night,
Nacht,
A
sie
* i: i*l
? J T O ? J T O 7j*?n?.TO
r
J) J) J t — i
prom - ise of spring
schaf . /en an a/ ...
#
are
Liif
wm
ig. w
W^
T
ken'd
den
s
3
J. JJ>
r
r
zzz
they're bring
- /en
JSn
r
D rt i A
mg,
den,
a—
an —
Copyright MCMIV by Oliver Ditsoix Company
prom
al
f
i=p
ise bring
len En .
ML-«St-4
57
plJ
3±
$
0
den-
^
er Klang!
.
0
0-
*
p^g
k
•MM'
o
my
IVuw,
ar - mes Her -
g-
change
a
^P
change to
les
#e,
sich
al
-
les}
e=
les wen
^
thy gloom,
racft/ bang!
sex
§PPH
«
J
r
T
J' u j i i J i f l J>
Sorrow must change^nust
nunmusssich al - les,
to sing - ing,
-
and
o
off
mm i
J p J' i H W p
nun
muss
a
P
Sor - row must change,must
a/ -
V
>'^
erKlang,
poor heart, throw
SE
*~
l<
perfume,
-
1 JijiJi
f=f
fr
neu
Now,
i
?-+—w
and sweet
- scherDuft,
£
perfume,
sweet
¥
fri
i
^
wet*
>IQ ^
New sounds a - rise
mg.
i
ffl
-
den,
*
sing
wen
mg.
den.
r
-*
•IJJJJ +
BBBBSSBB9
••••••—•
r
•f
, 4f
Z3E
r
ML,-t*»~*
58
£
t
r J|J?£J> J)j.
The earth grows fair - er with
CM
g^
i
m*Jg?
r
7
b
rf JP g
ev -
je
-
;
ry—
day,
dem—
Tog*,
With bios - soms
man
weiss
nicht
songs
Bin -
-
of birds
hen will
bright—- the
fields are
gay,
Glad
was
wer - den
mag,
das
noch
FIFW
*.TO fJTO
r
k
^re
tiicA^
r
T
ZZ1
ring
ing,
glad
songs
den,
es
will
And see,
ing.
i
es
m
den
~1
}
£
SI
bliiht
each
vale
das
fern
4
fyffyf
HP
F
fc
en
pij* r u
$
scho - nerrnit
JTTOyJ^
WW
r
J) A
wird
r r r
f
jug n J'^jiji/i r? g
tf' j I u
I j i ji
Welt
FfP
zt
*
f
B
Die
S
i
are
ring
nicht
en
J'ILT^
-
is
green
ste,
tief
a-gam
-
ste Thai,
zzp — ( * — #
IP
3
JESSESi
M L - <)38-4
59
J) A
J»
each vale
es bliiht
is
das
J J
^
green
iief -
a-gain,
- ste Thai:
•K3SESBSS
B
Now,
my
Nun,
ar - mes Herz,
J)
poor heart,
for.
ver -
m
BS53BE5SS
il
@
i f P' Jp i
get
} . kj.
m
iyrn>rr
BSEKSSSS
i,J>
thy pain!
der Qual!
B*sp
nJ hJ>
p=?£
Sor . row mustchange,must
change,
to sing - ing.
nun
al
/es wen .
mwss
sicA al
.
les,
den,
£
Sorrowmust change,must
chan£e,must change to sing
nwnmimsicA a/
- /es, a/
.
les wen -
-
ing.
- den.
?.m?]nn ?.ro.ro
r r r r
*
I
*—#
te
p
»#*
*
yj^P1yJTT§
7
F
2t
^
*
tflFW^
r r
ML- 6 8 8 - 4
60
MIGNON'S SONG
(LIED DER MIGNON)
(Composed in 182l)
(Original Key>B)
"Wilhelm Meister"
Lento
FRANZ SCHUBERT
Posthumous works, N9 48
(Langsam)
VOICE
PIANO
]
l ^ j i J U\rr'
shall
soon
ich-
bis
wer
w fm
be;
.
m
zieht
le
von
das
wei
robe me
-
z£:
3
P^P
P
sse
*
^
I
en - fold.
Kleid
nicht
aus!
Ich
&
YZJ
&
has - ten from this earth so
-
this white
st
l ^ l r jyj> p p p i r ^ J
ei
let
mir
-&TJ
^
f jU
f
Still
de;
k
m
<r?r Mr
der
scho ~nen
r 'V
love - ly
To
Er
hin
-
de
w—w
J
^
seek adwell-ing
- ab
m
*r-
in
je
to
l^f
Copyright MCMIV by Olirer Dltson Company
- nes
P
*
z^m
dark and cold.
dun.
I
kle Haus,
ich
*
^
f
*
ML-Ot-4
s
PP
p ir^J
imzzjtt
has - ten from this earth so
ei - le von der scho-nen
#
»â
^
9
¥=^
&
^
Sa
i
love - ly
Er - de
t
E
i
19.
^
E
£
g a r - ment,My
Hill - ley
den
£
r
las - se dann die ret - ne
ki F T
teE
r
-»-
i*
k
g a r - ment, My
Hill - le} den
nr-fîf
J3.
£*
£
^
=
gir - die and
Giir- tel und
i
r
»
my
den
¥
fiif i •'
?
^
fa
ac=3
SJ
cross
Kranz
^
LPrJ"r.
£ S
gir - die and
Giir - tel und
my
den
i
rs:
i
5±
%
per-fect day,- Then
frischeBlick;
ich
#
m ¥n
J"^J /
|m *' piP P P P
shall I cast my s n o w - y
St
r ir^ J rC31J J J ?
mo-ment, Un - til shall dawn the
Stil - le, dann off-net
sich der
l j lJ
' rr jJ>l J A
- P Mr
^
-*.
f
il=g^
^
r- M'-p
"^T
^
j
£=TEEgE
E
shall I cast my snow.y
/as - se dann die rex - ne
pf^
f^f
^
BE£
I
n
dark and cold.
dun - kle Haus.
/T\
«
There shall I rest a short still
Dort ruK ich ei - ne klei - ne
e
^
*
To seek a d w e l l - i n g
hin - ab in je . ties
te£ p M r
£
c\
^fes^g
^
SI
61
a - way,
zu-rilck,
Then
ich
*
^
rs
*
•=a
^
^
^
cross a - way.
Kranz zu - ruck.
mfct
^ j j ' T Or- p^
Itl-Clt - 4
62
^
$
i
k
$
i
^
Nor
Und
will
je
-
i
^
-XT"
~cr
n f f f¥
I
P
ask
/m
m
-
£
cern - ing
man
nicht
nach
Mann
und
Weib,
kei - ne Klei-der, kei- ne
w
£
m
&EE*
*
und
r-hJ
i
V
f i J. )jo «C3 i j ^ J v p i r ^ J^ p r P
fen
&
K=JE
-
3
gen
um
veil the bo - dy's
-
£
ves - ture, Shall
Fal
m
XT
con
ves - ture, Shall
e^ m
sie
s PPS
p
if
<
M
r
and wife,
And
no
at - tire, nor an - y
p
-
Or
fen,
m
p- r^J
Fal
sure,
^m
^
*
r r rT
*
?=£:
j
cen
i
â
SIT
h e a v ' n - l y be - ings
himm - li - sche Ge
^
1,
p
p
those
ne
r~f J * p
^
ten
um -
£-e - ten den
Jt
And
no- at - tire, nor an - y»
und
kei-
i
u£1 " - i r i
/^\
11^
fl i raJ- diant life.
the bo - dy's
*
veil
ge - ben den
ver
m
n-fî^
w~}~$
ver
ra - diant life,
kldr - fen Leifc,
A
i j
-
kldr - ten
ne
Klei-dertkei-ne
Al
Zwar
Leib.
j y |i y um |p
^
«
*s
^
Vi/
ML-M9-4
63
J
tho'
I lived with care-less
£mind,3 £I
lebV
ich oh - ne Sorg' und
Mii - he, dock
i|V \-^r E
felt
fiihl
ver - y grief my days de
al - tcrV ich
zu
For
ich
Vor
^
P f J^Ji Jip p l r
Kum-mcr
^ S ^ -J *
£
my heart with
sor - row wrung.
tie - fen
£for aye
Schmerz gv - nung.
^
^
clined,
fril
Make
- he-, machV
me
mich
auf
and
e -
wig
** r r c .r M" £
O
i
#
ver
#
r
w
H'fM
" y
JiTum - mer
^rie^
al
y days
- terV ich
-
^
vor
-S
*
*
EST
zu
For
? • » ; (
i
ê
ev - er young,
wie - der jung}
j£
clined,__
fril
-
Make
he;
me
machV
mich
^3
f
for aye
and
auf
wig
e
â
P
f Z f v If I M
9*=f
te
m
f
^
I
T
l|J j J ' i.
5±
P r J '
<C\
*
* — *
ev - er young.
rote - dcr jung.
if r y f,
^
^
S7\
IT
=&:
XT
64
THEE, LOVE, I GREET!
(SEI MIR GEGRUSST!)
(Composed in 182l)
FRIEDRICH RUCKERT (1788-1866)
Lento
(Original Key,B\>)
FRANZ SCHUBERT, Op 20, N91
(Langsam)
m
SS
PIANO
M
^HFT
i
17**1
yg?»y
1371*
m*
*
Thou who wert
0
^3
m
* y 3 ad
*Hf
Hii
te=t
^j
P
•
sempre con Pedale
i
t
i
M
^
•
ffl^
£53
*rr
0 *
*
es,
und
Kus
se,
y T ,l
ffl i i i 1*
iU iU
Thee, love,
sei
k
mir
I
ge -
§HP
y I vi y
-
riss'
t
m
ne
mir
from me
-
] jj I
a"'
5=3=?
@
gH
kiss
^
Ent
torn
3$
w+_~±_ +
fe
^
and from my
met - nem
0 0 0 •£$&
du
f
m
0
"r r
greet
a»
«M
with kiss - es
sei mir
ge
grilsst,
y J ylt,
^
*i w i
Sd
^
&
*
22Z
sweet,
kiisst,
r r' J>
with kiss - es
sei
mir
*
sweet!
ge - kilsstf
Though on - ly
Er - reich - bar
Copyright MCMIY by Oliwr Ditson Company
i
long
nur
-
p
ing can
met-nem
ML-640-ft
65
m
PPp
#
bridge t h e s e a
Sehn . suchts -
P
»> 1 J 7 J
byss
gru
es,
?
sfei
$
y
r r ;>
with kiss - es
sei
kiisstj
mir
hand
w
fr 14
S
3
44
6
greet
Her
w
kiss
mir
es
ge -
»i»3»
^•^
^
sweet!
^
^
Thou who by Love's own
Du
^
zen ge - geb'-
-
SB PW
&
Thou
heartwast giv - efn,
-
m
with
sei
griisst,
y *y
m
to my true
die-sem
I
ge -
ge - kilsst!
m
L\e - be
mir
B k IjTs 7g
tifly
sweet,
•2*
Thee, love,
ssey
H
fe
£
S
m
m
^
from this fond
du,
ne,
von die-ser
7 r>»
von der Hand dcr
bos
Brust.
a
om
fc
£
4
cresc.
V JV J V
F?=¥
* J^ J *
33*
^
l ^ Z 7torn
T , ™
„ . Though
T».„.„* forth
fnrti,
a-way!
nowm'-iw «»>/
mit
die
thp tear
flood pp rr ee ss ss -- ee ss __
the
tear flood
-
sem Thra-nen - gus
Thee,love,
sei
- se
mir
I
greet
gre(
ge - griisst,
K
£
ML-840-5
66
P
?P
s
f
with
kiss - es
sei
rnir
sweet,
p
i
dis
Fcr
^
J J
What though the
kiisst!
Zwwt Trots
1
K i h .h
sev
-
er
die sich,feind-lich
tren
-
nend,
^
^3
B
•/ 3 *
wide a-part!
De - fy
dich ge-stelltj
'dem Neid
-
SE
i
=Fg?
that us twain doth
we,
der
^
^
S
' - T Mr
BP
$
ge -
sweet!
1
1
Si
$
2
?tance
*&
^ ^
mir
1
ti^>
^
es
niLiTii^B a
m>> V ll» V 1J V t
w
sei
u
350
^
with kiss -
ge - kiisst,
$
3
^
ing en-vious fate
£
greet
with
P
kiss
grilsst
sei
rnir
K
- es
ge -
bz
7 MS
s
cresc.
that us
-
kiisst.
im
Thee,love,
op - press-es,
sei
te zum Ver - drus - se
P^£
JSZZ
sweet,
both our lives so
zwi-schen michund
J^^- jura J
pTTTr
der Schicksals - much
Keep
hat
with kiss - es
sei
mir
ge -
mir
I
ge-
3Z
sweet!
kiisst!
ML-610-5
07
#
I
^£
s ± *
du mir
Clasp
Gruss
VJ 7J 7
J7 J 7 J7
» —^^ y
i
lov - er meet, With
P«*
#
TdTdl
i $^m
J
all
mit
met
i
«J - # - #
#
i
V "* 7 * 7
^ bw *j g r y
7 3737
nnt
m
h iU' 3 •A' •
*
with
T=iPF
ent - ge - gen kamst,
53
*
s
thy
love,_
Lie - be
B
f.;. i £„. iJ J. J^ |i|,j
kiss_
Kuss_
3=*
we learned to
schon - sten Lenz dcr
r rf
pp
and
und
im
^TU-J^
&
J Z
when first
je
m
•m
J^ J> J
£T~J-
thou didst ev - er
As
Wie
w\> j ^ av a v
*
Ps
13
rap
g7w
-
PP
tur-ous
hend-stem
^
dress - es
^•ws - se
ad
Er
p
i
a £
with
set
kiss
tntr
set
i
*
rj
Q
fc
es
ge -
w "JrTl
S
Thee,
7 3 7 37
i?p
sweet,
with
£
kiss
kiisst,
set
wtr
^
£
love,
I
ge
mir
S
greet
griissty
F
«
K
m
J33L
es
sweet!
ge - kiisst!
One breath of
Ein Hauch der
7 3 7 17
^
7 3737
^H
i2P
73737
7 3 7 8 7'
13
qir
ML- 64 0- r.
68
î.-pj
love
doth
Lie
-
P*I
S
I
u
3
*
ban-ish time and
be
til - get
&
*/ S 7 S
7
37 3 7
I hold
with me.-
ftisf
6ei
ich hal
mir,.
b 7.J7J7
*
•m-v—ft
J7J717
v
1^ iJ^J
ress
schlus
sweet,
kiisst,
ft
^x
thee fast
-
te
sei
sei tntr
^
with_in these armsL
dich
in die - ses
k
f
i»i
i
caUrn
Arm's.
*b—«t
«
*
w
/=
J ^ jy j
"rr *
p |#f"
I
mir
greet
with kiss - es
ge - gr&sst,
sei
mir
ge
o
£E±
r r J»i4
with kiss - es sweet!.
g? - kiisst!.
-iri
i •r «TL J » J qq if
LJk, i .fc-g %
J 7 i 7 m 7 4_
F^?
j> j>
P fc |
»
*r H *f H *r H 1 i
j
7
T j 7 J 7-a- 7 j ? 1 7 d ^ l 7 p 7 p 7 p
51 5
*
p^
:3
1,2
Thee, love,
es_
se,
r
dir,^
HJv7 * j7
iiJv
IPL .. J7JS=F
bei
^y^
aS*
j
-
with thee:
bin
* d »d*
M
yg>
7. L7 L7
# .
yL
am
rr pif nw
^
thou art
I
icA
7 1 7 17
^
du
es:
ten,
spac
Zei
Rciuniund
[ 7 ••/ i 7
\
f
m
i
m
i
#
I
7
i
1 L ' 1 L
T
li
t 7
j
f
gj
||
-{I
_£L_J|
1 1 7 1 7 J 11 17 J 7 Ji±E3
5*
KX-640&
69
WANDERER'S NIGHT SONG
(WANDERERS NACHTLIED)
(Composed in 1822)
{Original Key, BV)
L e n t o (Langsam)
JEfc } o
vm
VOICE
FRANZ SCHUBERT, Op.96, N93
£#PTJ J'ilJ^Ff
Oerthetreetops all is a t
U - her al - len Gi-ffelnist
PIANO
•
"
[/
ft
# ( #1 €k &
-W-WT7
w
—•*—f——
\$M J3 j Jr^j—nJ.
val - ley scarce a breath
Wi - pfeln spil - rest du
tfMJlJ
si - lent
schwei-gen
m
m
fit
stirs
kaum
g^
>jjJ,
thrdthe leaves:
The birds
ei - nen Hauch-,
die Vog
%
jgpf
are si -
'3}y I > i j JO J l£jrr
in the for - est.
im
Wal - de.
On - ly wait, on - ly wait,
War - te nur, war-te
nur,
On - ly wait,
on - ly wait, e r e long
war- te nur, war - te nur, bal -de
^
r
thou too shalt rest.
ru - hest
du
r
^
e r e long thou too shalt
bal - de
^
\p)h!< J M Q J IJV Jij ^ ? i
lent,
lein schwei - gen,
NfrTTTTTfffii
rest,
auch,
&-
f^f
m &L
-HJ^-J
rest, In wood and
RuK,in al - len
auch.
ru - hest du
70
TO BE SUNG ON THE WATER
(AUF DEM WASSER ZU SINGEN)
(Composed in 1823)
Count FRIEDRICH LEOPOLD STOLLBERG (1750-1819)
(Original Key, Ab)
Allegro moderate (Massig bewegt)
m
PIANO
ITOT^
v^JIHTTW
•at
&
simile
PP
,
th
^H^j
t
% $
5
%
*T
$
$
$
w
m
w m
$
Bi
m~
-j^^Jt
J) ^
O - ver the shin-ing and
Mit
-
ten
im
pp
H
E
J) 'J). lJ)„b=g
Sehim~mer
mir - ror - like bil
-
lows Glides,
as the swans glide, our
slow- sway-ing bark;
spie - gcln-den
-
len
tet, wie Schwa -ne,
wan - lien - de
m
Wei
glei
-
der
«P*JJJ]
* + pm
^
^
der
t
%
Kahn;
«yjj'jj]l
sempre simile
»' J' U UJ f
B ^
Copyright MCMIV by Oliver DitsotL Company
f
I
MI - 6 4 2 - 7
n
I ^"'
W
p
^ P J3A } ^ P
gRP^
£=*the bark,
course, like
@
cresc.
p- P P P • j>
On - ward the
glei - tet die
J^
i
s
-
lows
len
i ii p tij' ^
course like the bark,
soul shapes her
See
le da - Atn one der Kahn;
l ^ r W F M 'P- M ^
Now
denn
£
shin-ing bil
Ah, thro'great hap - pi-ness'
soft
achy auf der Freu - de sanft = schim-mern-den Wei
Ain wie der Kahn,
i
1i-vr*ro
/^Y«-»
-1-/4 " f i l l *
CA11 l
C?Vi O t \ n o V»^»<
lows
On
- ttrbwiard
the soul
shapes
her
ien
glei - tet die See - le da -{
A 1_
±\~~.^1
^ - _ ~-r»4 t%<~k«^.
«->.« « I A « C I }
fi/\f+
<M"U •!-•"»
-t-»irr V k i 1
Ah,
thro'great
h a p - pi-ness'
soft
shin-ing
bil
achy auf der Freu - de sanft = schint-mern-den Wei
from the heav - en de - scends
von dem Him - mel her - ab
Era
P 'P' yJ^P-~7l
on the bil - lows, Dane - ing,the sun - set glow,
auf die Wei - len
tan - zet das A - bendroth
ItHEH] [7555^ [PTH^ pfh
=*
§â
*
*
*
*
h* #
a
a
»
«•
s
i
5 -#_J-ML-*»i2
72
*
4P
i,
IJJJ JJ
1
/
P^
*
i
#
4m
F
P
P'
- set glow light - ing the
sun
A - bendroth rund
I
#
um den
r?7TT3
*
S^
Dane
tan -
light - ing the bark,
rund
um den Kahn,
r=*
ing, the
zet das
^
bark.
Kahn.
m p
*
BE
m
i.
p
I
p
p
V # <g>/
%
I I pp Ip % t
IJ j>. i
L P
^ j
O - ver the curve of
Ue - ber den Wi-ffeln
the
des
v
^» # >
^ « #.>'
%
%
%
%
p
~p~
MP
pi
#
west-ly - ing mead - ow
we*t - li - chen Hat - nes
ML-642-7
73
fe-i>. JljJ.
Blinks
win -
at us k i n d - ly
ket uns freundlich
¥ im
Wffr.
J
the
der
i
V
£
jrtfB^
^
soft7 ros - y light;
roth - li - che Sckein;
Un - der the boughs in the
un - ter den Zwei - gen des
cresc.
iij> u> PP
i' rp- M P
e a s t - l y - ing mead - ow
dst - li - chen Hai nes
Mur - murs the rash
in the
sdu - self der Kal - mus im
p"S?Q®^ mffej-gr
Un - der
un - ter
s
$
the boughs in the
den Zwei - gen des
tjg
e a s t - l y - ing mead
dst - K - chen Hai
soft ros - y light,
roth -li - chen Schein,
HP- TP P- ^
&
ows Mur - murs the rush
in the
nes
sdu - selt der Kal - mus im
p
p- iof theP heav
V - enpandP
^s
Joy
Freu
soft ros - y light;
rbth-~li - chen Schein j
M-0L%
-
de des Him - mels und
proij^n^ ?]MWI,J jjJuJ'j^y^
m
pi l l pa
1H>
*
':
i>
£
iff
n#
*
*
*
*
*
*
*
*
*
*
*
MJL-tftt"?
74
I
i
UP
T
or the mead
r
peace
Ru
-
he des Hai
Mr
- ow
-
ties
Come
w
in this
oik - met die Seel7
ros -
im er - ro
-
JMJ.
e-ate light,
thendzm Schein,
[V pt^lfr | p |
^qg
*
|g i £m
£
J^T
to the soul
to the
met die
Come
ath -
soul
Seel1
^
in this ro - se - ate
im er - ro - thendem
^
M
»
w
p Pg
f
1
£
deer esc,
I
P
0
1+-
* r * * #
J> f F M ML-642-7
75
I
J32-
P
i. uJJ> i
Ah!
Ach,
p
Jl
JRg
but how quick-ly
es ent - schwindet
on
mit
pin - ions of morn
ing
gel
Time
mir
m
fe
•
%
$
i
i
i
te
•
>
<
HP
g
And on lier soft - shin-ing
mor - gen ent-schwin - de mit
bil - lows is gone;
We/ - fen die Zeity
pin - ions at morn schim-mern-dem Flu -
w
i
p {C
#
IS
cresc.
Time, as be - fore
and to - day, will
wie - der wie ge - stern und hen - te
k
XSE
cresc.
fc
l n, M' p
*
US
p
pin - ions at morn
schim-mern-dem Flu
^
h» m ,
And on
mor - gen
her soft - shin-ing
ent-schwin - de mit
ts5
r f
ISSBBBB5BMS
^
feiii
toefc
*—#—*—*—t»
W M
cresc.
-M^—M-g
ing
gel
Wfe
fe
be gone,
die Zeit}
^
*
mLT & r
M-M
iis*
*
flfo-P^ JL S
*
W
m
fr * IT f — *
fc
^
ing
gel
y-fty *JJ^ff~]
j i JPTTOJMBI a
»
i
sway-ing
auf den wie - gen - den
; ; i ;P
>
»
s
Jl
m
JJJJJJJJJ^
pp •fe
l i j l J>
o'er the slow
^
^
&
Time, as be - fore
and to - day, will
wie - der wie ge - stern und heu - te
be gone,
die Zeit,
4M*-
1? J
Mi
FI 1I
T
i
cresc.
m& ~ *
VOL
i
jiUj/f H
ML-$4*-7
76
i
\m
1
i.
feiF*
k*
mi'i
i
a
fi p \p iiij
P^
Far - ther than Time and his
selr - ber ent- schwin - de der
m
chan - geshave gone,
wech - seln-den Zeit,
ing
infr
gel
V#k
m
p-—k*
[^ p- i ^ f r
hi HI
I,
I, on
on pin
pin -- ions
ions more
more bright
bright than
than the
the morn
morn -ich auf ho - he - rem strah - len-den Flu -
ft
1*#* *
p
h
in'!
Till
ill
bis
p'
M
*_§:
& fe:—P
e
Par
se/
-
^•F"1
I
p-
^
I"?' f t p p- J>j» IJ
^
therthan Time and his chan - geshave gone.
ber ent - schwin - de der wech - seln-den Zeit,
ULw J J J H J J J J J J J JJ
#=r
1
^
^
^
t—<
£
r^^f
e
i
P
t i t
i>
* = *
XL -6*3 -a
77
WHITHER?
(WOHIN?)
(Composed in 1823>
"Die schone Mullerin"
W I L H E 1 M MULLER (1793-1827)
FRANZ SCHUBERT, Op. 25, N° 2
(Original Key, G)
Moderato (Massig)
VOICE
I
P
P brook
P- P
let
heard
a
hbrf
ein
Ich
Bach -
lein
PIANO
P P P T
plash
ran
-
ing
From
out
a
schen
wohl
aus
dem
splash - mg,
ran
- schen
r
#
It
so
took its
frisch und
r
r
rock-y
source;
Fel - sen -'
c r y s - t a l course.
wun - der - hell.
r
shad - ow
I
do
not
' o w r - de,
nicht'•)
wer
den
quellj
r
mir
val - ley,
hin - ab
Tha - le
zum
Its
spell
of
Ich
weiss
nicht
pool and
y
wie
mir
r
un - der - stand—
Rath
A - down the
gab,
The
brook I
ich
muss-te
needs must
auch
hin -
ML-C43-6
78
hand
The
nem
stab,
ich
pen ~ stock
^te
i
k
r
r
brook
muss
I
um
w~ w
> kh -;>
needs
auch
J>
r
m
must
Am -
-
r
r
mm
low
With
^
ter
mit
met - nem
P
al - p e n - stock
in
Wan - der-
w~ w
g
s
r
ui y = ^
fol - lowed t h e foam - ing
im
fol
r
P^ ^
JîiiJJJJ OTfflft TOgJ^Ji^H
r
r
^
in
Wan - der -
l^kuî Aiwimî
is g — P — ^
#
igl
P^P
mer dem Ba - che
r
s
F
brook,
Which
nach,
und
s
r
* — $
dull
or
im ~ mer
E
r
-
&
si fri
-
gl
lent
scher
ML-***-6
79
if * ii j. ij f111
dull
or
im ~ mer
si
fri
lent
scher
nevrausch -
er
te
spark- ling
im - mer
Its
und
*
m
ti
%
~$r
j» ' artJ ' thou
J> then,
J> my^
f
took.
Bach.
And
Js£
ij'ifl j , j , t ^ j i i j i j , ,j>,
high - way,
Sira - sse?
high - wayhel - ler der
That leads me — tell
0
Bach - letn,
sfrich,
das
^
me where!
wo - kin?
a*e?m
-mî - we
P
Oh,
sfe
ML-643-*
80
4&y e
3Z
where?
i
&
me
hin?
sprich,
P
^
plash Rau -
4&
'if* Ji.
yet
=
mg
i
\zt*fa 1 J
as
schen
Ji J*
ich denn
m^ m
^
m _ m
J
it
vom
•:_,
JO
J'
Thou holdst me with thy
where!
du
wo - hin?
why call
sag*
s$£
P^P
tell
* j' i^
s:
s
=# z *
in
ganz
iplashs -
hast
mtt
s
a
f
mag - ic
be - rauscht den
ing?
Rau - schen?
f
That
m
das
del - nem
4
plash Rau
-
m
s
ing
as
schen
mir
s
#
snare.
And
Sinn.
if
rno
can
kann
ketn
£ j"3 I
plash- ing
Rau - schen
ML-643-*
81
dy,
Reih'n,
But
rath - er,
Wa -
ter
es
sin
wohl
die -
-
gen
Nix
Ni-
in_
xen
tief-
PjJJJJJiJJiJ
W*-i> J
r
A
n
r
r
r
J> J> melJ- ?o - . Q
- dy.
mys - tic
un -
&k
3
ten
ih
i
on .
raw
-
ren
Reih'n.
r
r
Plash
on,
Lass
sin
pret - ty friend, plash
-
£3 I J' thyilJ'~>
> theme!
U
hap
ward,
and
schen,
und
sing
wan
dre
froh
py
nachf
gen,
Ge - sell,
T
lass
Ândf
Es
]ft-6i3-n
82
I j fr ;, J, j? fl
y o u will
geh'n ja
i'»''
,N J>
you w i l l
geA7n j a
[| V S
find a
Miih-len
J> fr I * J>flJJ
mill
- ra -
w h e e l in
.der
in
jp g
find a
Miih ~ /<m
stream,
Bach,
mill-
wheel in
der
in
ra
ev
je
j> $h
- w a r d , And
schen, und
-
'ry c r y s - t a l
dem kla - ren
stream.
Bach.
JWP
sing t h y
wan - dre
And
es
gl
? Cjip- iJ3j?
JJIJ^'J
theme,
nach,
^ p
'ry c r y s - t a l
dem kla - ren
±
W W
on, p r e t t y friend,plash o n sin ~ gen, Ge - sell, lass
rav
ps
ev .
je .
hap-py
froh - Itch
theme,
nach,
Plash
Lass
PP
h a p - py
froh- lich
^
£
p p 'r
hap - py
froh - lich
theme!
nach! —
*
^
/?\
PPlPIPtP P
-«l
k
>-$h~b J
r
r
r
r
r
r
v^
ML-648-6
83
THE QUESTIONER
(DER NEUGIERIGE)
"Die schone Miillerin"
WILHELM MULLER (1794-182?)
(Composed in 1823)
(Original Key, B)
FRANZ SCHUBERT, Op. 25, No. 6
L e n t o (Langsam)
dU I
VOICE
t y j , | J). } j a g
s
^s
ttC ii
pafe£ fcpp tei
i i
flower,
Blu-me,
fra - ge kei ~ ne
Nor ask the stars that
ich
fra - ge kei - nen
^
^
^
^f
W
p p s p g i *i iX^J[> » j i
glow;
The flowirsandtne stars cannot
Stern;
sie
kon - nen mir
al - le nicht
! » ' ff > *
*
^
^
^
I
ich
er-fiihr1
so gem.
$g f ^ *
h JW J>
#
am not
a
Ich bin ja auch kein
Gartner,
If
blest will be my love.
ob
mich mein Herz be - log.
^
^
f
If
hoch;
met'n
^m
£
Bachlein will ich fra-gen
w
$=m
£§1 ?
a - bove; O
die Ster - ne$ieh!n zu
brooklet,tell me tru-ly,
5
P
gard'ner, The stars are far
ij'JV|jJ|,j.j'.J!)i!l^8
*
was
wei
^
^
de-sire r t o know. For I
What
sa - gen,
?
fri'-Jlj^lJ'J^f
~*
tell me
I
^
^
a£
i?p
*:
&
Ich
* *
y*»ff» f
*
ques - x:
tion noti.
S
£
PIANO
*
Vrt
111
o
0
* *
JjjJjjjJf
3=E£
^
F#^
Êfg
s
ML-644-3
84
M o l t o l e n t o (Sehr langsam)
ij'a j-
J>j>j»irjj
brook Bach-
let,dearest
y JMIT-
brook-let,
- lein meiner
Lie -
^#p
You ne'er
be,
wie
crave
^"p p l Q
to knowbut one thing, One
wur JBi-
ras
wis - sen,
briefwoni o'er
and
o'er.
Wortchen um
und
um.
ein
m
were dumbbe-fore!
hist
du heuf so
S
P
I
stumm!
Will
IP
r
$ «!•
i
*
brief word o'er
and
o'er,
One
Wort-chenum
und
win,
ein
"Yes" is the nappy
an-swer, The other word is
fa, heisst das ei - ne Wortchen,
das an-dre heissef
y« J Jr
ll^r '
No 5
Nein,
v
1
b
J
pi
?
p
E
p
p
j
g
i^
'
\JnJ iJwoe, *
Each lit-tie word com-pris-ing My world of joy or
die
bei-denWort-chenschlie-ssen
die
gan - ze Welt mir
ein,
v
g
i
Each
die
ML-644-S
85
I
£
V|
p PUP p"gp I^ f r^ ^ n J 1J~~^ < |i
l i t - t i e word comprising my world of joy
bet-den
Wortchen schliessen die
#
brook -
- let, dearest
brook - let,
Bach -
- lein mei - ner
Lie -
o
ein.
H 'f
How strange
was bist
be,
»|
woe.
gan - ze Welt mir
s
*
or
i
0
m
P UP
you are to me!
I'll
WiiVs
du wun-der- lich!
*
ne'er
reveal your se - cret,
nicht wet- ter
sa -
gen,
Say,
does she love
love.
but m
me,
<
sag)
Bdch-lein, liebt.
sie mich?
Say,
sag',
r\
|^J?flj_JUi|J=B
does she love
but me?
Bachlein, liebt
sie mich?
I P ff —B3B8B8—^^^^r~^^^m
yn—i P
EZ
r
i
flfi
piroro
WPPJJW
ff ' 'M
Pmml
i
r\
*
ML-644-3
86
IMPATIENCE
(UNGEDULD).
(Composed in 1823)
'•Die schone Mullerin"
WILHELM MilLLER (1794-182?)
(Original Key, A)
FRANZ SCHUBERT, Op. 25, NO 7
Allegro
aSSai (Eiwas geschwind)
PIANO
^
^
EE£
gijiSdhf-i—^
i
§^^
W
=H
^
UJV^
^m
w
^
^ I i'- J) i ^ ^ v > IA J j
^ ^
~9n
1. I'd
2. Yd
I. Ich
2.Ich
m TWfVT+fw*
carve
train
schtriW es gem
mochtf mir zie -
i>
33
£
' tJ
it on
the bark of
a young and ten - der
•
#
in
hen
al -• le
ei - nen
^
i
es gern
in je - den
er sprachl die Wor - te
fesH
AA
A%.
Ê=S
S.S
jÊÊ^Ê^^
Kie - set-stein)
rein
und klar,
IT
As
ich
bis
IP
Oliver Ditson Company
s
7 ^
I
es sdyn
sie spradi
E
^^^1
^^^^m
*rV7
-ToiTi
-wvMiIrl sow
cr\w
fain
would
if
my Aips
mochV
er
On
And
ich
bis
- den ein,
- gen Staar,
£
^
,
.
!•.,
.. . «, _-•
'
-u^
ev - 'ry
stone
it should
en - grav
- en be;
he should speak those words in tones so clear,
grilb7
dass
Rin
jun
35
"*"*•
*
ev - Yy tree,
star - ling dear,
in
each
iti i in
each
had said that
auf je - des
mit mei - ties
3=
%
ML-***
8 7
gar - aen green,
ten - der word
fri - sche Beet,
Mun - des Klang,
i •m-m
«H v
y#< v i
Hi
£K5
ev
he
-
i
In
ear Whose ech wit
mit
Kres met -
*F*F*
f
pirn
sen- sa - men, der
nes Her « zens vol
[T V
r^^rr
den wei - ssen Zet - tel
er hell durch ih ~ re
ft > P * p=j
t*
fpii
pi
P * [^ P
s
is
my
ist
mein
iiiiilfi
*
1 ^
3Z
§
^m
£
thine.
-
«*'
my
And shall be
heart,
twui
dein
^m
^
is
Thine
PN
t^t-fl,
es
schnell ver-riith,
lem,
hei - ssen Drang,
er:
1-2. Thine
er:
ben
;} 1.-2. De
fexn
ben
mdcht
ich's schrei
Fen - ster - schei
TT=^
heart,
Herz,
0
On
An
A
n dA
auf
dann
J ^ ^
in - scrib'd for ev
thy win - dow ev
SWi
P
-
quick - ly seen,
heart is heard
p* » = g
ill A JlJ.
iy page should be
should sing
it at
WaP i
it should be
my
mv ar - dent
tfl *fl \il 'ii "iiHil
m-m
J
je sangy
ly cress
o in
m m m
&
ev e -
~;mw, WM
ifi m^ ^ F
&=3t=3t
es
PP
^
^
for
- wig,
soil
i
E
^
er,
wig.
ev
< 41
er!
Wei
m
« * *
TttvWi
•?^4I
feêp
88
m
^ | J). J) £î±
.h I > j , ; ^ |
3. The morn - ing breeze my love
4. With - in
mine eyes I deem
5. Den
4* Ich
Mor - gen-win metnf,
es miissf
5
m-*L
P
f
it
on
my
E^
burn - ing cheek,
£3
i
$ i
* ^
* *
IJDEJH
VI
s {i:
mochf
es sciu - seln durch den
re - gen Haiti,
met - nen Wan-gen miissf man's bren - nen seh!n,
W* v jj-tjj, i£±
ich
auf
u Uifii
±=*xt**- J>lll^3
thro' thehedg-es should it
sigh- ing flow,
must see
And
And
den mochV ich's hau - chen em,
in met ~ nen Au - gen stefin,
^
all
to thee should blow,
my love doth speak,
^
[I
J
A
*f—ff—fr
j£ £
I'd
And
have
it shine
e - ven read
in ev - 'ry
it from my
o,
zu
leuch - tet' es
le
sen war's
atts je - dem
auf met - nem
mfit^tt^ft]
g-1
I7 1 "T
ML-ii^
P
*
89
=
^
flow - er star,
si - lent mouth,
Blu - men-stem!
stum - w«n Mundy
nhv i
i
M P ' J P" M ' p|;i ' P J
And
And
frig-'
«7t
pim
8^
fame rare should waft it
near
Yy breath I draw doth bear
der Duft
zu ihr
von naK
der A - them-svg
gaVs laut
P r
P * EEJpi
and far,
it forth:
und fern!
ihr kund:
tould move the wheels
whc
stream should
yet
she seems to mark
Wo - gen, k'dnnf ihr nichts
sie
merkt nichts von all9
to
tell
it
my
sor - row
als
Rd - der
dem ban - gen
+&*J
*l*3^ 3 & *
ev nevtreiTrei -
3
^
The
And
ihr
und
h
IM
it I J*- i J • J J) * I f
« *
m$m 33
per
ev
£s
je
v
^
^
- er, J 3r4. Thine
- er.
- ben?) « - J)dn
- ben.)
3
n
is
my
ist
mein
i
^
ML-64S-*
90
MORNING GREETING
(MORGENGRUSS)
(Composed in 1828)
(Original Key, C)
"Die scheme Miiflerin"
WILHELM MULLER (1794-1827)
Translated by Kate Brownlee Sherwood
te
VOICE
PIANO
Moderato (M&sig)
W£
mT
J"*^-^
P**l*FT I J. J P
1.
2.
Good
Oh,
/ . Gu - ten
2.
0
P
morn
let
Mor
lass
Jl
I^-JJ
scho - ne
nur von
3^5
3Qt
||b']> J , ^
r
half
a - fraid
glimpse I
see,
Kfipf - chen
'Fen - ster
kk
£M
hin,
seh'n,
- ^
ii#
thy
a
head as
pass - ing
Mill - le - tin I
fer - ne steHn,
wo
nach
du
nem
gleich das
lie - ben
steckst
dei
1
i
^
1STT
£
Thou hidfet
Tho' but
i?ff
*
f
mil - ler maid,
far from thee,
ing\ pret - ty
me stand a
gen,
mich
r-
r f
Efe
s
i
s~z±
MbT3 J> I f E E F E E j
That
The
I
land
have
scape
als
von
war*
fer
dir
ne,
come
all
was
ganz
to
grieve thee,
a - dorn - ing;
ge
8 von
-
sche -hen?
fer - ne!
^m
4 'iJJ -
m
PifeP= *
^3f
Copyright MCMIV by Oliver Ditson Compaay
r
V
V W
ML-646 4
91
I
#
I
1
i
IsiS
P~P~P
my
g r e e t - ing
vex
v Ir
And
To
Ver Du
does
see
driesst
Hon -
with - in
thy
dich
denn tnein
- des
Koff - chen,
mfp *
wV
w
m
te
/?N
J>
Ian •
eau
stb'rt
vor
- ces
-teons
dich
mis
fet
±M
ji
J>
pain thee
gold - en
denn
mein
eu - rem
«
^ £
more and more,
h e a d ap - pear,
Blick
so
sehr ?
run - den Thar,
* &—•
leave
morn
sfer
fe
i
P
fc±E
&
thee,
ing,
hen,
ne,
Then
A
so
ihr
3
=
I'll
bright
muss
blau
ev of
wie Mor -
er
the
der
gen
r"r J> rj* i> i
leave
thee,
morn - i n g ,
ge
hen,
ster
ne,
s £
,!,! i r r r r i r r r r
y ii
i
?
p iJ J>
for
star
ich
en
for ev - er
star of
the
ich wie - der
en
Mor-gen-
T h e n 111
A
bright
So
muss
ihr
blau -
f
==e
r-
#
Pfe
S
i ^
Vm.
J.
Pi
My
Thy
ver her -
*-*-
19
#
^m
t h e e sore,
win - dow near
Gruss
so
sckwer?
komrn her tor!
for
a
ihr
ra
r^
?
ev - er
star of
wie - der
Mor - gen -
^
92
Pi
| | ^
E£3
3. O,
4,Oh,
3. Ihr
4. Nun
J v iiJ>
with the
joy - ous
Blil - me
fret
em
I' I > > J * JU j . P V ^
^
slum wak schlum schiit -
ber-heav- y
en from your
mer - trunk'- nen
telt
ab der
dew,
tell,
lein,
for
The
Of
was
in
morn morn scheu
Got -
\
| | ^ < « » YeP ihaver
The
JBa*
^zi
lark
es
Ler
flow* - ret lad - en
fair
and sweet and
than - be - fr#6- fen
AeW euch frischund
«?
sun
bless
ihr
hel
Ff f
o*
m 0
mg
ing's
et
tcs
O
And
ihr
ttwd
blue,
spell,
- lein,
Ffor,
a
^
Pm
«
eyes of
drow-sy
Au - ge
Trdu - me
shine
eel
die
len
hail glad Son Mor -
£
ing,
ness
ne?
gen!
T
i)J" "J
J
v * n
r==r
P
of
p sop iwear
^- p
r
late
y grown,
is
up
on
die Nacht so
- che wir - belt
soar - ing wings
gut
ge - meint,
in
der Luft;
m
m
And
And
doss
und
ivu^ r
Ml-64«-4
93
I*
/?\
A
i mm
ye
hearts
ihr
aus
i
m
Jl
have wept
for - get
J> I Ji?
and
the
e«cA schliesst und
iem
tie - yen
£
¥
wailsad - -ness,
Won. - ne>
Sor-
f=e
Your lost
That love
nach ih die
Lie -
droop'd a .- lone,
while he sings,
fcudtf tmd
Her - sen
Mr
Your
That
lost
love
nach
die
ih Lie-
weint
rw//
f
J| J
P ^ i .
de - light be - wailis pain and sad- rer
- be
stil - len
Leid und
Won Sor -
¥d e - light beis
- rer
- be
> *
liig,
ness,
ne,
gen,
&Z
^
.MI r P r ^ r ^ l r ^ r r ^ | r r
pain and
stil - len
Leid und
£
de - light be is pain and
nach ih - rer
Leid und
=*a
rT
IL-MI4
94
THE FAVORITE COLOR
(DIE LIEBE FAEBE)
(composed in 1823)
(Original Key, B minor)
"Die schone Mullerin"
WILHELM MTJLLER(i794-i827)
Translated by Arthur Westhrook
POCO l e n t o (Etwas langsam)
VOICE
PIANO
w
t
'
J) J)
j^ .1 j> J*
1. A
2. The
3. The
*Tf
garb of green 111
I'll
hunt 111 ea - ger-ly
grave my woe shall
s£
find
fol
cov
/ . In
Griin mill ich mich
klei
2. Wohl - auf zum froh - li - chen Ja
«?. Grabt mir ein Grab im
Wa
me In
low And
er, With
den, in
gen, wohl sen, deckt
JJJJJJJ J
f
l ^ f f p J J l»L
weeping wil - lows wind
range o'er hill and
hoi
rush-es green spread o
I
£
JJJiU
grit - ne Thra - nen auf durch Haid' und
mich mit grit - nem
wei
Ha
Ra
^
=
^
3
J' y i ' l f r - f - ^
me,
low,
ver,
My
My
My
love
love
love
likes green
so
likes hunt-ing so
likes green
so
well,
well,
well,
My
My
My
den:
gen,
sem:
mein
mein
mein
Schatz hat's Griin
so
Schatz haVs Ja - gen so
Schatz hat's Griin
so
gern,
gern,
gem,
mein
mein
mein
ML*47-2
95
r • J'
love
love
love
Schatz
Schatz
Schatz
i
green l_
hunt - ing
green
Griin
Ja - gen
Grun
T
so
so
so
so
so
so
9-9
wm
FT ^
well,
well
well.
gem.
gem.
gem.
I'll
the
No
Will
Das
Kein
\frV~ir
seek
a
down dfoop-ing
prey that I
seek
is
eb - on
cross,_
no
su - chen
ei - nen Gy Wild,
das ich ja - ge} das
Kreuz ~ lein
sckwarz^. kein
rose
moor
fold
Ros Lie rings
m
-WW
ma
and
my
ma
bes
um
W~i"
«
love
love
love
Schatz
Schatz
Schatz
P '£3g p
likes
likes
likes
hat's
hat's
hat's
green so
hunt-ing
green so
Griin so
Ja - gen
Grii\
so
so
well,
well,
well,
gem,
gem,
gem,
n 1 J^ Ji
My
My
My
mein
mein
mein
love likes
love likes
love likes
Schatz hat's
Schatz hat's
Schatz hat's
W
green_L
hunt- ing
green_
Griin
Ja - gen
Griin
ry,
fen,
tomb,
- rein,
- noth.
- her.
Meii
Mein
Mein
^m
^""W
Fffp
P
so
so
so
so
so
My
My
My
-
mm m m m
$
mP
p
L-U-J>
cy - press tree,
Or rest in & field w r
death
I ween,
D e - s p a i r drives me forth o - v e r
flow - 'ry bloom,
Let green
a - lone en
fres - sen - hcdn, ei - ne Hai - de voll gril - nen
ist
der Tod,
die Hai - de, die heiss' ich die
Blum - lein hunt,
grun, Al
- les griin so
m
$
likes
likes
likes
hat's
hat's
hat's
j i
£
well,
well,
well.
gem.
gem.
gem.
JCD-WT-2
96
MY PEACE THOU ART
(DU BIST DIE RUH)
(Composed in 1823)
(Original Key, Ek)
FRIEDRICH RUCKERT (1788-1866)
Translated by Edward Rowland Bill
Larghetto
(Langsam)
PIANO
fr h
j
^
t
English words used By permission
En - ter
Ich
wet
thou art,
thou
die
der
hist
Ruh,
\VP
r
s^gs
blest:
My peace
Du
^
§=
^
K
J)
r
r
i
mine
eyes,
this_ heart draw.
he
dir.
mil — Lust
Oliver Ditson Company
und
ML-648-4
97
k
9
£
#
O
zur
near,
Schmerz
J J J
\f J j J
H r
1^
P
i
i
for_ e v - er—
mein Aug1 und
O
dwell
nung hier.—
r
r
Jl i i
r
"
P
here
Herz*
9t
f___g •
come,
du
&
Kit
w-—w
and close
bei mir,
5
BEES
-jr—w
And be
s/t7/ hin
this breast
thine
die
î PPP
e
K
flU
E n - ter,
KehrJ ein
* +*
P
here,
Herz, ~
J J J
ftl'J^'L'
^
for~ ev - e r _
mein Aug1 und-
i
come,
Woh -
the
und
£
door,
^
and
schlie
^
^
end
Pfor
less
ten
s
^
^
home;
zu*
*
i
ML-648-4
98
P '• '•
Shut
out
TreiV
an
fe
1
"i - r r
all
-
deru
''H_M^g#
woe,
all—less-er care and woe,
Schmevz
aus
3p
- *
r
fe
#
•
*
hurt
Herz .
ser
I
w
I
Brust!
dies
^
^
g £=£^
/mu
and_ heal- ing.
#PP
set
W P 1i*i*J
^
von—
would thy
voll
-
F*=*
*
die -
^^M
g
5~5
thy— hurt and heal- ing
know,.
Lust, __
dei - ner
von—
jjjjjip
spf
^s
=#
dei
-
ner
P
m
i
t
m
x JI JJIIJ
> iU
J' i r
Clear light
that
on
my
soul
Dies
gen - zelt,
von
dei -
Au -
hath
- nem
shone,
Glanz
•^gmgmggggmgggm
^
m
0t
^
n
^
$
HrlVrp
?my
*
al
-
i,J-i ~ h h
cresc.
5
&
ML-e48-4
99
tf*
p
soul
lein
hath
er
-
ffgNJM
JD=
^
shone,.
Still let
Ae//6>—
o*
full1
it
shine
ganz, -
es.
k
h h -ft
lone,
ganzf
'm
•^
i
I
ft
P
0 ^ 0
jat
f
Clear light
that
my
Dies
gen - zelt}
von
#
Au -
3
M
J tj J C*
e
fe£=
^
t;J
soul
dei -
f
S
Won
#
$
from thee a
o—fiilV
es-
^
hath
- nem
t
^ ^ £ray
shone,
Glanz
§£
P l^J*
al
K
soul
lein
#T^
* According to the original
hath
shone,.
Still let
it.
hellt,—
o — full'
es-
I a»fc at
^p.
/
cresc.
W PP-
f
~i—
^
lap:
i*
~*F
F3T5T3
"3T
edition
[jf^JEJ
77<* *r«». »<?/ AW. A«* MO/ *«'« / w * ^
ML-648-4
100
THE YOUNG NUN
(DIE JUNGE NONNE)
(Composed in 1825)
'{Original Key, Fminor)
JAC NIC. CRAIGHER
FRANZ SCHUBERT, Op.43, N91
Moderato (Massig)
PIANO
k
H
m'jwrc^ s
£
jif.llM
Mat*
•
I
*
> ' i Now
j,iM
ji>J..J'j'jJr'rtir
roars thro the tree - tops the loud howling storm!
5
Wie
&
9¥^P
m
h
=t=t:2
i
*
"*"
Bi
braust durch die Wi - ffel
der
l u l eJ" d*
mm
heu-len-de
Sturm!
#^- -#•
&*-
Ji>
^•jJijj' j 'r"pJ'j'ir-r p r
The raft - ers are creak- ing and
shivers the house!
Es
zit- tert das Haus!
klir - ren die Bal -
Copyright MCMIV by Oliver Bittern Company
ken, es
»,-«*»'?
101
I
mss
iliil'l^l
X
The thunder peals loud-ly, the
^
Es
rol -
* *< 7
*
let
der
Don - tier, es
f
EHX:
And dark
wwrf fin
is
the
tQE
P?^
red lightnings flash,
leuch-tet
der
Blitz,
17* i^f
ffi
night,
Nachtj
and
und
E
W
&
ML-649-7
102
P^
Hi Ji
HE
so
j J
p
raged once the tern -
so
tobV
es auch
==
y^.
pest
jiingst
noch
J
rf" Q ' ' ' ^y' J>'r r P r~r
fren"
zy of
brau
ste das Le -
liv - ing waxed fierce as
ben, wie
je ~ tzo
the storm, My
der Sturm,
f
es
in
me.
in
«itr/
^ ^
The
Jl
MlimbsJ ^ Jwere> allJ trem-bling
n*>M
as
beb
-
ten die
Glie - der, wie
^m
&*-
cresc.
a
;£"
J. i ^#
h
P^
Jl
^
^
^
^
—
^
#
Jl 1
if f r f r~r iML> ^ rp J ' T' r P r
quivars
•je-
tzo
m
this house,
das Haus,
My
heart
es
flamm
flamed with love, e'en as
-
te
die
j
p
M
je - tzo
^>i
^
^
> 'p i 'f" p r* i r = F
And dark
fin
Blitz,
-
was my
spul,
ster
Brust,
die
I —, I—. I N 'I
r f r3
and
dark
und
/tn
I- •— \-]
fet
iE*
W- 4
iS £• I'
3ti
!
und
der
Pi ' frT" a£
cresc.
^
yon lightnings flash,
U, wie
:f
t..'
T2JZ
Lie -
was my
- sfcr
die
H I ,J — J - I *
4- 4- i\,i *• g- a # je- g-1 ^
ML-6*»-»
103
¥
$
i=i
¥
soul
the grave.
as_
Brusx
das
wie.
Grab.
4
k
h ^f'riF^
^-fcH^H
£?:
#p
-«P«
•
=zp:
3
• * •
*•
5-3
l i i Ml'*
#
Now
Nun
fc
#
••
fe h j> J. Jy h h u .
' ""
;—^—'*
«#•
J. — J - ^ ^
•—m
rage— on thy way,— O thou might -
y
storm,
My
to
ger
Sturm,
im
-
be,
du
wil -
der,
ge - waW
-
•ft M
t
*
i .*-
-~
?bos
ptl-T 3=m
om is
Her
- zen
ist
tran-quil,
my
£heart
Frie - dc}
im
Her -
prrrFH?
is
at
rest j _
The
zen
ist
Ruh)—
des
J
\p r ' f n V Q ' ' p. i r~p^
bride—
for the
Bride - groom will
pa
tiently wait,
Brau
ti - gams
har
lie
ben - de
-
-
ret
die
Braut,
?
Her
ge
•
cresc.
^m
ML-649-7
104
^
spir - it
rei
is tried
- nigt
in
-
/en - der
h J> J.
S- fin-ite,
in-
*
I X
- wi-gen
e -
She
fires,
Gluth,.
J>
5=
^
- be
wait
har -
m
m
for
re,
Thy com - ing w i t h
mein Hei - /and/ mit
JOLT:
p,
^m
IP^
-#H-
long
sett-
love.
traut.
ge
\>J^
-
^
^
His
Sen,
J-i j
I
Ich
rr^rr
full
- dem
ing
nen -
sore,
Blick!
O
knmm.
W-
-«P-
rfH,~"P r P M r I T
himm
wi.
j *j
P^P
1
Bride - groom of
to
•
- fin - ite
Lie-
trusts.
J JU. J Jn i
««
f$
prii
in cleans-ing
^
Heav - en,
li - scherBrdu- ti - gam,
come
ho .
fig:
&-*-
for
Thy
bride,
le
die
Braut,
^g
J- frj- 4 :
Ml.~ «•»•''
105
Ift ^y^
Hg
^
pris - on of clay.
it - di - scherHqff!
#
~JrJ
sounds
to .
Hark!
Horch,
HA J ^ J
sp
?
now the
. ne£ das
^
^
Têll
from yon
Glock - /mi 00m
^f
s
FP
J
m"~U -
J
*>* -N
»
tow'r!
Thurm!-
i'11
f*f
It
p'rayUi^m
J w J> r • J ^
calls to my soul insweet-est
tone,.
/ocW mtcA Ais s# - sse Ge - tb'n% __
IZZ
><
peace - ful-ly
fried - /icA er-
^
Mt Wr r'M I r T * * fa
4 3
fe
fl# }# * #1 f
JI^-M
To
seek HeaVrfs e - ter - nal
all - mack - tig zu e - Toi - gen
1
J
ill:" ' j : " '
J
cresc.
' '^M-P- ' ^j\ j4r
r^T
ML-64t-'
106
It
es
throne,
Hoh\
PPI i
-*=«
seek
mach-
W
. Heavn's
- tig
*E=£
Al -. le
Al
NT' J -N i J i £
- /e
lu
lu
J>- nal,
J ê - fterl- nal, e - ter wi-gen, e
To
all -
tone,- tony __
, f i l nalp
- Y
. na.
wi-gen
t*- 2 -
throne.
Hoh'n.
4L*^.&*
m
-y—^
JES
ia!
- ja
JZI
s
1
e - ter
ter zu
e
.P-'~--P~
&m
to my soul in sweetest
mich das sil - sse
Ge
s j,
TTT:
.
-
calls
lockt
£
I
&«&&?
P» 1 p g
G*
ts^-
»•
&=w
rfffll.
/?\
TTT:
-#••
-o-«
JDL*
^t
2t«
•»•
IE
ML-«*»-7
107
AVE MABIA
(HYMNE AN DIE JUNGFRAU)
( C o m p o s e d in 1825)
(Original Key,Bk)
"The Lady of the Lake
SIR WALTER SCOTT(1771-1&32)
German text by Dr. Adam Storck
M o l t o l e n t o (Sekr langsam)
PIANO
ve Ma - ri -
A A -
ve
Ma - ri -
vi'
Ma _ r i
fruJMEfll'iTCif
ra
M
i
s
a!
Maid -
7
•«i>
-
£
i
•^f
*
=5
i
- en
mild!
- /raw
mild.
^
^
Lis
er .
hd-
3 ^ p »p i
ten to a maiden's
re
ei-ncr Jungfrau
yLti
prayr!_—
Fbr Thou
Fie-
aus
?U'
-hen,
-
-
n a
'
M a
die
-
ri
cansthearthouîfromiheviild,
-
sen Fel - sen
a
gra
starrundwild,
- t i ^ a ^ ^ p l e „ na.
f
de -'Tis Thou canst save amid*
amid de
soil mein
Ge - bet
A
zu dirhin-
ve Do - m i -
5i JÎ3^J^M
OI iver Ditson Company
*TX-S*#-«
cmn
. JS^mmmmiSsSmiSk"
BSBSSSSB Do "
ESSEEmmSBSL
afe r
may
Wir
schla
- ne . di
EBeS S
SSS
BSBSBES
L
we sleep beneath
oeneatn Thy
my
fen si - chcr his zum
eta
tu
in , mu _ li .
y1. mJmi ^
* imJ7J1
m 1mm
-
my
im A-
y
#
care,
Mor
I
fefe^
Maid
be
ban
Men
Tho'
n . bus
-
ish'd ouF-cast andre-viled.
schen noch so grausam sind.
be
et
ne .
di
-
_
o
0
ctus,
et
*VJ>
3; pp=£
f
*
£
a maiden's sor - row,
der Jung- frau Sor - gen,
en, see
fraUy siefc
otusj fru _ ctus
ne _ di
—
«
M
child!
JBSnd/
j
»
ven
-
_
w »JJJ3»J r^f
tu _
—
Je
.
*
- ve
- ve Ma - ri .
ve
^
i
hear a suppliant
hor
ein bit-tend
ZP
£
Ma - ri -
AA.
- er,
- ter}
m****4Mi
tt
-+-*-
^
<w*
Moth
itfuf
0
ven.tri;
tris
A.
«^t
•f
s
A JigJrg^
g
E
i * sIf
5
Ma - ri
^4î^y
^
ML-ftiC-^
109
KO
•
a!
_ _ _ _
—
—
i
wm^mmmmm
_ _ * _ .
S
?*
*
$
f£
The
filed!
fkckt!
O
must
- y couch we now mm
flint -
Wenn
wir
-
ra
share.
aitf die - sem Fcls
hin
pro - no _ bis
ea _
ii\
W*¥ w—w
pec
Shall
zum
o .
- feen
St f l -
ri _ bus,
to
i # *[JJflyJirilj
?
«if«
\$ nil .hj? f ^ f
seem
Sc/ifa/;
£3 J', i i j & ^ i ^
with down of
ei - der piled,
If
Thy
pro- tec - tion hov - er
unrf wns
Schutz be - deckt,
wird
weich
der
O _ ra
dein
pro _ no -
.
bis,
har - te
O _ ra
Feh
uns
pro . no _
ML.650-6
no
ytfr-ykd&n £ V y >
The
hov - er there.
- ken,
pec-â _ to -
murk - y cav - erns air so heav - y
Shall
lei - chelsty Ro - sen-duf- te we -hen
in
Du
nunc
ri-bus,
ct
^^^^^^J**%#jf^^
in
mor
ho
.. t i s ,
ffljJj&J5
s
31 yjd 4
*DEI Km.
'i^^
Ji Jp Ji Q ? Ji|,
#~fr~
breathe
die ho
of
balm
ser
dump-fen
Fel ~
ra
mor . t i s
no
4=h
mm
plead - ing,
Fie
no
- ^ « j
- strut:.
m
J> [ A i)
Then,
if Thou hast smiled;
sen-kluft.
maid - eti, hear
0
Mut -
strc*-,
a
«?
maiden's
tcr} ho - re
Kin -dot
ra
mor _ tis
ho
mor _ t i s ,
jrl*> iigiWIJJ
O
Moth -
0
JunS
'-
$* t J ^ i H I
JP
W
ho
PP—
er,
- fra^y
ra
hear
e
*
a
-
mor _
..
suppliant child!
ne
tis
Jung-fraurnft!
v
no (_
m
stra*.
TP'
=
ML-*»»-«
Ill
i
$
i
->3
stain.
a!
a/
JRetgra
t : . a-
-
^
Foul de Der ' Er -
less styled!
ne Magd!
Ma _
pie
jjiiJTP
rP
monsof the earth and
/ de
ri _
a
undderLtift
gra
_
Bjti-
ti _ a
p ^^W^WtTO^WW^J^^
^
4 y
be . fore Thy pres-ence fair,
kon
ve
nen
hier
A
.
nicht
bei
ve
Do
uns
,
mi
Thy pres-ence fair.
woh .
nus,
- .nen.
Do
.
mi . nus
,
te _ cum
Be _ ne
tfL-«50
*
bow
woll'n
di
us'rieath our earth-ly bur - den,
To
Thy
tins still
da
uns
ct
be
eta
demSchuk-sal
tu
in _ jjni__-_.li - e
i
s
1
p
beu
~
-
gen,
ri -bus.
1 1
1 *=s*
i
1
n ^ - • i J- JflJ>4
P
^
hear,
Then
ciled.
wcht;
der
O Maid,
frau
f'tUS.
wol
lit* _ di
„
sweet guidance rec - on-
I
dein
heil'- g^r Trosf an -
Hi
nr??T
i
^
^
a maidens plea - ding,
- U hold dich net
-
gen,
dem
ctus fru _ ctus ven
.
°tris.
\vn _ tris
P^^4^_P_^ I » i î ^jfr^rgS
L
1
• •
E
M J U
* " - * *—#
i
_ ^
i .TMM
a
fa - ther near a child!
das
fiir
i
Je
den
.
Va - fer
.
_£i
- ve Ma
flehi!
sus.
Ml-•••-•
113
THE ALMIGHTY
(DIE ALLMACHT)
(Composed in 1825)
JOHANN LADISLAV PYRKER (1772-1847)
(Original Key, C)
L e n t o SOlenne (Langsam, feierUch)
PIANO
I
t
i
*
Great
Gross
is
ist
Je
Je
«:
9^=f
Lord,.
ho - va, der
Herr, _
#
f
gf I i
1
-6P
0:
ho -vah,the
BC
The
denn
i
.)
I
$j
*
ere&c.
:za
35?
l J I g'tfgg
32
3fltt
••
ne
n
* 1 1 *r
1*-fl<
J> J
> ;>
Lord, The earth and the
Herr, denn Him - mel und
24
-«r
?
a*
w
$a
3E
-**
p p J ' ^ j j>
h e a v - e n s bear wit-ness t o His
Er - de ver - kiln-den sei - ne
-**
might.
Macht.
Tis
Du
P^f
B
+c-m
If
=533
~&
*
Great is Je - ho - vah, the
Gross ist Je -ho - va, der
Macht.
aT
ITF?
$$:
?'J»7y
3
is might,
heav - ens bear
wit Er - rfe t>er - kiin -
&
the
und
3t
JO^r
*
^
and
- mel
earth
Him -
-<s^
-0*-
-+*-
J J J J J m m
#1 #1 #1 4 4 #| 0
0
0 0
0
0 0
0 0
0
0
ML -651 -6
114
IU
i
= F F
1
'£
±
i i
of the
in the blasts
heard
horst
sie
im
In t h e
in des
storm,
Sturm,
sen - den
brau
iff-
roar of the loud-thundering
Wald-stromslaut auf- rau-schen-dem
^P
•&••*•
g5^-r?
3.
3» " 3 *
» = > # 11
• aTU
g.
Great is Je-ho-vah, the
gross ist Je-ho - va, der
mJ\
J 'U «Mi J>f
P
jP-»ft
Lord,
Herr,
Tis
du
1W «1 «l*
1*
&\
heard in the blasts of the
horst sie im brau-sen-den
*& Js i/J* ft
fflr v ffr
A
Sturm}
i
fcWrP^
i
J£
tn des
Wald-stroms laut auf- rauschendem
_«£
4!
£
£TA*'
:
lW
i«
#
s
-*
K
r pr p ir
migh - ty is His pow'r.
gross ist set - tig Macht.
cresc.
£:
f&=n
Tp-
&•
^
flSE^ff?
ii*
heard in rus-tling leaves on the green forest
horst sie in des grii-nen-denWal-des Ge#
decresc
sK
s ^ p i J U ' i ^ j j i j) j J'j)|
Tis
Du
fe
re:
W;
ft!, ff!
-i*
§
i
cresc.
^
3&
^
?&F
»
£n
Lord,
Herr}
i
Great is Je-ho-vah,the
gross is£ Je-ho - va, der
Ruf;
IS
v&
«b
iJ~Â.
±*£ ^J>
5o iInJ the
> l roar
^ - of^ the
J> loud-thundering
J J> J v p stream;
^ —
storm,
#
§P#&
pit*
PP
•#—»f
m
W3p
*&•$. 72* 9
4 • 4'
XL-CM-*
115
s
branch-es, Seen in the fields rich with gold - en. g r a i n ,
s&u - sel, siehst sie in
wo - gen - den Saa - ten Gold,
32
'** M:
¥
jQt
^
flow
lieb
-
<r
i?p
• •
«r—#-*
ny t t t
^
heav JBm -
en
mels,
&
where stars
des
sfer -
* = ±23K
p
seen
Glanz
^
T
\,fj'i -i $
cresc.
tfaE^—fc-=^
m' m'Tis
im
^
strew the blue vault of
~ tie - he - sd - e - ten
h Ir^n
E? friftI. J y
^
tote
nni
«F—**
seen
Glanz
# «r
-SI
[>*»**•»
i
ing at dawn, 'Tis
hen - dem Schmelz, im
ers the fair - est,
li - cher Blu - men
= #
SE1
-SP
In
in
<**
P!F
£
£P
*TTr -^h&^ts i
s
JJJES3j3
where stars strew the
blue
vault of heav des ster - ne - be • - sd e - fen fltm -
rf
iff*
« *
^~g*--ta*
p
i»api
T*#:
*BR
p
• ffErTfFfffg
ML~»iM *>
116
fe
1
1
I'
' ' u3 i
where stars
seen
Glanz
des
strew the blue vault of
ster
ne - be - sa
e
' l'iheav
- ten
Pi
''Tis
'J
en,
Him
aw
4?
j*
*
or
decresc.
»'^rrf ffTLE am
h
feJ?fri>J
$
I
where stars strew the
seen
Glanz
*
7
m
des
ster - ne - 6e
1J^ iJ'' J^33?
blue
vault of
heav
sd -
- e - ten
Him
^>lh &
- en.
- tnels.
V
P
#—0
&*-
#3
#
f:
¥l,J gMH#^
4.
a-fzfc !; d d
~l*^
K
I
$
i* J ,
Fierce
j> j
u.¥
^ ^
it sounds in the
Furcht - bar font
lightning's
Bit - tzes
sie
i^
im
m£—w—
9
^
thunder's
i I i
[
r p r y-f
swift and death-deal-ing
schnell
kin - zu - cken-dem
rJ&r
B
> tjl
mzzjm.
~W^
PI
und flammt in des
P.
±
s
TSC
flash.
Still
dock
Flug,
B5
#T
rB- rB-
d* d H H *F
And flames in the
dread roll,
- ge - roll
Don - ner
cresc.
ps
Wrpf
decresc.
$
3Efe
ML-C51-«
117
I
fciJ
b J^jt^
clear - er thy
kiin - - dct das
mm
throb -bing
fo - chen-de
heart
Herz
JHrrn
*
/#?
TO
&*-
"V**i
v w
S3 ppfr«
V pp
I
fc^
powr,
Macht,
des
gg
&&
t>*^^:
p
When
blickst
*
£
to
du
God Al
wi - gen
«T
w
V0S2
*
m*
heav'n
fie -
s
crew.
Pi*
^
^PP
m
might Got -
tes,
m
m
su
*&t*
P
m
m
%
«p—«
n*
"w •
e>
ijJtJrr p
* = *
thou dost pray
- hend em - for
vah's
±3
3*f
*K *K
decresc.
g
Je- ho
Je - ho
FfH*
T<
£
JF^zr-z
=fcs£
|t|f j :
Lord _e -
H w*£
thee
p r o r - claims
fiihl - ia - rer noch
to
dir
t^
£
the
to-:-
1
ppp^
*f
anttm.
*
7
*H*
« « *
*
ffi
i
H
^
Still clear - er thy heart
dock kiin - detf das Herz
i
*
g'' IffP H *g i
. Vp p
vah's powV and
Je - Ao - tfa's
PR
•=HZ
-kfe-
53 h i,J~T3 J i l )$
might,
Machtj
Je - ho fiihl ~ ba - rer
noch
dir
j.*TT "t»t• * -
P ^ J*r*=*
p-p—P
*
»
£
pro - claims
Im - plor - ing grace
und hoffst
auf Huld
3=»
i
s
£
?
"OTT
#&kh
and comund Er -
ML-651-6
118
COn forza (mit Kraft)
==S221
p I f.' . ^ y i.J ^
w=m
Great
is
Je
Gross
ist
Je
JOL
ho
ho
:st
- vah, the
- va, der
6sP
*
& •
•*L^
^—T
*
£
1 pq*
b, q«
®E
h*
I
£ P5
jNgp
Je
Je
m m
cresc.
a
q
Izat
*:
3
a:
lljR
a**
^
-«-
ho ho -
^
is
ist
Great
gross
flpt.^ •—sfc
s
m%»\ &
W
ZC5I
^
cresc.
33
Lord,
Herr,
*
- vah, t h e Lord.
- va, der
Kerr!
A*
^ê
fcp:
#T
or a*
a* a*
*
-fl
m»t >»
%
%
&
^
* = *
P
<r i f
J J J. 1. 'îiaS' %
Ml-«i'.l
11»
THINK ME THE ANGEL I SOON SHALL BE
(SO LASST MICH S C H E I N E N )
(Mignon's Song in"Wilhe!m Meister ")
(Composed in 1826)
FRANZ SCHUBERT, Op. 62, N<? 3
{Original Key,B)
Andante moderate (Nicht zu langsam)
VOICE
PIANO
J
fold,
aus!
I
ich
has - ten
ex - le
dark
and.
dun - JWe 1
t
rr^
*
#
from
von
this
der
earth
so
scho - nen
ly
de
To
seek
kin - ab
a
in
s
There shall I
Dort
rwA' ich
cold.
Haus.
=y£f
love
Er
mm £
3EE£
fe
^—T~£_
dwell - ing
je - ties
J^ ii I J J) i) J> h
h
> J> J> J>
i
i JT1
Cvpyri^bt MCMTV by Oliver Ditson Company
in
XL-Ut-*
120
fe
still
rest a short
ex - ne
i
ne
klei
mo-ment, Un-til
Stil - le,
shall dawn the per - feet
dann off- net
sich
fri
day; Then shall I
- sche
Blick;
s
i
I
3?p?
&
* * fescJ!
PMj: J-J-j
der
0r
SP,
n
m^$
*
m
las - se
^
/
m
ich
^r-S
and
my cross
Hiil - le,
und
den Kranz
PP
^
$
garment, My gir- die
den Giir-tel
+**-
a - way.
su - ruck.
i
m r 0
tîjjj^
tjj 1 P Itj jj.
I
r r j ) > J' i J > J^ £
g_ j J ^ F ? £
Nor will those heav'n - ly be r ings cen-sure
Or
*:
Und
i6
a
-
ne
Aiwm - li - scAen
- gen
staJ - fen,
if
* = <
nicht
nach
Mann
und
Wcib,
und
sie
g j d -|
el
-•M-
J» J> J> / ? I J * J> J'
P^P
ask con - cern - ing
man and—
wife;
And no
fra
Ge -
pp-
r
I
je
Mj-i=i
M=l ^ j
«=
rl: j ^ - j 3
g=£
fc
at
kei - ne
tire,
*
nor
an - y
Klei - dery
kei - ne
ML-CS3-I
121
fc
*
»
*
£ Q»g ' J =
bo - dy's ra - diant
life.
^
£
ves - ture Shall veil the
Fal - fen
um - gfc - 6en
den
ver - kltir - ten
i
ji=§
*
Leib.
ff^f
^
?' jcf j
«T
1
1
w=+
M l J>J> J^ I M j J> 111 ^ # p f
Al - though I
Zwar IcbV ich
mind, I
felt my heart with sor - row
Mil-he, dock fiihW ich tie - fen Schmerz ge -
lived with care - less
oh - ne Sorg' und
w. *r
3
iff
i
d§i
m&{
g
£
/ -
k
*^—#
^mr=f
*—»
1
•r- (i J iijfj. i *? ffiif^np p tp i r r' ^
wrung;
nung
For ver - y
Vor Kum-mer
a Hi |
1»»
i>
grief my days
al - terV ich
If
for
auf
r^
h
#H—*
• 1 £r J
aye
and
ev - er
e - ttttg* wic -
clined, Make me
fril - he; macht mich
m
4
i
»"?
de
zu
ffil
EE
ev - er, for
e - wig, auf
I
s
*
Nrt
fc
#^ J,
1
3=£
young!
rfer Jung!
^
*-:
f^MF
j»
tt
<<T\
/T\
7TT
= =
3- . J > q ^
(Hip
f
n\
XL-GSt-i
122
NONE BUT THE LONELY HEART
(NUR W E R DIE SEHNSUCHT KENNT)
(Mignon's Song4n"WilhelmMeister»)
(Composed in 1826)
(OriginalKeyÂ minor)
JOHANN WOLFGANG ron GOETHE (1749-1832)
L
e n t o (Langsam)
juvmv
{Langsamj
.
m
pp legato
PIANO
0L0-.
m ¥rffi rp r^m
1±±
£
*
%
None
Nur
sad - ness,
lei
4
-
de>
sad
lei
Can
know_ my
wer
Sehn - suchtkennt,
weiss,
was
die
None
the
nur
wer
die.
ness!
del
H
S
lone - ly heart
but
\
" J*
«=¥
but the
i3
P*i
gSî
&
cresc
e&
*
F«F
w^m
lone Sehn -
ly
>vv
^
heart
suchi kennt,—
A - lone
F=$
and part - ed
Al
und
li
* = *
Can
know my
weiss,
was
^
&
- lein
ab
Copyrtrltt MCMIV by Oliver Ditson Company
-
ich
far
ge - tretMit
ich
^
from joy_ and
©on
a/
-
ler
ML-651-3
123
Jul hI f 7 l ^ 3 g [ p 3 J L
£
^
glad-ness,
Freu - dc,
The arch
seh' ich
ofheavh I
see Spread out
art's Fir - ma - merit nach je -
moltop
U (sehrhise)
Ah
Ach!
dim._e rail.
g
in
der
what
mich
&
p^
ais
dis - tant land
lieht
und kennt
Dwells—
ist
w
a tempo
*=
*
$
burn
brennt
-
§
one
in
who
der
s
£loves
Wei
-
me.
te.
If
dim. e rail.
i
|j> IsJt
My
Es
pp
a - bove__ me.
tier— Set - te.
^
sens - es fail,
schwin - cfe/* mir,
|> « J) | J). J J ^ ^
F
P'
f
P
My sens - es fail,
ing fire de-vours me,
mein Ein - ge - wei - de.
es
schwin - deli miry
^m
a
1
a
es
Mi.«ift»-a
124
I
*
J> . J _
ing
mein
burn
brennt
>
JHlgJ)
I
3EEEfc
M
sad lei -
=
^
£at
None
nur
but the
wer die
^
«p
P^£
s*
^
lone - ly heart
Sehn-suchtkmnt,
0.—+.
ass
craw.
^
buJT rP ttrjp r p 333-J3S1
r
Can
weiss,
knowmy
wasîch
T^^
Can know my sad weiss was ich lei -
*
S
#"
but the lone-ly heart
wer die Sehn - suditkemit,
F=*
3
+
None
Nur
^
riess,
de,
^
de - vours
me.
£ie - wei - de.
fire—
Ein -
^T\
p
Ji
ness!
- de!
Pi
i?p
s
/^
J:
rf§p
ML-653-a
125
HARK! HARK! THE LARK
(HORCH, HORCH, DIE LERCH
(Serenade from "Cymbeline")
(Composed in 1826)
{Original Key, €)
WILLIAM SHAKESPEARE (1564-1616)
German of first verse by A.W Schlegel
Second and third German verses added by FnReilpnd
Translated by Isabella G Parker
FRANZ SCHUBERT (Posthumous)
Allegretto
PIANO
Ijjfrnju 3 l ^ f
fTFT
s
IP
p
4
m
if
4
-_U.
_-
&
m m m
^
•
^1//*'
1 J
p l i p i r J> J J 1
J J j
1. Hark! hark! the
2. Through all the
3. If
this doth
lark at
heav'n's gate
si - lent,
love - ly
not
a - wak
en
sings, And
night The
thee, When
Phoe
star
love
/. Horch,
2. Wenn
3. Und
Lerch? im
lie -be
al - les
blauf
Nacht
weckt,
Ph'6
Ster
wer
horch, die
schon die
wenn dich
Ae - iher
gan - ze
das
nicht
S
t=t=$
PH
k
m
r
*•
#*
to
on
thy
er
tes
den
f ± J*
0—0
0
und
der
so
^
bus
'gins
ry
host*
songs, for
bus,
neu+
ne
lich de
diwch
I*.
i
1*—1+
^
t
#
m
«
P i
B
His
lis
steeds to
A - bove thee
Up - on
the
rise,.,
highsake,.
trankt
hoch
der
wecktyHeer
Ton
m
3^j
5
m
&
set - ne
u - her
Min - ne
i
wa - ter
watch, in
night rise
Ros
dir
zdrt
-
se
im
- lich
mm
Copyright MCMH by Oliver Dit?on Comply
fe
at
those springs,
or - der
bright,
ten - der - ly,
mit
dem
Wech - set
auf - ge
z
Thau,
wacht,
neckt!
i m
On
And
Oh
der
so
O
j,I
ML-#M*
i
fc
h*\Q y~n=$
J JijJ'j,
cha - liced flow'rs that lies,.
hope,
then
Blu hof dann
i
till
wilt
men fen
er -
morn_ is
thou^ a kel - che
sie
noch
wachst— du
On
And
O
der
so
0
nigh,_
wake,.
dcckt,—.
mehr,~
schon,-
cha - liced
hope, till
then wilt
Blu - men
hof - fen
dann er
Jr W
F^f
t
m
7
T
C£T
ing
wilt
thee
gel dcin
sie
§
zxz
MaT4^ - ry - buds
wake, their light
to
thy
win
blu - me
Knos
Au - gen - stern
dich
cut's Fen
g
fe
l> I IrJL
s
be to
dow
pe
sie
ster
gin
To
greet:__ Come,
brings,. Well
schleusst die
griisst— Er trieb,
das
ope
ope
knows
gold1
wacK!
weiss
gfl y rrc
^m
And
That
How
Der
dass
Wie
lies.
nigh,
wake!
che deckt.
noch mehr,
du schonf
i
JjPg]j» j>
tu
P^lP
m
that
is
+ + -$•
^
wink
thou
Love
Rin
au?h
oft
flow'rs
morn
thou
kel sie
wachst
^s
J> J T f e
their
thy
he:
nen
Sie
sie.
gold star ope
Aug war drum
IP
en
ry
thine
lein
ten
steK
;
m
i ] JP j>
Tf ..JlllJ
eyes,
eyes!
eyes,
auf
drauf
With ev
Since thou
And love
mit
al
weil
du
und
ha
'ry
so
thy
lem,
dock
be
3
W Jfl il 1 ^
mmP==^
m
*
thing that
star - like
sing - er
was— da
gar— so
dei - nen
pret art,
while
rei rei San -
&
fr * j i j r n
)in,
ty bin,
so sweet,
he sings!
zend ist—
zend bist;
ger lieby
lla~T
aT
la la sii -•
sii sii -
dy
dy
dy
sse
sse
sse
sweet, a
sweet, a
sweet, a Maid, steW
Maid, steK
Maid, steK
m B3
mm
t w=?^
JJH 1
mm
=s
m \ tJ
%
My
My
My
du
du
du
%
ML-fft4-4
127
t
^^mfÊ ^m mm
*
rise!
rise!
rrse!
wf,
"**f,
auf,
With
Since
And
mit
weil
und
ev
thou
love
al
du
ha
'ry
so
thy
lent
dock
be
5
ty bin,
thing that pret
so sweet,
star - like art,
he sings!
sing - er while
was— da
rei - zend ist^
zend bist;
gar— so rei
dei - nen San - ger lieb,
My
My
My
du
du
du
mm
iffi-^CT
pn~frt m spu j t j t
§
cresc.
la
la
la
sii
sii
sii
#
cresc.
*P*
%
£ f•+*-
decresc.
s
a
#
rise
rise!rise!.
auf,-
nse,_
rise,_
rise,.
auf,-.
aufauf—
m
/
www
a
a
a
sfeA'
ste#
ste#
s*c#
sfc>#
a a a steh'
steh'
steh'
1
-decresc.
rise,.
rise,_
rise,_
au
f—
auf_
<™f—
3E
ifcfi:
wrpr
r 9 it/J) fJ *
r j ir
nse,_
rise,_
rise,.
a
a
a
a
a
steh'
steh'
steh'
rise,.
rise,rise,_
My
My
My
du
du
du
rise,
rise,rise,.
<™f>—
™f—
My
My
My
du
du
du
la
la
la
sii
sit
Stt
-
dy
dy
dy
sse
-
dy
dy
dy
sse
sse
sse
sweet, a
sweet, a
sweet, a Maid,- steh9
Maid,- steh9
Maid,„ steK
rise!
rise!
rise!
auf!
auf!
auf!
4^,
fc£
##-
£
la
la
la
sii
sii
sii
sweet,_ a sweet,_ a sweet,
a Maid, steh'
- sse Maid,
steh'
Maid, steh'
p ijnrrf
iii j f f f j i j T f r jt =1*i
sweet a sweet a sweet a Maid j— steh'
Maid,_ steh7
Maid j—steh'
m ffi
t
^
NP
dy
dy
dy
sse
sse
sse
^
n
p
Dal Segno
ML-#54-t
128
WHO IS SYLVIA?
(WAS 1ST SYLVIA)
(Composed in 1826)
" The Two Gentlemen of Verona''
WILLIAM SHAKESPEARE (1564-1616)
(Original Key, A)
FRANZ SCHUBERT, Op. 106,N? 1
Moderato (Massig)
PIANO
J3 1
•' iV
1
JT*-7
*
l.Who
/ . Was
RNPPR^B
zm$ f 3
#
What
is
- get
sa
*
*
Syl
Syl
IS
ist
*
*
*
*
*
±iki>' 1
*
WW r^+^n
she,.
fltt,
^
via,
via.
f
i
That
dass
all
sir
our
die
^
swains com - mend
zvei - te
Flur
tfttlfff
JEU
3^3=1
*
her?
freist?
^ ff ff i
i
^m
i * Wt A
i I
Oliver D it son Company
f
mi
129
i
t=
W
*
lend
S/>wr
*
That
dass
her,
wei&ij
HgT^^j
JiH
pp
p^P
« = #
^hjr-Jt^t
i
*
S
£
she
might
ter -
un
MS
11
* * = *
a ihr—
rrttrii
That
dass
a
f'Ar
«
# * # #
S
PI
^
9 0
0
£ i f
^
P^¥
^
be*
. than} ^
i
dor - ed
-
—cr
-ed
dor
a/
WHiPi
15P*
^
^
^
If
3Z
i
might
- ter -
she
un
sf
*=f
&
*—**
be.
than.
J j j , j J mEiE
J3iJiii
Pf
f
•
0 *
ML - 6 5 5 - ti
130
2.1s
2.1st
i
•jt
m
i
fpmpppi
i » —
^
J-^
i
•
d a
« « « « « * $ #
^
f
f^f
^
^
she
sie
*
=5
*=
kind,.
schon,
as
und
-»
is
da -
she
*
*
#
*
f iiiiiJ^P
%m t
^j'
*
*
*
#
For
Reiz
fair^
- zu?—
yyyyfy |
#
n
*
—k
*.
J*—w
ML-65*-*
131
w
£
£
pair,
2U,
&
To
dort
help
Aet'ft
him
er
of
set
his
ne
blind
Blind
*
- ness;
- heity
MLr6ftA - *
132
ML-e»» "•«
133
ins
ri
on
the
Er - de
t
£
dwell wdh -
dull earth
kann ge
let
Sai
lands
und
«r—#
g^2
f
w
n
MM
i
her
gar
ihr
****4*
* *
If f
^
m
bring,.
. klang, _
<r
?
j^£
3Z
lands
und
-
§w^
ft
her
ze-~
« = «
*r*
^
To
Kran
us.
fen
=**
zz:
#:
^S
?
y—
gar
ihr.
To
Kran
ing;
ren,
let
ten
bring.
klang.
rr
m
# * «
i=i
f
J a * rji
ML - 655 0
134
GOOD NIGHT
(GUTE
NACHT)
(Composed in 1827)
%w
'Winterreise"
W I L H E L M MULLER (1794-1827)
Translated by Frederic FieldBulla rd
s
VOICE
FRANZ SCHUBERT, Op. 89 N? 1
Moderato (Massig)
Ha*
M
PIANO
(Original Key>D minor)
T«h
p.
WMPFFP
tea
PM J
g
^
1. A strang-er come I
2. For this my l o n e - l y
itn - er,
hith
jour . ney,
/.Fremd
2. Ich
zo
Rei
bin
kann
ich
zu
ein - ge
mei - ner
-
gen>
sen
^
A
The
fremd
nicht
strang-er
time
I
zieh!
wah -
ich
len
go_ a
may not.
wie
mil
-
derdcr_
kte
m
w
way.
way.
choose,
The
Nor
aus.
Zeit,
Der
muss
fc*
£M
wm
-m—m—-4—0r
love - ly May came
whith-er
I shall
Mai
selbst
war
den
mix
Weg
ge
mir
thfth
er, With
thitl - en
me, How
turn.
gen mit
too
wei
sen
in
m m
S S
W w
Copyright MCMIV by Olnror Ditsofi Company
man - y a flow
flow - er
ev - er dark it
maw - chem
die - ser
Bin Dun -
men
kel
St
-0f
m
0
W
i
^
Ml-656-«
13^
I
9kk
f^f
h ])
h JH J ^ j> ;,
Jw^
^
gay.
grows.
Of
An
love then spoke the
ee - ry
moon - light
maid - en ; Her
shad - ow
Is
moth-er
of
a
my com - pan - ion
strauss,
heif.
Das
Miid - chen sprach von
zieht
ein
Mon - den
Lie
schat
Mid - ter
gar
ran
me in Ge - fcihr - tc
sfekte
V-
k
$
here,
Eh\
mit.
M>
-
be,
ten
die
ah
;> ;> I X^3-iuJi
m
&
$
Of
An
love then spoke the
ee - ry
moon - light
maid - en, Her
shad - ow Is
of
moth - er
my com - pan
das
es
Mad - chen sprach
von
zieht
ein
Mon - den
Lie
.
scluit -
Mut - ter
gar
mein Ge - f'dhr
-
he,
ten
die
ais
f
ion
von
te
te
^
^
$
ring.
here.
EK
mitj
B u t now the worlds snow
While on the moon - lit
nun
und
ist
auf
die
den
Welt
so
wei - ssen
lad - en ? And
mead - ow, I
trii
Mat
-
be,
ten
der
such!
ML-WM-6
136
far
a - way the_
track the tim - id
Weg
ich
ge - hiillt
in
des Wil - des
^•\K J J J^ )
Weg
ich
ge - hiillt in
des Wil - des
^CT
spring,
deer,
While
on
the worlds snow
the moon -lit
Schnee,
Tritt,
nun
und
ist
auf
die Welt
so
den wei - ssen
ij
far a -way the
track the tim - id
£
?
But now
lad mead tru
Mat -
PP^
e n , And
ow I
be, der—
ten such7
 p
bay -
ing Their
heu
fen
-
tor
ML-454-*
137
$>% J>J3J>nJ5?IJ
*j)I.M J ^ I Q J ) JlO J' J> J?l
master's house a - bout!
ih - res
Her- ren
Haus!
All
lov-ers love to
wan - der_ The good Lord made them
Die
Lie-be
Wan - dern-Gott
liebt das
hat
sie
so
ge -
m
m
pp legato
£31
''•\>)K 3 3
¥
te
w—w
> j> I Ji Ji J> Ji IJT? J*
^
SO-
And
macht-
von
pm
hearts thus
Ei
- nem
i
put
a
*tt
dem
i
An
-
love a last fare -well,
gu -
oth - er
hat sie
hearts will
lov-ers love to
wan - der Eair
Lie - be liebt
Wan - dem-
das
fetn
§
j* (r M J 'ir »p i ^ J ^
Lieb-chen,
defn_ Go#
lgf(^^
i p I * Jlj) p I^Tjj> fc
All
Die
M fm
r
sun - der To
go.
macht.
pt
m m
fe
Nacht,-
And hearts are put
von
Ei
- nem zu
a
dem
JJ—I—J4-
^
*'
I #
^
^
sun - der Fair
love, a
An - dern-Jein
Lieb-chen, gu - te
last fare-
ML-656-*
138
S
fc
^
Your dreams shall be
I
Will
^m
dich
im
sto -
mei - nen Tritt nicht
m—m
^m
Ji|
p'i££i
- ren-sacht, sacht die
*«1*
1
cas - ing"Good night,fair maid; a
Thor
dir:
Thii - re
gu - te
*h
T
4
so list
Ruh';
*
^H*
Ji I J' J J' ^
close!
Til write up - on the
zuf
SchreiV im
55
*
PH
dei - ne-
i^gs
spok - en, And soft the door T I L
ho
PNor i
pose.
ren, war* Schad7 um
>ig g > P
Vor - u
-her
* *
#—1*
w—w—m
p
U U I
Iji 1, 13 .h Ji IJP 3 H ^
ge - hen aris
?
V
'r Jigjîj
Un -brok - en your re
m
Traumnicht
P' ? p ^ ^ ' ^ J >
l
un
rjj)
- brok - en
VP
shall a word be
Ji
fc
to
v J I p p p i | j5
3>IC-J'|T P
- dieu!"
Nadit,
And you, up-on
da - mit
du
it__
mo - gest
gaz - ingWill
se -
hen, an
M£~656~6
139
*
know I thought of
dich
hati
ich
mma
you.
I'll
i
%
% %
J*
#
i
Thor
h
Or
I
yryf^1st
dir:
gu
ij
7
And
Nacht,
da
you,
- mit
up-on
5j
if
*
«r
ge
an
f
E*
#p
r
1
i
you.
dacht.
ft ^f
^ «rn s
m tt
^
-hen
riten.
dich habJ ich
an
*h-m
se
!
r know
J^ p
p JHf- * Will
J> know
I jfy
p JM
I thought of you,
I thought of
m^' ii"j—j
gaz -
III
# = *
ge - dachty
it
du mo - gest
fe
Iing.F Will
k
## poco
haV ich
#
p I JlVu> p
a -dieu!"
- te
W
I I I I f
#
MIC
•
dich
the
Vor - u - her
•B
*
cas - ing "Good night,fair maid,
- hen an's
im
• - f »
£ Jjjj> J ' l i p [?• JMf
ge
write up-on
SchreiV
ge - dacht.
BI^
*
T (> I ^ . f l j l p
fe
«g
a tefli/w
# # /?0£0 r/fe;*.
m Aft aa
r «*
a*
*
V
1
ill
^
<•[
*
*
*
aj
g
m
m
m
*
W
ML-CM •
140
THE LINDEN TKEE
CDER LINDENBAUM)
(Composed in 1827)
"Winterreise"
(Original Key, E)
Moderato (Massiz)
PIANO
i*
t
\vpp
P,
Brun -nen
1,
vor
i
i
tree;
baum',
ic/i
Tho - re
^
ft J*
h
g'
Z3E
^
How
dem
tf'
oft
traumtf
be-neath its
in
da
r« fF?
i=f=
*
E
• m&l f zm
Be - side the dooryard foun-tain There stands a lin - den-
Am
, fp=^
I
< t JM J. i J) JUJ J ^ p
set - nem
shad-ow
Schat-ten
steht
ein
Lin - den -
TZ^
^
s
W
Sweet dreams have
so
man - chen
g
come to
su - ssen
?«1L H57-6
141
hi J. J. J) J i l i j l JMJ-J'J^
?
me.
Traum,
In
ich
Rin - de
es
F <F F $
i
*
^
schnitt
1
lflK^ JV
heu - te
i
zu
k
i2»
. #
Its
- de
I wander'd sad - ly
auch
Wort;
Let
J> J l i i
T
lie - be
Jfl:
JT
^"ft
rr
lul
&r
*
man-ches
sor - row
SI
rr
a
so
J:
s
^
in Freud7 und
*
set - ne
* #-*—#
Pffff
PI
in
fPH
glad - ness or in
zog
^
fra-grant En -dear-ing words IVe wrought\
J)f | 1 >
*
5
Up - on its bark so
While fell
vor - i e i
s
the deep'ning night,
in
tie - fer Nachty
m
I
da
ML-6&9-*
142
_,<?
- J * — ' " — -
pass'd
haV
PI
K
b
the tree in dark - ness,
PI screen'd
ich noch im
die An -
•••I.IIN- III. ! -
N-^^^X.11 .*
j ^ ^ — T ~ ' " JMJf
/
Dun - kel
te
SEE
«=*
* £
f ? 3\«jd^
IP*
\L
^
tling of the
ne
Zwei-ge
Hf' fr
I
ii
^
it
The
Und
- gen zu - ge - macht.
^•f^^S
rftrP ftp
i
-#
m
d M ^'
^ J v J> I J-
3 0
branch - es
SeenM words
rausch - ten
als
tie -
|F¥
te
if
piip
f&kfc w
£
s
^
but half ex -press'd:
fen
sie mir
be-lov-ed
her
zu mir, Ge - sel
com - rade,
-
le,
*3
# #
^
JK SSf
And f i n d _
hier
find'st——
"Come
komm?
zu:
;,;t;,II"JJ r i i r ^ J > j>ij
here,
I
^
Fly
^
J'Qi'U
from my sight.
^
IP
fc
<
your form-er rest!"
du dei - ne
RuK!
a
fg^f
|W
H
i
Ml-****
143
i5 s !
blow
blie
•
£J>
m
cold
grad'
mir
&
i
wi
£
So
w—
- ing
- sen
in's
lg
W"
« / ' • •
s
PF
by*
ii
i>
#=f^
m
hat
My
face,
sichty
se
my
S« -
in
An
was
flog
tLrclr
S^
cresc.
#=F
J* J^
borne
mir
F^
be
vo m
S=F
/
^ ^
^
^ ^ it P
i
*
I #
place.
nirht.
•
s
r
*
#
•
mrnm &W W*3-
*—*£*
9 ^
^
decresc.
M L -«i*»7-»i
144
P
rz\
i V J> I J
I
Now
Nun
fr J' J^
mabin
- ny leagues di - vide
ich
man - die
Stun
3=^
^
m
i^
i>i^
^
s
=3
m
*
that
fernt
i
r\
h
dear
von
$
couldst
find
fanr dest
* i JYet
und
lin - den - tree,
je - nem Ort,
jjj)
r-f*
^
rest with me."
Ru - he dort!
still
im -
Now m a Nun bin
m
J> i J>
I hear it mur - mur
- met hbr' ich's rau - schen:
- ny leagues di - v i d e — me
ich man - che Stun - -de
p Jgrj J * ffirj^
»
r-
-CJ'
^
"Thou
du
From
ent -
4» *—*' 3
s
&
$
s
xu657-#
145
I
%=p
that
fernf
^
^
S
dear lin-den-tree
Yet still
von je - nem
und
Ort,
fl'iirîji ^
couldst
fan -
find rest with me,
- dest > ifo - he
dort,
I
hear it
mur - mur
- mer hor> ich}9 mu
im -
- schen:
"Thou
du
^
i
^
Thou couldst
du
fan-
find rest with me/'
-dest
Ru - Ae
dort!
mm
wis 14 *=y
i^tumif
UiLUjigJ
mmm
If
ffÊ
#
BBS
aw
fe-*-
HL-657-*
146
SPRING DREAMS
(FRUHLINGSTRAUM)
(Composed in 1827)
"Winterreise"
(Original Key, A)
FRANZ SCHUBERT, Op. 89, N911
PoCO a n i m a t O (Etwas
fe^
m•
f
bewegt)
^m
£
mzj
PIANO
i
+%>
f rip f r*
rt m
*
W
v i
I
Ihr
^
dreamt
traum -
of
te
the
von
fair - est
bun- fen
flow
Blu-
The
ers,
so
^T
ft •>
v ft * *
[ ^ J>- J» i> ft- p ft
in
May,
wie
im
Mat
wohl
blil
i
-
^
hen
I
ich
K V If .ft
A
£
k 7
^B
ows,
Wid-
sen,
v
P ^=y
ji j>
dreamt of the
traum « te von
MLTJi
mead -
T^f 1
HA
^
flow - ers that bios - som
v : t, «h i
fe
^
^
rf $ •, *
ste
F pTjf- F
fe^s
#
s
f
If
£
ver - dant
grit - ncn
k
I =y^f
^---fl-^^
Of
birds
irds
von
lu
with their car-
sti - gem
Vo -
-ols
-gel
so
- ge
gay,—
-
schrei,-
Of_
von~
ML-65ft*
147
^^ V iVv iavca ce e (Scknell)
KSchnell)
*
birds with their car - ols so
Ju - sfi -gem
\T
Vo - ^ 6 / - ge - schrei.
Und
M
Au-
- ge
hu
But
all
da
war
wach;
*
P
I
^
9
f*=w
fi' F V T
m
head shrill'd the
ra - ven's wild
schrie - en
die
Ra
- ben
vom
^
gloom/in-
es
and gloom - y,
kali
und
fin
Dach,
IT.
M N
i ^ PP
es
die
schrie - en
Ra
- ben vom
j ^
£
fr#
war
O'er - head shrill'd the ra - verfswild
^
P ri!"|j f
da
^
es
55
7
all
h
1 '' T > -
O'er-
ster,
* 8 4
y ^
s
-
fe
- — - ^ ±3z
But
3
- ster,
j iti ~4»
cries,
^
J>*
-y
was cold
3=fc
k
s£
m\ m
<1I
a
«
da
f-
b#
i*
5
&
mf
^ j)l ? ^j^=^ ^ <» p
r
I
krah~ten,
jm
h
i m*- i*F*F ^11
i ^v
mein
die Hah - ne
<2L
o - pen'd wide_my eyes;
ward
ah
WME E
r^y 4
7 t, h i
And wrhen the cocks were crowing,
guy.
was cold
es
i
kalt
and
und
-i*-i*
cries.
Dach.
ML-658-6
148
m
L e n t o (Langsam)
s
Dock
rr »n
£*
P^£
^
legato
j
I^*J». J^ >
drew all those leaf - y —
mal ~
m
fe
die
^
^j>
j i t
1m
m
die
da?
1
1
the frost - ed
p
win -
Fen - ster - schei -
- ben,
wer
KG U ?
e
&£
Yet
on
the frost- ed
dock
an
den
1
¥
•O
Fen-
¥
win-
ster - schei*
•*>
^
^
-dow Who
-ben,
da?
wer
9# 1•«
S
J ijg J^ * jiJij. j) 7
sprays?
for
JM
-- dbw
dow Who
Who
8^
p
Blat -
den
P^P
sprays'
Blat - fer
drew all those leaf- y
mal - te
an
on
an
, j>|,r3j^^
s
^
Ji
p
n
^ i winr the frost - ed
v§ ?g i fpEg
r^
•PP
P
^
Yet
* ^ . L <f
^
^
You
laugh perchance at the dreamer,
Ihr
lacht
wohl
u - ber den
Trdu-mer,
i
Whose
der
m
IMP
affli.
&
^
I
f W r s bloom in win-ter days,
Blu - men
m
y&
H
im Win-ter
1#
sah,
Whose floWrsbloom in win-ter days?
der
?nfcjfcaqt
i
Bin-men
im Win-ter
sah?
s
* N» N ll»
rf/fl?.
II
ML-t68-*
149
POCO a n i m a t O (Etwas
bewegt)
* ^ * =QJ^
^
#
^
I
i
i > ' j . J) J)3=£
11
i
I
en - tran - cing,
traum - te
urn
von Lieb'
H
Lie -
P
S^ t
^m
Whose ro-
be,
von
ei
7 7 ft
^ H ?^
=*
7 7
P
-sy
lips—met
net
scho - ^nen
wm
^9
W
EEfe
-9—7-
I
h * J)
£
dreamt of a maid
Ich
4J
^>«5
« -
/**
q*
>w
>w
^
j)v
i
^v=H
J w ^
s
mine,
Of
ten - der voWand em - bra -
ces,
Of
Maid,
von
Her - zen
sen,
von Won- ne
und
von
Kiis
-
rap - ture and bliss
^m
k
mi
H
di -lig-
P»
\T nJ-Qj |j
7 7 D 7 7
und Se-
7
kt*f=*
3 7 7
k
3=±
Jt 1
* J V * |
Vivace
^ (SchnelO
\^ cp~y m) i >• j\ ^5 s
vine,
keity
Of
flow
rap - ture ^ and
Won - w
und
bliss
Se - -
di
- lig
v v ^ Jl |
- vine.
- keit.
And
ML-66&-*;
150
ft J J J lJ> I J) j ,
when
als
^ j
J> 1]J; 3 ^
the cocks
crowd
loud - ly
My
heart
die
Hah -
- ne
krah - ten.
da
ward
7 7
J)
,
«?
I
B
is
^
T ^^3
a - wroke
mein
Her-
in
- ze
j ) 7 1 );j)7
7
7
7
mf
wp * » p
^
i
£
£
Mr
I
I
tiwn
pam;
wach'}
£
^
pr
a - lone
a - lone
VcA hier
sit
sit
site'
*
<
|H
$
^
P ir
callre
re
- call al
fc: y=y
te
&
^
^
-- insr
mg
Mi
tie
Sat
*
+—$—+
p
i f a n j » 1' f
^
V
^ r *TS
M T f
beau - ti - ful dream a -
gain,
I
den - fte dem Trau - m?
nacA,
nun
f ij
ii
fj> -
>* ^Jjl f 1
Yv
^
£
^
sit
a - lone,
re
ich
al
hier
* jj i i i p # #
%
zm
i=£
JJJJJJJJJ
3
ZTW
5SP
KL-ftt-*
151
JLentO (Langsam)
fe
 i
r? â
fe3 Si S i n m*¥
Ht
ii i ss i i 3 £ 3
f
s
s
m
m mm *mm
1
Once more mine eyes are
Die An- gen schliess'ich
clos - ing, Yet knows my heart no
wie- der, noch schlagt das Herz so
m
&
JOE
^j> £
•*
1
^
legato
JI
JM
Once
die
JI
ji J> IJ
more mine eyes are
Au - gen schliess* ich
*
s
/
clos wie -
?
ing,
- der,
J> 1U
Yet
noch
in*
J) p J I
knows
schlagt
my h e a r t no
das Herz so
m
s
*
$
I
S
^=3f
When shall I
Wann griint
rest;
PI
g
y 1?
S
A»-f-
j ^
f\
v
see leaves turn-ing green, then?
ihr Bldi - ter am Fen- ster?
mm
jib
IJI-JI p rfl P
And when hold my love to my
wann halt* ich mein Lieb-chenim
l?jpi %H *fl
rffliQ
i??»
7
ji J' ij> j
dint.
* i^ i JI Ji i p rt
%
JM J
And when hold my love to my
wann haW ich mein Lieb- chen im
<
^
breast?
Arm?
Ml-***
•
152
THE POST
(DIE POST)
(Composed in 1827)
""Winterreise"
{Original
WILHELM MiJLLER (1794-1827)
Key, E^)
FRANZ SCHUBERT, Op.89,N?13
ita
POCO a n i m a t o (Etwas
*"rsî V ^ .
PIANO
7
* '»v
Pf
»r ?
*r
geschwind)
S
4
^
g
^
f=Ff=¥
fep ^
M
road
Stra
i
yfatff
m
P
m
1V—0-
• mm
£P
sist
hoch
ein
JtL§JL
^H»
der
r 11
S
0'0
4
<^
#-#
J'I J J l j ) ^ s
Why
does
Was
hat
klingt.
fill
m mm
*'r *r ^
^F$
#
Post - horn
J
^
I hear the post - horn ring.
- sse her
f=Ff=¥
Von
E
#
^
From the
f=Tf=* f=F
*
J
* nji
mmm r
m
^
sempre staccato
pi
pi m mm
k
m A m^
ftttiffpfjf-^
e-mo-tion
re
es, dass
so
es
m
cresc.
s
f
&
- less spring, My
auf-springt, mein
i i
*
heart?.
Eerz? _
oil J.JJ i-JJfP
Copyright MCMIV by Oliver Dition Company
ML-«St-»
153
s^ M
* i
P^
Why
was
1
gP i
* •-v
does
hat
*
e-mo-tion
es, dass es
l
TIlJ. JL
My
mem
re - sist - less spring,
so hoch auf sfringt.
'
Sf: f f f:f f ,ftf-'f1f »: f t , frff f : f f , fffti» : f»
Hyp-f r
StS
ttb, L U !•• b U I l»- k k »•
VP
decresc.
P
)
Tl
1
§î
heart,.
Hers, _
agffc f f f f i f HI
sftm
$
^ • F *
AJ
e"*
The post
7
*
?M\ r p r p
k*
* *
strangely griev-eth thee,
derm so owtt-dkr- JtcA,
&
*
^
fc
*
^
My
tnet?i
^
s
i j * * *
gj»
*
^m
s
Then
Was
me.
dich.
fo#*
#
what
drangst.
so
a
iS
R
#
^?_
rheart,^poor^ heart
lit
J
The
Die
Herz? ^
HI
w^
K
s
»
wein
S
^fe
s
HerZj
i j l
^
let-ter brings to
kei-nen Brief fur
»
B
# :f # »
S^
^m
$¥=$
^
»:«•
*
ff
2Efe
£
.#>
| f t \ J JiJhJÛÎ
î i ft
a tePP
f:ff
^
«p
^ft £
heart?.
Hers? —
no
hringt
Die Post
$* * *
my.
mem.
**
nfe
?
5
g_*
m
i
k k I »• k k k* k k I k* k k
^
. . . . . lie
rr
r^S
mp
w
1—wr
ML-659-S
154
I Wit J ^ J j>i J p J p iJir r T/' |l i r"sj JM J ^ J ;>
post no
Post bringt
um
let-ter brings to me, My
kei-nen Brief furdich,mein
i
zzz:
$EEl=$
griev- eth thee, My
wun- der- lich, mein
heart,
Herz, _
fcH—m k
fi
itt
«—*
*=m
m m
lUp^
heart,——poor
Herz,
— mein
poor
mein
heart, _ Then what so strangely
Herz,—
was drangstdu
denn so
^
heart ?_
Herz?.
5
tuuuu
3EE
^ ^
^
%
h
m
fc
BE
m' m
m—*•
*
i f i
fiy^
?=*=^
*
mE
j
^
m m*
^
gS^
KJC
tofe
fe&
tofe
f=Ff=T
f=Tf=» r
< n
j>u J ~PI J~wrj i i j J j m< * i—ki
I
*»o
Yes, from the town the post is here,
Nun ja, die Post kommt aus derStadt,
f mm
fit
m^
&
mm
»r »
t=>Ff=^t
pi
m
#•
flf
»•#»
HM
m JT3
m*mm
Wffffft
s
*£
#H*
^
MT.-iW-5
155
%k
itsE
m=$m
once
ich
s
s
£
s
had there
a
love
ein
bes
Lieb - cken hatt)
lie
-
A
so dear,
W^
heart!
Kerz! _
s ! T=?
I
once had there
two
tc/i
a
ein lie
fem*
0
love
bes
so dear,
i i e b - chen hatt\
#: «# #: f f
SSS
HI
decresc.
JP
¥
My
mein
^
$
qFfcfe
1
I* i i
_^J.
PP
f
•
m Vnfli
î
-fifi
My_
heart,
mein„
#er£, _
g ^ iH
HH^H
I
H I
m±m m m- am
aE r r
tt <,, h
Rnf ask.
Wouldst
Willst
wohl.
#M»
f«
6 00
fp
l
i?P
S3F
33-
i<iii
£ 0_^ g
i
- ber
E
s
seKn
iS
s
I
2 ^
0
hxn -u
<r
»:#f
he some news can tell
ein - mal
i l
p
Herz! _
m^mmm^m
0
if
my
pheart!.
\% ++ * Mt +* + 1#\+ »~ H
»Wt J > £
0 0 0
Of
hep
thou
und
fra
gen,
«if
^
!£^
fell
^J J U
J>
Jtt-65f-5
156
Ph
£
J ;> JjffiTJ ?I ii>l f~j^\il_)
w
^_r:
^r
lov-est still
wie es
dort
i
mt
:
i
so
well,
My
heart,
my
heart?.
geh'n,
mein
Herz,
mein
Herz ?.—
tH S
?*At n-i *
g
at
v1
Ji
Wbuldst
willst
PP
^ r ? "r p r p *F pp fri
r~r~E
ask if
5
^
£heart,
Herz,
£?=#>
wohl ein - waZ
'#' ft
^
he some news can tell, My
Ait* -
u
I'"' M j m fyf
pi
n
wm ^fe fc*
rrr
&
FH^
*-fr»
1
i
1_
mag
mkf fittt
pi
i
fcm
Of
her thou lov-est
still
und
fra - gen, wie
dort
M
^
my
mein
m
«
F^
es
- for seA'n, raetn
heart,
fliers, —
*
*
P I heart,
I"
so well, My
mag getin,
metn
Herz, _
ML-
ew-5
THE GRAY HEAD
157
(DER G R E I S E KOPF)
(Composed in 1827)
"Winterreise"
WILHELM MULLER (1794 - 182?
FRAMZ SCHUBERT, Op. 89, N914
Hm
POCO l e n t o (Etwas langsam)
VOICE
Iv
I
¥
A
Der
PIANO
r
wk
Pt m &m$ ^
fe
m
^m I
fl
••5i
P
B=
1 g/<
f#!FP
M JH> r
cov-'ring white' the
Reif hat
ei
nen
frost had strown
wet - ssen Schein
Jl1
Up
mir
r~cM£j>ij.j|
on
ii
-
my head un - shield-ed 5
ber's Haar ge - streu - eth
i
2 ^
$
\
te
at
te
P
« < M ' l J ^ U u i I ^ ji Ji J ^ 1
Me - thought an a - ged
da
glaubV ich schon ein
jJJ^
m^
i >PI
m
T
i—j^
*F
*
man
Greis
i•7
P
Id grown,
zu sein
*
The
und
^
TJ ..»>1
r^
ML-WO-8
158
'±=k=^
£j~y 4jjft
thought con - t e n t - m e n t
hab'
mich schr
m
ge
But
yield-ed.
-
Dock
freu-et.
n
^
JEB J
g * 5t
r
f
-Jen
l«J J * ^M
^ J ^ — J ^^ ^ m
M J'U JU
-*M-
soon
did melt the
bald
ist
er
'fick - le frost,
hin - weg
ge-thaut,
Jiy
hoped
that
I
mir's
vor
met
haV
g
r
|~Jr
A - gain
ll*. SEfe
j-mf-r-t
my youth
Ju
wie
Ir
-*
had
-
der
/ ,
i
- gend
my hair is
ra-ven,
schwarze
I
Haa-re,
dass
nrrr^
1 * * ^
iH
g ^r—gr
- ner
fell
^
^
k I
£fc
4-=g^Mr
fl
i
l
'<T1
lost_
But
grant
wie
j-
J
|
- > J jn^f) ji * Q I J- ji|,ji jiijj, j
dis - t a n t still t h e
weit noch bis zur
^
^
ha - ven!
Bah - re!
s m
w
But
wie
dis » t a n t still the
weit noch bis zur
P
^
^
^
ha - ven!
Bah - re!
-&
IP
ML-660-3
159
£
c M o J>
* ' say,
Olthere's
J ma - nya
They
head turned white Prom
e v e — till morn-ing
Vom
Jlfor - gen - KcM
man - cAer -Ko/>/ sunt
A - bend - ro*A «Km
WW~~f
»ard
$
*
m
s
Ji*~r'
£
¥^¥^
i>
i?p
i3E±
PE2T
ft^=
^
... b«
2
3
iii
t r J) j=j
I
Not
on - ly.
Wer
Mr*
Si
< * P"
r*~
mi
s
&
**^s
black as
night,
Tho'
long,
ward
nicht
auf
die
Pi
P^
?=
-r
met - ner
*
ft:
«
es
When mine's still
glaubt's? und
s
«^f
feg
&~~
so!
r
Ji »-h
h
s
£
*iP
?
my
- ser
*
way.
s
^
and
sen
lone - ly,
Rex - se}
^ p * W*
fc
Tho'
3^g
^?
j J
d J -J J'
long
die -
= ^
&
S
my way and lone
ser gan - zen Rei
ML-660-S
160
THE RAVEN
(DIE KRAHE)
(Composed in 1827)
"Winterreise"
POCO l e n t o
(Etwas langsam)
PIANO
fe
J> J
J> J>
with
me
flown
Since
from
town
I
zyar
witf
tnir
aus
der
Stadt
ge
I 4T*fI^«$u$ jr^
1
j > t * . J> j> i
Cir - cling- round me,
i*t
bis
heu - te
^
«L3
start
zo
Q\ flVrfifffi
h J* J> J
up
and down,
fUr
und
Ne'er from me de - part um mein Hauft ge - flo -
fur
^
i
ed,
gen,
#
- ed.
- gen.
c+ rr c*
KL-Mt-3
161
#
>J> J» t
IA i J U i i . *
Ra - ven,
Xra - Ae,
bird of o - m e n ill,
wun - der-li-ches Thie
I tffljftjjyjgl*j? »*g*J3»Jjl
i
iji)
ii, ;. fj> A
Nev - er from
willst mich nicht
££
J)|iji> J* t
IJJ>
J^
me stray-ing,
ver - las - sen?
Wilt thou,
Meinst wohl
i
i j
fe±E
* =
when in death
bald als Ben -
Pm still
te hier
fyjfyjfojfyîfyA^jfyjgi
#
J> tti ?r -¥
On
my corpse
be prey - ing?
JT^JT-T
^
met - nen
Leib
zu
feP^S
can
weit
I
mehr
J>
rove
geWn
Not much far - ther
Nun, es wird nicht
fas - sen?
J ' J>
Strength al dem
an
read
Wan
fe
y
der
leaves.
sta -
,
me.
ftc.
&itfitfitfitf\i$itfi&iU\itfi $&m
+•*
h
m
ML- 661- 3
162
^ Up E E
#
Ra Kra -
Till
Treu
- ven, thou
- he} lass
m^
the grave l e - e bis
zum
wilt
mich
ceives
Gra
con - stant
end - lich
prove
seKn
Till
the
Treu - e
grave
bis
re
zum
¥
me!
6c/
1 ^^^^
» f P flC
^TN
yiJ^^Jfflf •
ML-661-$
163
IN THE VILLAGE
(IM DORFE)
"Winterreise"
WILHELM MULLER (i79*-t827)
(Composed in 1827)
(OriginalKey}D)
Poco lento (Et was
langsam)
PIANO
mi
tat
•
cresc.
mmirm^
*'
if
m 1 7 i *l
mm njOTiJiTJW7
JL
3EEfe
&
•JM
TXT
s
*
The watch P$
4 i i 1 l i 1F T T i v.
.flP
•#
•#
I
bel -
dogs are
-
len
b i t l
die
»
IT
JjJJJ.JJ J J JJJ J j r ^ - ^
s
bark -
- ing,
Hun
-
~
Pi
A A
de,
their chains
es
f' r
S
ras
they are shak
-
se/ti
die
ing)
ten-,
Ket
Good
es
peo
schla
^
4 4 4 A—a
* - * ~ *
-
rP
pie
fen
in
die
^
*
jJJJj(T n t ^ :
I
j
j» r
slum -
- ber
their
Men -
~ schen
in
rest.
ih
i
r P^
are
tak -
ten
Bet
-
ten.
Copyright MCKIV by Oliver Bit son Company
ML-662-5
164
m
w
lu
ha
3
SlOIlj
k
r
Dreams
thun
rP
good or
sich
im
s
e
vil,
ten
Gu
^
of
peace
und
Ar
or
fen
coner -
a tempo
1' 'Jul
ev - ry
vi
£
i
sion!
v
-'
3Sfe
:5=^
£ P
0 tempo
dimin.
j1? v I v
wum
ML-ti«i2-r»
165
* it p 1J >t ^ r *i p i . M ^ r p s ^ * j'i
A—'
Ah, well,
Je nun,
ah, well,
je nun,
re-fresh'd has each man a - r i s - e n ,
ste ha- ben ihr Theil ge-nos-sen,
m
i$ r
^
hop - ing",
hof - fen,
£
still hop - ing-,
und hof
fen,
since
was
P
U
frf
li
£
A ^~pr pp' •* Jl1
J /
m m m m m m m mwt
^
M*>
•!'
Once
dock
sleep brought hours of rap-ture,
sie
noch
u - brig lie-ssen,
E
^
jfgS-
m
jtÊ
S
m
m m
^
mm
l ^
Still
und
m
mr tiv-r r
# m
more in sooth-ing* slum - ber, once more in sooth-ing* slum-ber those dreams _ to cap - ture.
mie - der - zu fin - den, dock wie - der
zu fin - den auf ih - ren Kis - sen.
s
^
y»f.
u r^
£
3Efe
KP
r^ji-j
J
T
I
^
m
r nT
} w p f t * m g p y*=*
• •
F
•
i
i
$-£rrto^J^ IJllJl^Jl w
m
MM
i\
decresc.
JJJJJJJJJJJJJl»lo
ML-6*>«4-^
166
m
S
^
Bark
Belli
loud and
mich nur
as
ihr
long,.
fort, _
S> i i i i~i~ir $7 7 — 4
1
keep Hun -
i
i 4 i
mg,
de,
J J J ^L^L A
m
Leave
lasst
i
w
though
in
stun -
kY
is
mer-
-
JJJJJiJiJJJJ^ " '
^
sleep -
world
Schlum
seen
\v- JJJJJJJJJJJJcp v * ^ ^
"TTs
f> r- r P
the
der
i
£/•£
I
>ar-
me
no peace,
mich nicht ruKn
J'* 7 I
7;
\p 1 1 I 1
P
P
ye're
chen
watchwa
P 7 7 £
/iJJJJJJJJJJJJyW 1
*
e
wn~
My
- <ng!
- Ae!
JjJjJJJjJjJj^ h 7 7 j
BE
7cA
7
7
^
dreams.
bin
have
zu
h 7 7 I 7
ML-6*t-6
167
I
^
should I
will
ich
^
1 i
-&-
lin - ger where men are sleep un - ter den Schld-fern
sdu -
-
ing?
men?
s
Jl
My
Ich
dreams
bin
have
zu
J'JJJJJ>" L J*I
J |,J
A J- r - ^
3
? i
-o^-
should I lin - ger where men are s l e e p
will ich un - ter den Schld-fern sau
-
y ••=
ing?
men?
fT\
•?\
huiui
^JJJJJJiJiJUi
^
i
tiiiiii
*
*
i
r. *
*
1
1
*
*~
^ :
^
h
o
Ml-662-6
168
THE STORMY MORNING
(DER STURMISCHE MORGEN)
(Composed in 1H27 )
"Winterreise"
Translated by Arthur Wextbrook
Quasi
(Original
a l l e g r o , m a e n e r g l C O (ZiemUch gesehuind,doch
krafhg >
agj
PIANO
^
*
5*=^*
J
^•"
*
FRANZ SCHUBERT.Op. 89, N? 18
Key, D minor)
1
/ j j J C^JS
fe
r ? v jggl
J
* \i»UJ)«flJ3 j ^ g " ?
^ ^
How hath the tern - pest riv - en the
hea-vens robe of gray! The
Wie
Him-mels
hat
der
Sturm zer - ris
- sen des
grau-es
|$ft~ft Jr .fljg J ^ J' I J,S £ S=S
»
-
clouds dis- or - der'ddriv-en
Wol -ken
-fe
- tzen flat
•tern
1*^3
En-gage in wild af-fray, En-gage in wild af - fray.
um - her in
mat-tern
Streit, um-her
in
mat-tern
Kleid!
*
die
1
Streit.
^m
PV
i «, J^J)J"3frJ jiJ3lJ> JiJ^gj»J iM
-
The lu-rid flames dart fiercely A - thwart the strug-gling horde:With
Und
ro-the
Feu -
er-flam-men
*tf „o»'* : *
4
zieHn zwi-schen
ih - nen~ hin:
'das
i
4
Copyright MCHIV by Oliver D i t o n Coirfery
MI - • i 0 3 - 2
169
^
A Ji £ 3 p
such
nenn'
a
ich
bois
ei-
*t
*
t- \>s
^
^m
7»
-
t'rous
- nen
J
morn - ing
Mor - gen
My
so
soul
is
recht nach
7 7
7
?S
heart in
yoiTHerz
sieht an
ac nem
g
der
dem
\nm
*
E
^
hea - ven
Him - mel
^
Its
ge
like-ness
malt sein
may b e - hold
etgy - nes
Bild-
v
m
naught
ist
M
C r J> p
there - m
nichts als
save
der
wm
Win
ter,
ter
Save
der
*
^#H^
1
F
ljt'1, (T A ,Jl J'^j
ana
und
There s
es
i£
^
BESS
wild
kalt
^
F#jg
ti««««
w m - ter
Win - ter
^
*
^
\^>Y ff F r H J T T V
/yvESSS
T
3
h J'
m
naught there - in save w i n - ter, There's
ist
nichts als der Win - ter
es
Mein
^m
l?3
5
ft
m
r^nrr
My
cord!
Sinn!
#—1»-
=f—^25—at
7.
¥
*K
Sp
BE
m
met
-f fc <
i
k
fc
C ^ ^
fe
\l h A Ji
2±
b
;, JM|T
• « « « «
v
1
f
cold
wild!
Ml
Sf-;
*
170
THE GUIDE-POST
(DER WEGWEISER)
(Composed in 1827)
"Winterreise»
FRANZ SCHUBERT, Op.89, N? 20
(Original Key, G minor)
Moderato (Massig)
feup
up•38.
PIANO
f'°-M
^
0
0
J) I J>
3
fiE^
Why for - sake
the beat - en
Was tier - meid'
ich
h\ty J *
n
go?
geKn ?
track-less
schnei - te
denn
die
We -
Fel
- sen
% d j ad j
s
wo
die
- te
j
oth - er trav -'lers
an - dern
'JH J
nig- ged
mix ver-steck
ii
moun - tain
ge,
3
m
high - ways, Where all
* j >i^J ^
su - che
m
y&nv'
fi it i ^ J~' j>
g
Where-fore seek a
h ji j
yûj.
m ?
*w?
^t
$I i t
Wan - drer
j^ > Ji
by-
-way Thro' the
Ste
- ge
durch ver
f) J\ J hJ) J^ ^ ^ ^
Where-fore
snow,
su - cAe
hdh'n? _
IFC^
P^
JPwwJL J
Copyright MCMIV b y Oliver DiUon Com panv
seek
mir
a
P*r -
rtig - ged-
s/ecfc - te
i 44 i
5
ML-064 - 5
171
#
Jfe
Ba
Ste -
-ge
P^
ag
£3^ W
1 Jig^p-i
^
track-less moun - tain snow,thro' moun - t a i n snow?
ack-less moun
snow,thro'
durch ver - schnei-te
Fel - tain
sen - hbh'n,
durch moun
Fel - -1sen - hblin?
^
^
- way thro' the
cresc:
I
H?
;;
n
« = «
J J JJ
* » , M lyift ii ;> j» J' i J
Nev-er
Ha - be
has my
ja
life
dock nichis
been
be -
cen - sured,That
I
gan
ich
- gen}
PPI^ V]' t t t j j
*
t
E^S
so
jap^f
ly
soil - te
4L
That I
scheu'n,
^
^
that
I
Ver-
dass
ven -Ian-
so
ich
r
tured
-gen
J'
i=£i
mich
J=JB
r
^t=j
'Twas but
schei/n.
welch'
ein
J l l |T (T (T (T
Thro' these
treibt
u
r
^
soil - te
dass
h J~i i
a - void mankind,
Men - schen
ft
IE
»
^
_s:
J* J) I f J' J' J
^
^
40
&
S
tho - rich - tes
a
n
a - void man - kind,
Men-schen
fol -
iy.
)i^m
wilds
a
in
die
path
to
Wii - ste -
HSU
^
ML-b'iA - 5
172
&hf}
A JUJi
find,_ Thro' these wilds
a
g
¥
path to
I
tiet - en, treibt
die
Wii - ste
Sg
^
mich
in
K
S
find!
nei'n?
i
*
#
T~~T
pp
^1
f
* > * J) IWU
^
There's a
Wet - sg)
s
*
r p p
•^
•
fe
F
to
^
=»
p
to it i»
y-i>, p p
| | r W J> J) > g
f) j) Ji i b ; JI ji u
post at
ev - >ry
turn
sfe - hen
auf
We -
den
ing Shows the
-gen,
But all bound-Vies I
und ich
g^
wan - d're
4
wei - sen
am
son- der
spurnMa -
way from town to
auf
die
zu,
ing, Seek-ing
rest but find - ing
Ruh7, und
ssen, oh - ne
10
^
town,
Stud - te
g
4 \,i
TOn
t
su - che
id im i
*
s
ML-t>ti*-5
173
0*^
none,
Rvh',
S ^
m
But all bound-'ries
I
und ich
son-d«r—
wan-
dre
S
£
a m . spurn
m
Ma-
- ss*>n: oh - tie
Ruh',
su
und
-
[^
I
i
t i t *
decresc.
m
PP
3^=3
^
^
&
see a g u i d e - p o s t
Wei-ser
&M•
—M-A
Bi - nen
n
m
su - • chc
Yet
none.
Ruh\
che
% m np
t3f
«
Ruh\ und
i
find - ing
¥•
- ing, Seeking rest, but find - ing
p\tt Jt If A f
none, but
&
seh'
ich
Es t a n d - ing,
ste -
hen
> j) i ;> ji
Point-ing
stern-ly, to
un - ver -
^
one
riickt vor met- nem
bourn-,
s
Blick;
ei - tie
ji ji ,h J I J ;i > Jimp [i (i p i ^
To one
^ p ^ f
way my steps com - m a n d - i n g , To one
way my steps c o m - m a n d -
no
ing,Whence nc
Stra-sse
Stra-sse
hen,
muss
ich
ge
- hen,
ei - ne
muss
ich
ge
-
die
noch
ML-««*
&
174
I
&W'
£ Ji )i Ji i) \ h h i Ji J) kh Ji ii -h
see a
guide-post
Wei -ser
sehy
stand-ing,
ich
A-
g^pi
ste - hen
^
Point-ing
stt?m-ly
to
un - ver - riickt vor met- nem
bJ-
Blick;
ei - ne
Stfra - sse muss
ich
Whence no
ge - /iei*;
die
noch
die
rm r&j
pp
J
-ler
may re
Kei -
- ner
ging
zu
n\
Whence no
riicky
_
trav -
m
i
turn,
_
1
_£
way my steps com - mand - ing
^
To one
cresc.
^ ffi£
S
1
^
bourn:
J.
—U^
i#>
pm
one
noch
3 \,fr
"*• J wLltijj.
trav - ler
Kei - tier
may
ging
re
zu
turn.
riick.
w
7t
Mt-CM-S
175
THE INN
(DAS WIRTHSHAUS)
(Composed in 1927)
" Winterreise r
Translated by Alexander Blaess
A d a g i o (Sehr
(Original Key, F)
langsam)
VOICE
PIANO
church-yard
:h-yard I
mich
meinWeg
be-hold.
Here have
nave I thought to rest me, with - in this qui-et fold.
ge-bracht
All - kier will
ich
ein-heh - ren, haV
Coryrinrht MCMH by Oliver Dittos Compaar
ich
bet
mir
ge - dacht.
ML-665-f
176
t
S
O
Ihr
*
¥
|
#
i i A J> J pi* J
dip
a
^
h
4^
*
te
£
£
konnt
F
> J> I i, Ji i Ji £3 J j .
re - treat
Zei - cAew
- ?.t
J F' > j f
8P
~p
figgj
of - fer
Tod - ten-kran
^
oresc.
wohl
ver - dant wreaths of wel - come! ye
gru - nen
sein,
To
pil - grims faint
die
mu
de
and
Wan - dWer
wear - y,
la
ty'.h' Ji J>
K
with
den
inJs
i
o J'
-
bleed-ing hearts and feet
kiih -
fe
p JI J>
las!
denn
WirthsJiaus
i
ein.
h ji
die - sem
Hau
by
dwell - ers strange - ly mute,
-
die
Kam . wern
se
^
s
^
- ken
PH
,
i
^
each place seems ta in
i ji
ft
]
BL
mIi
^
T
Jr= *
*
aW
6c -
To
setzt?
r^
F
ML-tfS-S
177
\§Hf
JiJ^j
JilJ' |lJi il|,Ji j t
p ^
death am I ex-haust - ed with grief and pain a - cute
matt sum Nie. der - sin - ken, bin todt - lichschwerver.letzt.
5 ^
("i >Jr^T,
s
f
te
S
*
f
Thou
0
-m-m
,
^
*
^
$
it* * * * g *
^
1 lfli J)J'Ji J JJH A Ji.^,1 tJH JQJ"frJfJ'J'
inn, of p i t - y b a r - r e n , yet turnst thou me a - w a y ? Then
un-barmJicrz-ge Schen -ke, dock wei - sest dumich ah? Nvn
N una
S31
te
«P-
death
my
treu - er
^B1 li j l i»ff
n*j "3â
P
cresc.
PP
^
£
3E
on, my staff e'er faith-ful, till
wei.ter denn,nur wei-ter, mein
Then
nun
care
al - lay,
Wan . der -stab,
8'"" iJ >i Ji ,i J H I 'Jp*
^
on,
my staff e'er faith - ful,
wei - ter denny nut wei - ter,
1*
till
mein
»
cresc.
*x-
I
|jV
J
n
i
i
i
i
¥^ JI
f?\
death my care al - lay
treu - er Wan .- der - stafc/
*
k
^.
*{$* *** 4 »a i 3 lig | ^ i^«W ij>
TIT
ML-665-3
178
COURAGE!
(MUTH!)
(Composed in 1827)
"Winterreise"
WILHELM MTJLLER (1794-1827)
FRANZ SCHUBERT, Op 89, N9 22
(Original Key, G minor)
Q u a s i allegTO, e n e r g i c o (ZiemUch geschwind, krdfiig)
VOICE
fen
1
iffl,
PIANO
I'l'ihj r f r n
j f r j j? J
When the
Fliegt der
:
d T
F=F
j JW' Ji J>l j t
snow _
falls
on my
Schnee
witr
tVs
Ge
cheek
-
sichtj
'
-L
' #
1 A iii1
Off
I
schuttV ich
#
^
gai - ly
ihn
her
mm
4: m #
I
ji £? ^
W
#
^
brush it.
un - fer.
&
«
s $
^ e mp
23:
Would my
^N
r
i»"«it
I
Wenn
5^
f
mein
heartHers _
£
K
-P
*
P^
Copyright MfMIV b ? Oliver Ditson C o m p a n y
Ml -56*
179
j , i ^ j . J> JM J t i AhJi^jg
—
its trou-bles
speak,
Loud
I
iw
spricht,
sing7
ich
2?u - sen
sing to
hush it;
hell
mun. ter->
und
^
m^
m
m
i
/
^
^
^
#
not
I w
m
f [I ^ ^ J •
k
1
1
3
heed.
nicht..
Deaf
when it com - plains,
was
es
mir
scigt,
to
tnel - an
ha - be
kei . ne
g
^w
J'J'jîj » i J'V'Jj^j
ho - re
HE
.Si
te,ffik
UK
ijfr j g
I'll
J> ft J
j
. chol - y,
Oh .
ren.
W f
fl
^
P
&
^
m
riJ
^
Til
not
fuh - le —
8^ f
FMAiJ
r
PI
#-«-
^
IJM.J'J'^
its fears and pains,
feel -
was
nicht,
7
7 /3
fe7
7 ^r
*»s
mir
klagt.
^
ML-«<i<5
180
Fear-ing
Kla - gen
ME
fctz
«
is
ist
but
fur
H
fol - l y .
Tho - ren.
rTP^
w
*l
giNi
* #
M
fe
*
*
fy > j > ra i J> jt j \fiiJ3n
Mer - ri - ly
I
Zt* - stig
die.
Ir
in
i
P
ramp a - long
WeU hin - ein+
T ail
P 8
4
nf
^P
if'J>. ^CrQ
We're
stttd
m
all
wir
gods
sel .
to
her
A
'Gainst the
ge - gen
ip-
wind
Wind
si
•—*
&a
and
und
^
n
n m
weath - e r !
Wet - (er!
t^
p
g e t h - er !
Got - terf
ML-^66-4
181
Mer - ri - ly
I
tramp
Lu
die
Welt
-
stig
in
*
m
'Gainst the
ge
j.«
f fc-J y t
-
*
*
mf
—r
a - long
hin - ein
^m
U
^P
-
gen
wind and
Wind
weath - er!
und
Wet .
i*W
JJJEHJ
im
m
s
ppi
K J ji i, J |
*
W
P^s
sind
wir
God
on earth
does
not be - long,
fljiK
kein Gott
auf
Er - rfen scin.
gME
gods
to
geth - er!
Got -
ter
set
wSTlf i
. be r!
f[
d
Essssa
s
/
y t> p. = p
te
a
i
I
P
I
M
£
^
i*
afe
a
i
f to > /T^ f
V
^
^
We're all
ter!
- âm
J
J.
^=m
p
^ L
^=F
^
iP^l
182
THE MOCK SUNS
(DIE NEBENSONNEN)
4<
Winter r e i s e "
Translated by Arthur Westhrook
A
(Composed in 1827)
FRANZ SCHUBERT, Op 89. N? 23
(Original Key, A)
N o n It Ir o p p o l e n t o (Nicht zu langsam)
i>on
I
VOICE
i i JH
Three
Drei
M
fe^£
f m
PIANO
m
£jj«
g.^j^P.rTj.
w* w
^
m? fly
9 ^
^
^
/#;
J'I i ~ j = i ' 'i-J» J'
i f Jt J) J JiJM^ J'J- J'I I. hJjjJMAJU »
suns
I saw in t h e win - try sky,
m
Son - nen sah
ich am
• p
langy
I
watched them si - lent-ly
und fest
g p?
i
i p=?i
*
an -
ge-seh'n;
S
i
i
^
And they stood still, and
und
sie auch stan - den
a
iz.
^
^mm
from
nicht
J
?
i
$
i y h hJi J) J) J) I j s
^*=J
A - las! ye suns a r e none of
be gone.
Ach
jf^j^
^
/
£
:*• a * * •
Pd?
mei - ne Son -nen
i
i
^¥
f
-j>
on me shone, As though theyd ne'er.
da so stier, als woll - ten sie —
s
m
f r l
1
g
J7j ^; j''J~3-i. i ^
if * >J *
me
g s^§
§
*-"—^+
i v J) I J\ > J. J u J i i l A I A >
^
^
sie
<
t
^
haV
*=«
n f *fj ''ji
m
And long
Him -melsteh'n,
'
*
Copyright MCMIV by OHr*t Ditton Company
f
seid
ihr
m
B
ML-S67-*
183
p i p- i i J' J' p- J' i J =
*
mine !
nicht!
On
oth - ers
let your bright-ness shine.
schaut
an - dern
doch
I'll, M M r H
s
a
suns
An
- ge -
sicht!
i
J*
B*
ich
call
my own; The
ouch wohl dreij
J3
n^p'i
htF»
M»
nun
fee - blest now
is
sind
die
hin - ab
left
be -
Sfesfc
lEEg
f*=^
^m.
#
TF
fe
*
t *
*
if
£
f
dim.
s
i
T
3
^
JV Ji
T
#p
§
J', J) J. J> U- i J. i
And should the third but
&
i
W
Ging'
9^5
stenzwei.
fe
31
MJH
*
a-lone.
* =
deeresc.
g
Uf-^-f
^ ^ J [;#=#
3?
a
1 once could
neu - UchhaW
iVs
P
Three
nur
die driW
erst
s
f m
J•
m
leave me now, And
hin . ter-drein!
Im
^m
fc • T J J. Jl I
JM A JU *
^
all grow dark—'twere better so.
Dun.Vein
wird —
mir
p> ?
M
M
pp
woh - ler sein.
f
~=:=-y
PP
J -*- j. JI JT1 JIJ ~ J. j g j ^
ML-««7-«
184
THE HURDY- GURDY MAN
(DER LEIERMANN)
(Composed in 1827)
"Winterreise"
(OriginalKey, A minor)
FRANZ SCHUBERT, Op. 89, NO 24
PoCO l e n t o (Etwas langsamer)
PIANO
^mm
pn
g*
-0\
PP
fft^3 I w
r^nr:
ss
i
i^h>
±
A
^
ZL.
j ^ j> J> J M H J j y
1^
f
J-
^
¥
J> j
Down be-hind the vil - lage stands an or-ganman
Drii - ben
i
hin-ter7m
Dor-fe
steht
ein Lei-
er - mann,
te
m
3
5
5
*
345:
»
| j ^
s
J> Jy J* ^ J^ J> I J> J > ^ J f
And with stiff-ened fin-gers turns as best he can.
und mit
PP
star-ren
^
Fin-gem
dreht
^
er,
was
er
kann.
*
=Zp
"72T
2P=
ncrr
*L-6fi*-*
185
1
i j f r -h p P i* J j J J i i J>j> J
Bare-foot in the cold he walks with fee-ble gait;
Bar-fuss
ft
auf dem Ei - se
t
i
Lj^-
u:
^^
i
hin und her,
i
t
£
22
?
Sel-dom falls a pen-ny
und sein klei-ner
w§
P"7"
Tel - ler
#
on
his lit-tie plate,
bleibt ihm im-mer
leer.
ate
ii
IS
m * T!
PP jw* ALJ) .y__^
^
#
wankt er
£
35E
tr~<
a
a * 7
j=
&i
V^
£
W
\pty J J ^ p p'p i^ > j ' j >
Sel-dom falls a pen-ny
und sein klei-ner
Tel-ler
on
his lit-tie plate.
bleibt ihm im-mer
leer.
m
Wm
&
*
Wk
TIT
fSTf
zp-
tt
^
w
w, n £
&
SE^¥
^
^
^
¥
f* J> - h h
No one cares to
lis - ten,
Kei. ner
ho - ren,
mag
ihn
i
H^
•»' | J •»' i
no one looks his way,
Kei - tier
sieht ihn
an,
S
F
ML-66S-4
186
m
m
ss
2
3?
And
the
vil - lage dogs
und
die
Hun - de
knur - ten
i
i
= »
-^r
i
\j** j> V ^ i
bout him growl and bay.
i
urn
den
al - fen Mann*
3a
8£ i
&
b"l,"
^
»
P
^
T77
«rr
JJnd er I'dsst es
ge - /ten
f
<
/
=±
F
j ^ J) J> J>} J
m
W
But he lets the world neg-
m
s
a-
§
^
PP
¥
^
lect him as
it
will,
Turns his lit- tie
or. gan,
al - les, wie
es
will,
dreht, und sei - ne
Lei - er
if
«j=^
py=g
i
F
^
2ZH
F
F
F"
i f ^ J^ * i» j J
that is
nev-er
sfeftt ifcw nim-mer
ME
££
!> *
^
Jl
^
p (I1 Hi
still,
Turns his l i t . tie
or - gan
stilly
drehty und sei - ne
Lei. er
j
#
M
*
T
p
#
J
1 W frf." f
p
F^
ML-668-4
187
if1''1 '
I I' J I
that
is
nev-er
still.
steht
ihm
nim - rner
still.
i*
it j j) j> J' j) H
££
$
&
#
you?
£
s
^
^
Won-der-ful old play-er,
may I
go
with
Wiw - der - li - cher Al - f er,
soil
mit
dir
ich
' • lWill
J> youH on yourP orP- gan
j lplay
J) myM bal - ladsWtoo?_
Willsi
,h> OT-
j) j , J^ g j
m ,/
r
zu
mei - nen
w
Lie - dern
,
dei - ne
r
Lei-
er
dreh'n?—
*
Vr
ML-668-4
m
SPRINGTIDE LONGINGS
(FRUHLINGSSEHNSUCHT)
(Composed in 1S28)
LUDWIG RELLSTAB (1799-I860)
FRANZ SCHUBERT
"Schwaneng-esang," N? 3
(Original KeyyB\>)
V i v a c e (Geschw
PIANO
ifr^Vff
^M
*
mm
m
^
£3
m
i>
M
^
^
^
1. Mur . mur-ing breez - es,
blown o'er the mead,
3. Sun smil-ing wel - come through laugh-ing gold
Lad - en with per - fumes
You bring the joys that
/. Sau - seln-de
3. Grii - ssen-der
blu - mi - get
hof - fen - de
p
*
p—*
• — * •
f
^
^
a*
Liif - te
Son - ne
we - hend so
spie - len - des
|gp§| P i
soft - ly
Win - ter
w
u *
V PS 1
mi
fc£
^
Mur - mur - ing breez - es
Sun smil - ing wel - come
sau . seln - de
grii - ssen - der
filllt!
hold.
m
^m
In J p
mf
j it* j
you speed!
fore - told,
ath - mend er brin - gest
du
Dtif - te
Won - ne
T< 7
^
31 mp
I.|I J J^ ;
mild,
Gold,
d
Liif - te
Son - ne
•3="^
p
Pf IBP
ML-66*-*
189
i
r M 'r
blown o'er the
through laughing
we - hend so
spie - len - des
m
^
*»
I
W
Lad
You
blu
hof
mild,
Gold,
- en w i t h per - f u m e s
bring the joys that
- mi - ger Diif - te
- fen - de
Won - ne
»
«#l
4
habt
ihr dem
la - chel.t am
si
r
M ^?
E$
rvu
Wie
Wie
wie
es
haucht ihr mich
labt mich dein
won - nig
se - lig
fo - chen-den
tief - blau-en
I
Her - zen
Him- mel
fc§
t
J' J> | J ji J>|J
auf
mit
ge so
luf - ti - ger
Bahn,
Thr'd - nen ge - /il/Zi,
Oh,
The
be - gril - ssend an!
be - gril - ssen - des Bildl
gui
wild throbbing heart have you
a - zure of heav'nseem to
fol-low the way you have gone,
eyes to o'er-flow - ing the while,
fol - gen
Au - ge
soft - l y y o u
speed!
Win - ter f o r e - t o l d . _
ath - mend er filllt!—
brin - gest du
hold
•
-irx i__ . r l How
are your greetj. - ings,
as swift
- ly ôu run!i
Your glo - ri - ous pres - ence my heart doth be - guile!
ii§
^cresc.
»•
•
ir M if M if
to my
of the
P P T £
9
J| Jl
what
deeps
r
N
m îg
n<
if f
#
mead,_
gold,
p
glad
» i
s i
^
done?
smile
than?
mild
#§i
9
^ J.
s
J.
i" ' J U
m
?or f a i n w o u l d I
For
And t e a r s f i l l my
es moch . te euch
und hat
mir das
it S ^H
n
tk
ir\
\r% **Z
$
I J , | J
PUP
> J> | pup P [ J . ^ 1
For fain would I fol-low the way you have
And tears fill my eyes to o'er-flow - ing the
es
und
moch - te euch fol - gen auf luf - ti - ger
hat
mir das Au - ge mit Thr'd - nen ge -
M1-6W-6
190
^
gone!
while!
Bahn!
fullt!
4
^
But
But
Wo Wa .
J
^
£
"f
where?
why?
But
But
where?
why?__
hin?
rum?
wo - hin?
wa - rum/
tes
} J>
£
Haste
^
2. Gay s i l - ver brook-lets,
4. For - ests and h i l l - sides,
p l a s h - i n g that run,
more ver-dant grow;
to the val - leys,
Flow'rs fill the fields, like
2. Bach - lein,
4. Grii - nend
rau - schend zu - maly
Wiz7 - der wnd Hoh7!
wol - len hin - un - ter
schim-mernd er - gldn - zet
so
mun - ter
um - kran - sef
T
P'il'lZ
«=N»
jl tyjy4
»
m
£
PP
i JHJ <
fry>
one,
: *
ev new fall - en
s
snow.
sil - Bern inJs
Thai.
Blil - then - schnee!
$
p
p r M 'r
plash-ing that
more ver-dant
run,_
grow;.
rau - schend zu - mal,
Wal - der und
Hbh'!—
-fV
^ ^
m
^=^t
s
]
Bach - lein, so
mun - ter
Grii - nend um - kran - zet
s
f »j)W3|'frf i
f^
#
Gay sil - ver brook - lets
For - ests and hill - sides
i
p
^
Haste to the
Flow'rs fill the
wol - len
schim-mernd
t
val - leys,
fields, like
hin - un - ter
er - glan - zet
m m
i i '£ j
«i
p^
ev - 'ry
new fall - en
one
snow._
sil - hern inys
Blil - then -
Thai
schneeL
s
4
J
1=?
j
&
H
ML-66t-f
191
iMp i' J>
$
The
Thus
Die
So
^
*—
r
bil - l o w - i n g waves to their des ev . >ry thing strives to
be born
schwe - ben - de
Wei - le, dort exit
dran - get swh
al - les zum brdut -
§
am
±*
/Ts
i
±*
WhereThe
Tief
es
ste
F3
Now
And
Was
sie
wrtiith- er, O
each finds the
ziehst du 'mien,
ha - ben gc -
fee m
fc£3
T?g?
i
my soul would you
his l o n g - i n g in
ver - Ian - gen- der
was ih - nen ge -
feP
I
bear?
sight,
Sinn,
bricht,
irt
HP PS
4=9
r
Now whith - er O long-ing,
And each finds the goal of
Was ziehst du mich, seh-nend
sie
ha - ben ge -fun-den,
î
,
bear
sight:
Sinn,
bricht:
JH
A And
hin und
i
- way,
thou?
- ab?
du?
A And
hin und
^
i
,
i
&
^
way2_
thou?_
ab?
du?
£Zt
5
fe
my soul would you
his l o n g - i n g in
ver - Ian - gen - dcr
was ih - nen ge -
a m ^m
T T r p i''f^
r'fr'fr m
w
fare!
light;
hin!
Lickt,
J
J^ JMJ JI ji [J * j » i j j^ J'if Up p-IJ ^ >
long-ing,
goal of
seh-nend
fun-den,
$
ti . ny
in - to
sie da li - chen
£
^
^
sky find a
mir - ror rare,
swell-ing, the blos-soms are white.
Flu - ren und Him - mel da - rin.
Kei - me, die Knos - fe
bricht;
?
cresc.
[ft
and
are
sich
die
J> .hlJ
<C\
ift f J' J*
in field
seed-lings
spie - geln
schwel-len
B
P
j *lfl :[|
ML-669-6
193
,P
£=£
I;*
5. O
5. Rast
^
yea'rn-ing
glad - ness!
lo - ses
Seh - nen!
O
burn-ing
Wiln - schen.des
i
ft " '}v jiy-mm
gpp^F
weep - ing and
Thrd -
Kla
nen,
-
ge
und
*
I
pain?
Schmerz?
w " vn mm mwm
P
j
i.j
i J' J* 1.1
£
yearn-ing glad - ness!
?O
Rast
-
lo - ses
&
Seh - nen!
31 i*iS
e
^
a
M ITpain?-
weep -
ing and
Thrd - nen,
Kla
ge
1ft nJWj
*
^
^
brain!.
und
w*m
3fifc—W
9
'ia
3=3F
Know ye but
im - mer nur
Herz, _
w
p. £2
sad - ness, _
i.«
V
burn.ing
fe
r
OE
T*
•îj-l
^
^
m
O
*
i
*
£
Wiln - schen-des
^
^w
fe
=fe
i
but
rt'ur
tek
5 ^
j
'h J
ye
mer
Q v I.J"1 I
£
Sat
sad - ness,
Know
im -
Herz,
i
f> J> l l j
$
—i
brain!
£
J
a
S
S
ii
pg
i,
Schmerz?-.
Auch
s sfe£l
ndl n«H
*
Ha.
i
4r
fL ^
^
»-•#»-*
193
i ^ p. j> j» i J
ji . H p . j>
JHJ
of
pow - er
di - vine?
Trie - be
be - wusst!
too,
feel the
sway
ich
bin
schwel - len - der
mir
^m ^m
W'tyfl
s
this
1
p
end - /ic/i
die
drdn - gen.de
1
I
Who'll quench me the
Wer
^
stil
-
Jef
mir
fe
J"
^
^
*P=£P
To
free
Nur
du
#
my
hearts warm
be -
frei'st
den
s
^t m m
^
t
m
/T\
Lust?
w *fy m
W
^
^ ^
I
s
r P P if
p ^mine?
fires of this love that is
w
j Jnr.
im ^ P
^ w J J JHJ
fe^£
spring-tide is
thine!
p
To free
my hearfswarm
spring.tide is
thine,
is
Lenz
Brust,
nur
be - frei'st den
Lenz
Brust,
nur
in
der
\p * Jji i'] ImaPS
M EU
,
du
lH
^g
7
IPa n=«?
thine,
is
r i r ir
thine!.
du,
nur
du!
lli
I
• JMJ]
tt
iSB
*
iSw iF*
3C
»
* = *
der
<T\
*
iw
a*£
lid.
in
3t
fe
decresc.
—Oh
*
3£
C\
194
SERENADE
(STANDCHEN)
(Composed in 1828)
LUDWIG RELLSTAB (1799-1860)
Moderato (Massi*/
*m±
PJ3S3
PIANO
pp
tai
0
tt
Thro'
p
- sc
the
JDear Lieb Love
m*
£
J i g ^ r Jm
r
Thro' the night
Lei
FRANZ SCHUBERT
"Schwanengesang^N? 4
{Original Key,D miner)
iny songs en-treat - ing
/Je «
- hen
leaves
the
mei - ne Lie - der
ci^-ht
winds mov _
J* JJ J>
ing-,
i
£
^S
s
Gen-
tly pleadwith thee;
dutch
die
Mur
mur
Nacht zxi
lew
and
dir-,
sweet:
*
- est, come to me!
- >chen, komm zu mir!
hath
led
my
feet.
M
P
XTTT2
w
P
ffiTH
#
* Another version
Coprrt^ht MCMIV b y Oliver Ditson Company
MI-670-1
195
1
rf' Ji* r
pit i'j. jji'lL'' i
Whispering bran .
Flii-sterndschlan
Si -
lent
ches soft.ly
-
ke
Wi - ffel
of
bliss -ful
prayerss
*>fa •>< H
£
feel
In
in
the moon
J* _ ^ n —
des
des
Link— us
On
ijîj^j j' ("• j'ifi.
filrch - te, Hoi dream
-
fear ;
~ de,
nicht,
*»n « 'F F F F R
heart
Liclit,
Ver - rd
the
wm
£
P l F' ^ KJ.
and none can harm
-
thers feind-lich
breath
of
—is
mu -
sic
•m*
i
m
J)
thee,
Lau
schen
steal
ing
r
P
•4%
jQfp r
to
ing*
des
a _ part,
VP
r Fm
i
There is naught
Mon though
* f$t*
des
5
ss
thy
the moon - light clear,
tn
None may watch
Lichtj
a . part.
though
£
To
ing-
In
^
light cleai,
. des Mon
Link— us
_
i
£
' B J*L U ^ J '
^S
ran - schen
£
mi
m
mur - mur
'
iiJ'ttp'
i
T h e r e is n a u g h t
to
fear.
filrch- te, Hoi - - de, nu7ttf.
To
thy
dream
-
ing
heart.
* * * * *
n
MLÔ-*
196
3
k
g#
£
Night - in - gales,
Horst
Moon .
w
k
*F
^
Vk vM } i
I
%
î^F
s
*
- len schla - gen?
earth
is
sleep
>
ing
±
-^
i
4
light
I on
=§*
^
£
s
Pi
in
notes di - vine,
sic
fie
Winds
are
rust _ ling-
- hen
dich,
low.
fi^Prgr
• * • >
£
"jSt
H*
&
s
JMjjj>r
p
of sweet l a . ment - ing Breathes a sigh
Ev - >ry tone
mit
der
To dark
I
- ne
_
ling
W 0 W 0
5
*
sil - ssen Kla
-
gen
streams are creep
.
ing,
.
0
fie
sie
fur
Dear _
est,
let
us
~
*
-*
£
22
^
jr
it r
n
Well they know
mine.
mich.
m
go l
v-k 1 f f%tl$±
±
£3
1 1 1
~M~-
Sie
All
^
W
^S
¥
of
- hen
~
h
H
E
-
# » #
n jfrf
.
*
IK£
*
(i
ti
0Jt0
-»-
Sing
ach!
Where the
I
for
-
the
W-
i
3B
HI
si
Navh
:**
te
ip
me __ im - plor - ing
gal
Afl
IP
#?
die
the
ver - steh'n
the
m
stars
keep
£
197
ft
#
^te
\m) f >
I
s
£
bos-om's yearn - ing Where love sheathes his
dart,
Bu - sens
bes-
schmerz,
to
thee,
watch
Seh
in
hea
-
SiTg
^
nen,
£err - «ew Zie
ven,
While
*—-—«
I
-
Sim*-
«
W h e r e love s h e a t h e s h i s
ken - nen Lie - 6es
While
r pm I
f>t>
PP
S
I
sing-
to
s
J
£
3 1
UPS
2Z
I
II
PP
^
"ip^—
With their sil -
dart,
ruh - ren
schmerzthee:
And
the
v'ry ca-dence mov
mit
den
Sil - ber - to -
nii^ht
for
love
i
k
S
giv
3*
£
ey - 'ry droop - ing
ing
nen
je
- des
Dear - est,
en,
til
3*
*
s
sI
^
^
was
J
wet -
- che
to
come
|
ftft
sJ N=N
i
ir
x^
fe
J
£
cfrP
" * T
Ev - 'ry droop - ing heart
heart,
Herz
'f-k
j'e - dcs zvî
h.
•># r
s3
P
Dear - est,
*
si i
come
A
4FE
-
che
Herz,
to,
I) Jlli^ i'p- p
let
Lass
Sad •
the sound to
auch dir
\y
in
pit - y
die Brust
be
the Cor
est
IS
5
s
f
cresv.
HIM
J'tH
li I1 |kVi
tir
f
IM «
move
thee,
r' nnn
mourn
I Y-h J
-
ing,
»Ji p- A mJ
i
List
the ten - der song,
Lieb
chen} ho - re
Wails
^jjij.^
mich>
^ ^
Trem
^P
- bling I
a-
- bend harry ich
fhe
heart
for
198
ikjh si r ^
MgjJJcj ^ f I I I
For thy love
wait thy com - ing!
dir
tlu'-e
ent - ge is
yearn -
Kommjbe
gen!
Bid
in^,
ffm
k^
i
ft
ITTj J-~*-i)
fea :FJ~-M
!§i2=5
W'MM
6
f
#3
- glil
it,-
lov£,
*
las
long!
mich!
Bid
i
m
love
be - £7i£
loye,
4
be
thee
be .
m
1—L.
long!
I
mxich!
stjii.
w
a
* *
IEE
decresc.
pt
m—
*
be
PS
it,
w
*
cki
w
For
Bid
fc-ft
t
*8_
^
still,
22
glii
IIP
*
^p
s
p
*
*
*
IH
*
^
* 3C
3E
T|1
r\
fP
ffi 1 J: J"|
y
long!
mich,
I
££
£
TJ*
fe
*
thy
it,
X
S
£
jffi=p:
Komm,
'Mi 7^"F
be
*
For
still.
^
E^£
•/L*
:
*
eke
*g *tn
«J
m m M
I
-
J
l *" J f t f f P 'J)J J ^ J
J) j * * j *
w
IF
»
1
c^
ML-670-'
199
MY ABODE
(AUFENTHALT)
(Composed in 182S)
LUDWIG RELLSTAB (1799-1860)
Translated by Louis C Elson
FRANZ SCHUBERT
"Schwanengesang\"N9 5
. (Original Key, E Minor)
N o t tOO q u i c k l y , y e t With f o r c e (Nichf zu geschwind,doch kraftig)
^T^
^f^
^J^
"T
"T^-
"T^
PIANO
£
ippi £
^m
ttt
nhff\fm n" ffffiHUOH
1
mP
ttiht mm
* & - = -
Swift rush - ing stream,
Rauschen - der
loud moaning wood,
Strom,
brau-sen - der
Rockbleak and scarred,
Wald
star-rcn - der
^
A
wild a - bode,
Auf-ent . /KI/£,
i
i
w*
rau-schen-der
Strom,
i
Sfcftt
^3
iK
ss rt 5
^
i
£
J J1 j
loudmoan-ing
wood,
Rockbleak and
brau-sen -.der
Wald,
star - ren - der
s g«
*
EFTE
j j~g j
5t 5^
W^
5
*
1
scarred,
my
wild a - bode.
FeUj
mein
Auf. ent -
^
hali.
m i tfl
*mA
S
I T- ££? \\M-. i4^#
sip
mein
ww-w
Swift rush-ing stream,
*
my
Fels
-J * i r irpiry ir p* piry '
*
* &A
g
^
zi—^zt—q:—JEC
•
#
—
<
•
I
jr^r i fHf
TOT
iP
*P
*
9*
•
£
W»
x*&*
Copyright MCMIV bv Oliver Ditson Cnwnanv
ML-671-
'
200
J> J > U
&
Bil
Bil - lows on
Wxe sicA die
bil - lows chase <
cfler
Wei - Ze an Wei
FP
«
ifPlf
nfr ffifii 11,m^
WE
f
^
tears With-out rest,
e - wig er - newt,
*ft
w
*
tears with-out rest
e - ortg' er - neut,
o-ceairt
cean's breast.
le reiki,
^
WW
So, too, are flow - ing my
flie - ssen die Thrd - nen mir
up s
» , »
^ ' cresc.
Be
flflj
*-#
r
ir r
ZZI
so,
flie
too, are
ssen die
flow
Thrd
m
•
*
m
IJTTJJ
< itJ i f J i
my tears, my
mir
- wig
ing
nen
P P. If |T P p
so, too, are
flie-ssen
die
v_#
^
*
f l o w - i n g my tears with-out
rest.
"Thrd - nen mir
e - wig er - neut.
ML-C?i=&
201
J> J'lr £j\r
Winds o'er
Hoch in
t h e tree-tops are
den Kro - nen—
m
s=i
*=$
never
wo-gend
^m
E
vW
at
peace,
sicKs regt,
«•?
My
so
heart'swild throb-bing, like
tin - auf- hbr- lich mein
IsP #M-
#*--333
-£-P^P
I
^
ben marcato
S
them,will not cease,
Her - - zc schlagt,
Winds o'er
hoch in
t h e tree-tops a r e
den Kro - nen
PWf if
l
ra^
#=JF^
E
fljj
9'• I f
li£
f) J» i f L / J^
heart'swild throb-bing, like
un - auf - hbr - lich mein
them, will
Her
not
ze
+•*
cease,
schagt,
n e v - er
wo - gend
t
at peace,
sicfis rcgtj
My
so
, rT> Pff^
tt=£ §=£
5
£
The
£
wild,wild
so
un - auf
^
^
throbs of my
- hbr - lich mein
PW 7*- p* HW
#
jc—m-
m
Jf
s
MJ 671-5
202
ft
I f
FH
like
wie
#
»
i
£
ft V
rock
ore
in the rock's
hard vein,
Fel - sens ur - aZ - - tes
Erz,
the
des
I
w , Jî>
us fe
f
hold- eth its pain,
blei - bet mein Schmerz,
m t=t §*«
t>
.VJTI ft
I
r
ir r
ev
e
er my
bos
wig der - sel
f
E v - er my
bos - om
e - wig der - sei - be
WH
Jfil
»
^^jffl I
« *
«
om
be
i
£
hold-eth,
hlei - bet,
w~f.
m
t
a
&
*«
s
Xi
*
hold - - eth its
hlei - - bet mein
m
pain,
Schmerz,
^
ev - er
e - wig
my b o s - o m
der - sel - be
fe£
?
hold-eth its
pain.
blei - be£ mein Schmerz.
tfL-*?!-*
203
£
I
^^
Swift
rush - ing stream,
Rau - schen - der Strom,
«
^
*
J!
loudmoaning
wood,
hrau-sen-der Wali,
4 J — _. i » "1*. i ^> ^k iv*-&<• >4 <i +**% *•
Rockbleakand
scarred, my wild a star - ren - der Fcls, mein Auf - ent-
l
i o
0 j Mi |i ji \ry ir P' P if y ir r p
bode,
halt,
Swift rush-ing
rati - schen-der
stream,
Strom,—
I
^jfijKJjj^
f
JI'
=
Jr
*
Rockbleakand
star - ren - der
i
iis
<
>—•#"-
cresc.
^
jfrL*L
Iff' P
•rf"—iT-
j(T
*0<
*• ?
*
i
nil
^m
^
P P I r J*l
stream,.
Strom,
Swift rash - i n g
raw - scAen - der
* -• »-~*
s
^ : <•:
fcfe
tfc* f-'
•I*
>
P
*K
&
SHfe
k*
-A*
Ls
» *
^
•#—*r
P
decresc.
«
?.
moan-ing wood, my
sen - der Wald, mein
**—•**
-3BE
*-y
scarred,
Fels,
m m
9
m
#
I
t
±
wild a - - bode.
Aw/* - e«£ - - halt..
mf j
«
wood,
Wald,—.
• _^»
*
* = * *
V'% | <
m
loudmoan-ing
brau-sen-de*-
t
\ff\ffma WNPP
ir HT ^=p HP f p f
•-—5;
K>-bfl
^
Mi-e^-r.
204
ATLAS
(DER ATLAS)
(Composed in 1828)
HEINRICH HEINE (1799-1856)
FRANZ SCHUBERT
" Schwaneng•esang•>,, N? 8
(Original Key, G minor )
POCO animato(Etwas geschwind)
ttfflsr ^ 1 f tpFffff fi-^
yihy '1 j I y j
I
4 4 i yfTI
F¥
'*hJ>HEy
PIANO
!*-_
if # * * 3
PP^
3E
A - las!
Ich
un - hap - py
un -
•ntf, jj^J"
•
3E
gliick - siV - ger
At - las,
A - las!
At - las,
ich
i-
tin - hap- py
ur
un - gliick - sel7 - ger
-
mf
Hfy
y ^m
M
te nJ
i
At
At - las!
las!
las!
At
*
J) pe
world
the
Ex - ne
Welt,
die
All
fht
-
wmSi
$
y
weight
gun
-
-
f
-
ze Welt
3*
3E
J ,p"
3^
3
3
V
V
y world
Of
der
0L
SB
te
q:
§
«
*
— 0^-
=ji[^^g=====^Ba3asaaa3aasLjJ»»J--j=H
n
%
p N J) J i?
sor-rows is
my
bur- den, the weight
Schmerzen, muss
tcft
tra - gen} die gan
-
fopyrig-htMClHV by Oliver Ditson Cortpany
p
y world
ze Welt
?
is
muss
^
my
ich
ML-672-4
205
I
te
' » JWJ. J> J' J> 1 J J ji J > j i l
£fc
bur-den.
tra - gen,
I b e a r the tin - en
ich tra - ge Vh - er
\ ur - a - ble,
trdg - li - ches,
and
und
Hk lJ
s
pte tj> $ $ tJ> > ^ ^
in my breast is my heart
brechen will mir das Herz
nigh
im
break
Lei
\SvW
mg.
be.
^
>)%\, te£ 11 ifljl ^ g j v g_g
fp
18
ps
heart,
Herz,
S
thy du
?
O
lord - - ly
Du
stol -
v
mj Lf
zes
u
P
^
self
Aasf
-
hast wiird
es
ja
p3
it
#e -
ML-672-4
206
^
#
jii'ij)
^
Thouwoti
ouldsthave hap - pi-ness,
so!
wottt!
Du woll - test
a j # - v ^ ^ ^ alLF^LF
Hi
r^sF
*
tat
KS
m
p
*
nal
rap - ture
KcA
giiick
-
Umpip
s
If
o - der
un
8 S I ? *fct*• [J
decresc.
«
P
ti
te
gy^
s
ment,
tor
-
#
#
22:
•J
e - ter
nal
tor -
iil
ment,
end
lend}
^
i
*
^y, yi/lf f , fry ff I ^ , f f i ^ p
^'ii
g^
Lord
stol
s
ly
£
and
zes
Herzy
und
now
M
%
cresc.
I is
^
*i ^ ' J .
f
heart
ki^.n^j,^^
Hi
P
or else e
itcfe,
fp
*¥
e un -
lichsein,
M ^J» J)
J) e
^
VM^ Kffi>-*gjMffi aIffiiJ i i *
ss
-
s p
5t
if
:
e
giiick
^
1
M
^
ter
end
i
^
Ui
?
thou hast thy
tzo
hist
du
'4i ii ii\
i
Mt-t72-4
207
* rp I f J>JiJ)|J J vg I
ment.
lend.
A - las! Un-hap-py
At-las!
A
Ich
At-las,
ich
un - gliick-sel- ger
jpppp\$Tlffl&
^m
to
* **
Un-hap-py
At - las!
M
r
p
J
>
i
i
j
J p- p
The weight- y world of
sor - rows is my
un - gliick-seV- ger
At - las!
die
rlas!
3E
m
»tty feT
^
^
to
J J»ITIIII
bur-den,the weighty world
tra - gen, die gan - ze
y%y %
si
M
Welt
r/
3*
-
ze Welt
der Schmcr - zcn muss
- ^
-p—^
-g-
p- p N j oijk J'p in*'
is
my bnr-den, the weight-y world of
muss ich
tra-gen,
die
gan-
zeWelt
«T
PMPmy
sor-rowsis
der Schmer - zcnmuss
w
m m
H
ich
1
^—=+
1 1. i 1 P !>*•
O
s
bur -
ich
^N
SH
m
Ff
gan
^
den!'
11
tHi&fti' ' ' i t c t f f i ^
SHES
S ^
*t_J %
u
PPB
i
s
1(1*472-4
HER
208
PORTRAIT
(IHR BILD)
(Composed in 1828)
HEINRICH HEINE (1799-1856,
Translated hy Arthur Westhrook
(Original Key,B^minor)
f
L e n t o (Langsam)
BE
VOICE
*
PIANO.
i
I
M
t
uyjf
as
J
s
be - fore
i
ppor
; trait, Ab
Trau - wen wnd
her
in dwnfe - len
d^
•an
ff
*
«p
s
-&-
-^~
At j - j) j - nJ
i ^
sorb'd in gloom - y
starrt* iftr jBtld - niss
^
thought,
When,
in
und
das
an,
Sij
S£k r p MP
£ife|
m i-
?
stood
sfoind
FRANZ SCHUBERT
Schwaneng-esang" N9 9
ge - lieb - te
5
m
-&xz
those well - loved
cresc.
j i* ^ f
A- Jy** w
FPg
^
3*
^m
^
A - round her lips
Um
#
"a*
^m
ih -^
pp
r*
re
g
¥
there
Lip - pen
tM
smile,
1W-
trem - bled
zog
sich
w
zssm
etr
£
^
my dear - est
La - - cheln wun - der
£m
i
^
^
CopyrigfctMCMIVby Oliver Ditson Company
ML- 6 73- 3
209
p
*Ju
prize,
bar,
fc
j j
j lU
Thoughtears of mourn-fill— w e e p - i n g
und
wie von Weh - muihs - thra - nen
$+iih
N'f-
JU:
^P"
Were
shin - ing with - in _ h e r _
er ~ gl'dnz - te ihr
Au - gen -
si
^
r
$
-W^
XE2
^
Jc
T
m^
-&-
^
*
• p 1'
^
Now
Aucfe
eyes.
paar.
*~F7Jtti
too
my tears are
met ~ tic TAra - nen
Hi
t j: <j>jM f rhf
3
3P
flow - ingDown
y?os - sen mtr
a
PP
»ft F gg-f i
5
•
*
^
•
22 nJ i dJ.r y _ '
lid cheeks, never
pal 0<m den Wan - ên Aer
*~r (?'"r
^
And oh! I
can - not b e und ach! ich kann es nicht
P ^ T ^ i - . nJ*
^
•
7'
Hi¥=3
W
^cn
|
i> J j> j>
^
a6-
^
I
^
W
I1J?
£
PS
cresc.
/rs
-
I V
I'
lieve
it«x
m t - A Ive
Tl,~
That
glau- ben, dass ich
1~„±
lost
dich
â<
A A
thee,dear,
^
for
ver - to - ren
*
*
•
^
aye.
haV!
tfL-673-:
210
THE TOWN
( D I E STADT)
(Composed in 1828)
FRANZ SCHUBERT
"Schwanengesang-," N 9 1 |
Translated by Arthur Wesibrook
Allegro moderato (Massiggeschwind.
PIANO
con Pedale
dolce
/C\
\ji onJ- theJO
}\*J J
far ho - ri - zon
/ e r - wen fib -
k
>k
51?
PP
ri
-
zon - te
r
J I J—J>J» J* J I
Ap - pears, like a dis-tant cloud,
er - scheint,
m,js j n
j-
i * j
one ein
Ne - bel
-
bild,
^fa
trt j..
Copyrig-ht MCMIV by Oliver Ditson Company
(leise)
^
The.
a
die
J J. J
ML-674-4
211
J- i *' ii | J
$
*
town,with all its
Stadt mit
ih - ren
tow-ers,
Thiir-men,
^
In evening's shad - ow - y
in
A - benddamm'-rwig
shroud,
ge -
hullt.
m
m
mm
$=F
* J> L3Ph
ing
selt
'I
i*
The
wa -
die
#ra»
s
^
ters, wild
e
Was
and
ser
• • • • • • • Tj?
tfl-674- 4
212
7
I* W
s
a J la
mourn
mtturn
With
1
^T\
^
1
j ^
ful - ly meas
-
ured
-te
ful - ly
ri - gem Ta&
'Jjfstarh)
M Ji JU
A
Die
p a r t - ing* ray
Son - ne AeW
JB
from
sich
the
noch
ML-67*
I
213
1
sun ein -
set,
wa/
*
*
«*••••
^
Shin - ing
a
leuch - tend
vom
far
Bo
i
the
spot
mir
je
^m
Joz:
* i J nJ> + ^ J> ^ i r
| i Ji ]\ Y'
zeigt
und
T^
•tn:
veals
por
em
too
-
i
Re
coast,
the
o'er
den
Hi
f
*
•—*
*
IFf
J J J>
J' '
^
ne
clear - ly,
St el -
Ze,
Where my
wo
ich
be
das
-
?Ji J>
lov
Lieb
-
ed
I
ste
ver
i
3
lost.
J or.
^
decresc.
1
j ^ j * J>
1
i'_h' J>
ML-074- I
214
BY THE S E A
fAM
MEERj
(Composed in l-s2-s)
(Original
Key,C)
FRANZ SCHUBERT
•Schwanenêsang', r N9 12
HEINRICH H E I N E (1799-1S56)
U J> M o l t O l e n t o (Sehr
langsam)
t 'Tji|J. J' p J? I J- p ^ ^
SEE
VOICE
Be-fore
us spread the
s h i n - ing
D a s Meer
er-glanz
weit
molto
^
^
Sj^lP i
f (tVutt
PIANO
^
-^—-*f—
0
si
si
*
ft.
J.
f i s h - i n g - hut,
Ft - scher - hausj
f
* - r *
7S PP
jp=
&
£ £
£
N
^
P
£ # *
£
# ^
%
sea, With
hin - at<$
im
f ff ,i: f 1
f
legato
i
n w
F=W
m
22
m£
A - lone, and si - lent, we r e s t wir
sa - ssen sfumm und al - lei -
t-
- te
IP
^=i
- ed.
- ne.
IMH
ft J^T-
32J
*
PP
1
WL-itt-a
315
fc
*
*
T
M 7p f = p
J»l J, J)
f
T h e mist
a-rose,
Der
the waves rolVd
Ne - &e/ stieg,
das Was - scr
cresc.
fi ffl sffl ffi 1
$
i± •J
&
i J 1
high,
The sea
fr" F r
-
gull
schzvoll,
re
lp
^
kept round
flog
S
(^
sweep - mg;
us
und
hiti
a?t> -
der;
J
J
J>flj?i
-/Jrfi
rp-hr-Di'
"r
I gazed up-on the love-lit eyes, Darling, I saw thee weep - ing.
aus
dei - nen Au - gen
lie-be-roll
fie-len
dieThrdnen
nie -
itf t f f
- The^
der.
^
Ich
"wj^/>/»/»
=
§ 4 4 £ 3ti
^
fell fast
s
fe
•
p
'•
*
£
on thy .gen - tie hand, And,
low
tie
h-n
bin
^
tears
sah
21
fal-
anf
dei -
ne Hand,
und
^•
a
9.
•Hi I J l i ^
^nr>y
if:
1
ft l* L i f p f t r
:st
77
2
s:
w
be-side
aufs Knie
thee
kneel-
ing, From
%<• -
sun
ken;
tit?
. pr*
-
\ch
.JL ^j
P i- t>
P
&.
^HL-67
216
M l
J^r D i J- P J. JM r- P r J T i r
that white h a n d I
haV von dei - tier—
m
*=£=£
m^
m
I
J*
J
f
I
5" §-
W
kiss'd a - w a y The
wet - ssenHand die
iT7>n—w
tear-drops o'er
it.
Thrd - nen ,/br£ - ge
feu
§
p
, '
steal - ing.
/run - ken.
*
£
32L
*
•
-*••
*
* UiiJJT r
In
fe - verd tor-tures
Serf
*£ j.jsjip
^
je - ner Stun-de
pr M"
I writhed from that hour,
^
ver-zehrt sich mein Leib}
|T-|> irr^pi F M r ^ j ^ '
had, alas, a pois'nous poWr
hat das ungluck-seU- ge
Weib
Those tears onmy lips still
ver - gif-teimit ih-ren
burn
Thrd
^
My
die
/o
i
ing.
nen.
* s <afs-
M L - 6 7 5 - 't
2YJ
MY PHANTOM DOUBLE
(DER DOPPELGANGER)
(Composed in 1828)
(Original Key, B minor)
•FRANZ SCHUBERT
•'Schwaneng-esangf," N9 13
M o l t o a d a g i o (Sehr langsam)
mm
£
VOICE
^
"r-m
W
Still is the
night
o'er roof-tree and
Still
Nacht,
es ru - hen die
ist
die
sp w-
£-*PIANO
-&r-
"HP
9—
stee-ple;
Gas - sen,
s^
m
*&&*-
MB
igl
3^^
With-in_
in
die
this.
- sent.
dwell-ing
lived my treas - ure rare.
Han - se
wohn - te
mz
te-*-
mein
Schats;
mm-
$
=B?
"SjEz:
^
v
*
i ) J . J"> t J
this town and
die Stadt
Copyright MCMII by Oliver Ditson Company
ver
peo-ple,
las - sen,
ML-67«-:i
218
A3
m
¥=*h
$
But still stands the
dochsteht noch das
house
Haus
man;
Da steht auch ein Mensch
IP
fPf^F
cresc.
s
^
&
J U J>J>
Here stands,too, a
$
on the self - same square.
auf dcm-sel - ben Platz.
^
$
toward heav-en he
und
siarrt in die
^
ga - zes,
Ho - /te,
*-*-
poco
a
poco
-Zt
17
•S-'
J
wring- eth
Han - <fe
m
• b SN
&
w i=f
^
in wild vor Schmer -
est de-spair;
zens - ge - zoaft
¥
rais - e s .
^
tmr_
(T
iJ
-P-1-
*
shud-der!
graust es,
j> j i i r
Themoonlight shows me mine
derMond zeigt
mir
mei-ne
when now his face he
wenn ich sein Ant - ftte se - Ac.
H*-*-
His hands he
und ringt die
^ -
-gr-
\p' r M *l
^
^
own self is
eig' - tie Ge
^H
cresc.
-&r-
W.
2?'
79-.
«
O
KL-*?•-»
219
0
im
w
g
i
m9 m
O pale, sad crea-ture,
Du Dop - pel - gan - g*er,
there!stalt
^
BE:
»
#' #
My ghost and my
du blei - cher Ge
^2-
i*-*-
accel.
decresc.
r^
S
*
cresc. _
W7
zz
pat
3**
* •
i f ' J J ' J l J . ^ ^ ^ I ^ - ^ J *J>' ipM J> «b I P
doub - le,
seJ - lei
Q »
it
dost thou ape my
affst du nachmein
im
to-2-
s
Why
was
1$
p
*
troub-le,
rrrt
e-
So
so
ma
man
ec
to?
as
« *
i
*P
IS
t ^4
jsr-
-J2T-
W.
pas-sion's tearsi, That haunt-ed me with cru-el
Lie - bes - leid, das
mich ge-qualt auf die-ser
\f/f-
Mir r i
night in
che Nacht, in
=
^-
old
a/ -
PP i
i^cz"^
en
fer
FIFTY SONGS
FRANZ SCHUBERT
FOR LOW VOICE
This book is a preservation facsimile.
It is m a d e in compliance with copyright law
and produced on acid-free archival
60# book weight paper
which meets the requirements of
A N S I / N I S O Z39.48-1992 (permanence of paper)
Preservation facsimile printing and binding
by
Acme Bookbinding
Charlestown, Massachusetts
2007

FIFTY SONGS BY FRANZ SCHUBERT

Transcription

Similar documents

zeilgalerie

SchubertFestival2015_Folder 3

schubert at the “final barrier”

„SCHLAGKAMP – QUINTESSENTIAL MOSEL“

Anschlussbahn - BHM Ingenieure

Repertoire MO Moments Trauung Stand Juli2012

Program Notes - Lincoln Center`s Great Performers

Bewerbung Homepage

Newsletter Nr. 14 vom 21.September 2010

Schilder Rock Ola.indd

Abfallmanagement an einem Krankenhaus mit Maximalversorgung