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THE PREPARATION AND PERFORMANCE
OF SELECTED SCHUBERT SONGS
FOR BASS TROMBONE AND PIANO
by
Douglas W. Camp
________________________
Copyright © Douglas W. Camp, 2007
A Document Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
2007
2
THE UNIVERSITY OF ARIZONA
GRADUATE COLLEGE
As members of the Document Committee, we certify that we have read the document
prepared by Douglas Wayne Camp
entitled: The Preparation and Performance of Selected Schubert Songs for Bass
Trombone and Piano
and recommend that it be accepted as fulfilling the document requirement for the
Degree of Doctor of Musical Arts
____________________________________________________________ Date: 4/16/07
Tom Ervin
____________________________________________________________ Date: 4/16/07
Kelly Thomas
____________________________________________________________ Date: 4/16/07
Ed Reid
Final approval and acceptance of this document is contingent upon the candidate’s
submission of the final copies of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and
recommend that it be accepted as fulfilling the document requirement.
____________________________________________________________ Date: 4/16/07
Document Director: Tom Ervin
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STATEMENT BY AUTHOR
This document has been submitted in partial fulfillment of requirements for an
Advanced degree at The University of Arizona and is deposited in the University Library
to be made available to borrowers under rules of the Library.
Brief quotations from this document are allowable without special permission,
provided that accurate acknowledgement of source is made. Requests for permission for
extended quotation from or reproduction of this manuscript in whole or in part may be
granted by the copyright holder.
SIGNED: __________________
Douglas Wayne Camp
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ACKNOWLEDGEMENTS
This document would not have been possible without the support and
understanding I received from my family, friends, colleagues, and professors.
I would like to especially thank my major professor and chair of my committee,
Tom Ervin (Professor of Trombone). His patience and understanding for my particular
situation made my time at the University of Arizona both positive and rewarding. I
would like to thank my other committee members who made significant contributions to
my degree experience; Dr. Kelly Thomas (Professor of Euphonium/Tuba), Ed Reid
(Professor of Trumpet), Dr. John Brobeck (Professor of Musicology), and Dr. Jay
Rosenblatt (Professor of Musicology). And I would like to thank Lyneen Elmore,
Assistant to the Vice Director in the School of Music, whose patience and assistance was
invaluable in finishing the degree from off campus.
I would also like to offer thanks to my first trombone teacher, Dr. Wes Branstine,
who has been a friend and a mentor. He has always offered encouragement of a very
special nature. Thank you to Dr. Thomas Tunks (Associate Provost, Southern Methodist
University), for helping me to understand that the DMA is a very unique process that
requires a very special type of desire. Finally, thank you to my brilliant and beautiful
wife Janet, she never let me lose the dream of obtaining this life goal.
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TABLE OF CONTENTS
ABSTRACT.………………………………………………………………………………7
CHAPTER I: Introduction……..………………………………………………………….8
Use of the Project……………………………………………………………………….8
The Student and Teacher……………………………………………………………….9
The Professional……………………………………………………………………….10
Dissemination of an Appealing Product………………………………………………11
Need for the Study…………………………………………………………………….12
CHAPTER II: Vienna, Schubert and Songs………….…........………………………….16
Musical Training ………………………...……………………………………………17
Schubert’s Relationship with Song……………………………………………………18
CHAPTER III: The Process of Arranging……………..………………………………...20
The Arranging Procedure……………………………………………………………...21
Organization of the Songs for Performance…………………………………………...27
CHAPTER IV: The Arranged Songs for the Document…………………...…………….30
In The Woods / Im Walde……………………………………………………………...31
On The Danube / Auf der Donau……………………………………………………...32
The Boatman / Der Schiffer…………………………………………………………...32
How Ulfru Fishes / Wie Ulfru fischt…………………………………………………..33
Creating Variety……………………………………………………………………….34
CHAPTER V: Conclusion…………………………………………………..…………...35
APPENDIX A: General Information Concerning the Selected Songs….……………….37
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TABLE OF CONTENTS - Continued
APPENDIX B: German Texts Translated Into English………..………………………...38
APPENDIX C: Suggested Reference Recordings……………………………………….44
APPENDIX D: Solo Bass Trombone Parts……………………………………………...45
APPENDIX E: Full Score Arrangements………………………………………………..65
REFERENCES: ..……………………………………………………….……………...120
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ABSTRACT
This document will examine how Schubert’s songs can be used to increase the
existing bass trombone solo literature. The primary focus is on the process of selecting,
organizing, and arranging songs for the purpose of creating an original instrumental
performance edition. The document will discuss elements that influence individual song
selection, compositional attributes of the music, the drama represented through the text,
and the boundaries these expressive components impose on the arranging process. The
arranging process is discussed for each of the nine individual songs including
compositional elements which might influence the ordering of songs in a specific
performance. A brief historic discussion overviews the role of the bass trombone in early
nineteenth-century classical music, Schubert’s life in regards to his contribution to song
literature, and the influence of politics and economics during Schubert’s life. An
extensive Appendices contains a recommended list of Schubert lieder recordings, detailed
text translations, bass trombone solo parts and full piano scores for all nine songs
arranged for this document.
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CHAPTER I:
Introduction
The general purpose of this project is to present an instrumental performer’s
guide to the preparation and performance of nine songs by Franz Schubert: Im Walde
(In The Woods), Auf der Donau (On The Danube), Der Schiffer (The Boatman),
Wie Ulfru fischt (How Ulfru Fishes), Blumenlied (Flower Song), An die Äpfelbäume wo
ich Julien erblickte (To The Apple Trees Where I Glimpsed Julia), Erntelied (Harvest
Song), An den Mond (To The Moon), and Todtengräberlied (Grave-Digger’s Song).
In this document I will demonstrate that song literature can be successfully
performed on the bass trombone, and that song literature from the early Romantic era,
in particular the songs of Schubert, are a viable source for performance literature for
this instrument. In addition, I hope to show that the systematic study of song
literature can improve instrumental performance through an increased knowledge of
performance practice in regards to this genre. Ultimately, performer and listener can
benefit from the performance of this literature on this instrument.
Use of the Project
Various aspects of song literature relating to instrumental performance will be
discussed in this document; therefore, this project has been written from the vantage
point of the instrumentalist rather than the vocalist, theorist, or musicologist. This
document and its supporting materials were conceived to serve three main purposes:
to serve as an introductory guide to the performance of song literature for young
instrumental performers, to produce performance materials in an adaptable format for
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the instrumental instructor, and to establish a common sense methodology for
developing new performance materials based on song literature. It is hoped as well
that this document will stimulate and encourage the performance of these selected
Schubert songs on the bass trombone and help to bring them to the interest and
attention of instrumental performers and their audiences.
The Student and Teacher
Schubert’s song literature offers a plethora of diverse musical experiences. In
this wealth of music, the instrumental instructor can find performance and training
material that encourages growth in lyric and expressive performance, technical
prowess over the instrument, and meter and key signature mastery. To reiterate this
point, Schubert wrote songs in all the common keys and meters of his day and for all
voice ranges. The content or ideology expressed in these songs spans much of the human
experience. 1 To communicate these ideas through music, without words, demands the
highest level of instrumental performance.
Another important pedagogical quality of these songs is their adaptability
and durability. This includes the music’s quality to maintain its integrity when subtle
alterations in range and key are introduced to accommodate a specific performer’s
skills.
The process of “documenting” or entering a song into a flexible, computergenerated format gives the student or teacher the ability to make subtle alterations, as
1
Kristina Muxfeldt, “Schubert’s songs: The Transformation of a Genre,” in The Cambridge Companion to
Schubert, ed. Christopher H. Gibbs (New York: Cambridge University Press, 1997), 121-137.
10
needed, with literally the stroke of a few keys. Computer formatting a song also
facilitates the editing process associated with articulations, dynamics, tempi, and
stylistic terminology, which is crucial for the instrumental performer who does not
have the aid of a sung text in the communication of the song.
Generally speaking, instrumental music students are often superficially introduced
to German Romantic song leading to an inadequate understanding of song literature. If
an instrumental student does perform song literature, it is often treated as archaic song
material used for exercise purposes with little understanding of the interrelated aspects of
poetry, music, text, and dramatic ideas. It is hoped that this document will yield a better
understanding of how these aspects can relate to the instrumental performance of songs
by providing a methodology for arranging song literature and by providing various
resources in the appendices which can be utilized for critical study.
The Professional
A concentrated study of solo song literature has great value to the professional
as well as to the student preparing for a career. The often neglected elements of
vocal literature, poetry, text, and dramatic ideas present a great challenge to every
professional performer, but especially to the instrumental soloist and accompanist.
As I stated earlier, communicating ideas and emotions through music, without the
sung words, demands the highest level of instrumental performance.
The song literature included in this document was selected from the extant
Schubert song catalog in order to present the performer and listener with the widest
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spectrum of musical experience. This broad spectrum challenges the performer with
issues of technique, phrasing, tessitura, and pitch. These songs require even the most
experienced instrumentalist and accompanist to draw upon all their knowledge of
musicianship and artistry.
Finally, a comprehensive study of the Schubert song literature can provide for
almost limitless performance opportunities. In these songs there is an amazing variety of
themes and designs waiting for the performer’s choosing and modification.
Consequently, the instrumental performer has within his or her ability the opportunity to
present an audience with a worthwhile, pleasing, and varied experience.
Dissemination of an Appealing Product
Alec Robertson says that the best renditions of Schubert songs come from
people who are not necessarily endowed with exceptional voices or who possess the
greatest piano technique.2 Consequently, one of the goals of this study is to increase the
performance of Schubert song literature by all musicians, instrumental and vocal,
of all abilities. These songs can be and should be played, sung, and enjoyed by as
many people as possible. I am sure this was Schubert’s original intent, and I base this
statement upon the historic music performance practices during his lifetime. Music
making was in fact a routine event in the middle-class homes of Schubert’s Vienna.
“There is a quantity of Schubert that the amateur singer and his accompanist could
perform sufficiently well to give both of them pleasure, and any who hear them, great
2
Alec Robertson, “The Songs” in The Music of Schubert, ed. Gerald Abraham (New York: W. W. Norton
and Company, 1947), 150.
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pleasure,” says Robertson.3 The nature of Schubert’s songs is that they can be performed
(individually or in groups) as pieces of vocal [or instrumental] chamber music. They are
admirably suited to the intimate atmosphere of the small recital hall.4
Need for the Study
The bass trombone has been an integral part of western music since its
inception in the 16th century. The instrument’s main role then, as now, has been to
provide a solid bass voice foundation to instrumental, vocal, and mixed ensemble
compositions. With rare exception, this bass voice has been an accompanist and not
a soloist.
For a brief period during the first half of the nineteenth century, the bass
trombone was celebrated as a solo instrument. This status was established through
the efforts of two virtuoso performers, Friedrich Belcke (1795-1874), who was a
member of the court orchestra of Friedrich Wilhelm III in Berlin, and Carl Queisser
(1800-1874), a member of the Gewandhaus Orchestra in Leipzig.5 Belcke and
Queisser were remarkable artists with extensive careers. They toured abroad and
performed often. In fact Queisser performed as soloist with the Gewandhaus
Orchestra 26 times in 23 years.6
Despite their success as performers, as well as that of their peers, composers
3
Ibid., 149-150 .
Bruce Arlington Baggett, “Analytical Guide to the Understanding and Performance of Selected Song
Cycles of Franz Schubert” (Ed. D. diss., Columbia University, 1964), 4.
5
Mary Rasmussen, “Two Early Nineteenth-Century Trombone Virtuosi: Carl Traugott Queisser and
Friedrich August Belcke,” Brass Quarterly 5 (Fall 1961): 3.
6
Robert Reifsnyder, “The Romantic Trombone and Its Place in the German Solo Tradition,” ITA Journal
15, no. 2 (1987): 21.
4
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of stature from the Romantic period did not choose to compose solo works for this
instrument, nor were they compelled to compose for its smaller sibling the alto trombone
as was the practice in the late Classical period. One possible explanation for this artistic
decision was the rise in popularity of the piano and the voice. Another source suggests
that prominent composers of the time, in this case Mendelssohn, thought the trombone
too sacred an instrument for this type of common public performance. 7 This was
obviously not an issue in Leipzig.
Regardless of the historic conjecture, there are no standard-repertoire solo works
for bass trombone by Beethoven, Schubert, Schumann, or Mendelssohn, although we can
at least recognize these composers for including the instrument in their symphonies.
Regrettably, the finest composers of the early Romantic period made their contribution to
music literature without so much as noticing the bass trombone’s solo potential.
Furthermore, of the works that were composed for this instrument, only a remnant of this
solo repertoire now survives. The most noteworthy of these works remains Ferdinand
David’s Concertino,Op. 4, composed in 1837. This is without a doubt the most important
nineteenth-century work for bass trombone in the role of soloist.
Another enigma associated with the bass trombone and perhaps an
impediment to its progress as a recognized solo instrument was its ever evolving
physical design. It did not gain its current identity, dimensions of bore and bell
design which effect acoustics, and additional low range extension tubing until the
composers of the late and post Romantic periods defined its capabilities in the
7
Joseph Nicolson, “The History of the Trombone as a Solo Instrument,” ITA Journal 16, no. 3 (1988): 34.
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requirements of their orchestral scoring.
Many fine solo works now exist for the bass trombone, most having been
written for the instrument in the late twentieth century. They represent a
compositional practice and musical idea that is different from music of the previous
performance periods. These works from the twentieth century are the only standard
solo literature. This poses the question: where can the bass trombonist find
exemplary solo performance literature from earlier periods?
One possible solution to this dilemma can be found in the example of Franz
Liszt, who was an enthusiastic champion for Schubert’s music. His transcriptions of
Schubert songs for the piano were strict, literal and objective, and he sought to
reproduce the original work down to the smallest detail. At the same time these
works also encouraged the development of new piano techniques. Liszt produced
fifty-six Schubert song transcriptions in an eight-year period. These transcriptions are
models of their kind. They remain faithful to the originals, are effective to play, and
elicit an enjoyable listening experience.8
Song literature can be an important source of bass trombone solo literature
for many reasons.9 The abundance of songs from western classical music alone is
immense. The overall range of all song melodies, regardless of the original voice part
for which it was written, does not exceed the range of the bass trombone. Most
technical passages from song melodies are easily executed on the bass trombone.
Producing satisfactory arrangements is a simpler process in that it is adapting existing
8
9
Alan Walker, “Liszt and the Schubert Song Transcriptions,” The Musical Quarterly 75 (1981): 52.
Jan LaRue and Gene Wolf, “Finding Unusual Brass Music,” Brass Quarterly 6 (Spring 1963): 114.
15
music rather than composing new music. Finally, the bass trombone possesses a wide
range of expression which is often required in the successful performance of song
literature.
In closing, it should be noted that the performance of arranged song literature
on the bass trombone is currently enjoying a measurable increase. This is evidenced
by recently released professional recordings that feature this genre and instrumental
combination. Recent recordings include John Rojak’s The Romantic Bass Trombone
(MMC2098 – 2001). This recording features performances of two different sets of songs
including Robert Schumann’s Dichterliebe. Bass trombonist Randall Hawes’ Melodrama
(TROY549 -2002) features songs composed by Tchaikovsky, Rimsky-Korsakov and
Rachmaninoff. It is unfortunate, however, that this body of performance literature has
yet to be made available to the public through professional publication and is therefore
still unavailable for frequent performance.
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CHAPTER II:
Vienna, Schubert and Songs
Franz Schubert was born on January 31, 1797 in Vienna, Austria. He spent his
entire life, albeit brief, in Vienna’s environs dying on November 19, 1828. Franz
Schubert and the city of Vienna have an inseparable relationship. As John Reed states in
the opening paragraph of his Schubert biography, “Of all the great composers, Schubert
is the one most associated with Vienna.”10 To further understand this relationship, one
should know something of Vienna’s politics and economics, its social norms and desires.
It often goes unmentioned that this time frame was one of the bleakest periods in
Austrian history, a fact that makes Schubert’s musical output even more astonishing.
This is succinctly described by Waltraud Heindl:
The thirty-one years of Schubert’s life fall within a crucial period in
Austrian history, a time of crisis and of transition from the old European
social system to the modern world. It was a time of changes and
catastrophes-political, social, economic, and cultural, as well as
psychological.11
The four most important political factors that affected Schubert’s Austria, in particular
Vienna were: the ideals of the Enlightenment (political, social, religious and educational
reforms of Emperor Franz Joseph II), the Industrial Revolution, the rise to power of
Napoleon through the French Revolution, and the restrictive measures that the
increasingly authoritarian Austrian state took against all revolutionary movements, even
against cultural change itself.
All of these social elements affected the ebb and flow of Schubert’s personal life
10
John Reed, Schubert (Oxford: Oxford University Press, 1997), 1.
Waltraud Heindl, “People, Class Structure, and Society,” in Schubert’s Vienna, ed. Raymond Erickson
(New Haven: Yale University Press, 1997), 36.
11
17
and in response to these influences, Schubert responded accordingly when composing his
music. It is equally important to understand that it was Schubert’s music, an extension of
this shy, intellectual and sensitive man, that in turn exerted so much influence on Vienna.
Each had its influence upon the other in what might best be described as a symbiotic
relationship.
Musical Training
Of the fourteen children born to his parents, Franz was only the fourth of an
eventual five that would survive to be an adult. His father, Franz Theodor, was a
conservative, Catholic schoolmaster who was hard working, strict and disciplined.
His father was also described in many memoirs as unimaginative and slow to make
allowances for Franz’s visibly abundant talents.12
Like many other children who grew up in Vienna during this time period,
Franz and his siblings were introduced to music through their home and parish
church. All of Franz Theodor’s sons learned to play the piano. In addition to the
piano, Ferdinand and Ignaz were both taught to play the violin, and Franz was taught
to play the viola. All three probably received their first string lessons from their
father who played the cello. The importance of this is that the Schubert family could
play chamber music together which no doubt increased Franz’s interest in music.
However, the most important event in Franz’s musical life was yet to come.
The turning point of these early years, however, came in 1808, when
Schubert won a free place in open competition as a choirboy at the
Imperial and Royal Chapel. The tests were conducted by the choirmaster,
12
John Reed, Schubert (Oxford: Oxford University Press, 1997), 2.
18
Philipp Korner, and by the Kapellmeister himself, Anton Salieri. This
success provided Schubert not only with the best musical training
available in Vienna; it also carried with it the privilege of a free place at
the Imperial and Royal Seminary, the Konvikt, where the teachers were
brethren of the Piarist order, and where scholars from various parts of the
empire lived while they pursued their studies.13
The convent school and chapel was the exact environment that Franz Schubert
needed to cement his future as a composer. At the convent school he would receive
the proper training and continuous stimulation which would lead to the abundant selfmotivation required to become a working composer.
Schubert’s Relationship with Song
Franz Schubert’s music is synonymous with the musical genre we call song,
an idea which is easily supported when coupled with the fact that Schubert wrote
over 600 works that fall into this category.14 In his short lifetime, he transformed the
genre from a common form of Haus-musik (House Music) into an art form.15
Although he composed music for all the other major genres of his time period, his
usage of a solo voice paired with a piano accompaniment is without peer.
This compositional practice emerged as one of Schubert’s favorites for very
specific reasons. Schubert himself was a singer of some distinction having won an open
competition to sing as a choirboy at the Imperial and Royal Chapel when he was eleven.
Furthermore, the piano was at its apex of popularity due in part to the Industrial
Revolution and having been adopted by the growing middle-class as a form of
13
Ibid., 3.
Ibid., 26.
15
Waltraud Heindl, “People, Class Structure, and Society” in Schubert’s Vienna, ed. Raymond Erickson
(New Haven: Yale University Press, 1997), 52.
14
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entertainment and refined living in their Biedermeier homes. This same Viennese
middle-class society fostered a growing focus on intimate social gatherings in the home
in an attempt to avoid the restrictive measures of the government’s secret police. In her
essay “Vienna, City of Music,” Alice Hanson succinctly describes the socialentertainment norms that Schubert experienced:
Home concerts for family and friends easily out-numbered those given in public
halls during the 1820s. From the nobility down through the ranks of the middle
class, Viennese boys and girls began music lessons at four or five years old as a
normal part of their education. As they progressed, they were expected to
perform prepared pieces upon demand. Many became proficient, even
outstanding musicians who could perform difficult works alone or provide
accompaniment for others.16
Schubert chose the genre of song because it was the best medium for the performance
and expression of his musical ideas given his training and the time period in which he
lived.
16
Alice M. Hanson, “Vienna, City of Music” in Schubert’s Vienna, ed. Raymond Erickson (New Haven:
Yale University Press, 1997), 108.
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CHAPTER III:
The Process of Arranging
The first step in the development of this document was to undertake a search
of the available source material regarding the general topics of Schubert, solo song
literature, solo brass literature, arranging and transcribing. This search yielded
several fine references that support the need for this document and many references
regarding Schubert and song.
However, few references were revealed that supported a methodology for
this project. Two references directly associated with Schubert and the “reworking” of
his music for alternative performance options are listed as sources. Unfortunately the
material in these sources discusses this process for piano and guitar. Both of these
instruments have completely different performance capabilities when compared to
wind instruments.
There were several sources which dealt with transcribing solo material from one
instrument in order to be performed on yet another wind instrument such as performing
the Bach Cello Suites on bass clarinet. One particular source even dealt solely with
terminology, arguing the merits of the terms transcription versus arrangement. This is a
topic I did not wish to broach in this document.
After carefully reviewing this first round of materials, the search was modified to
focus on the transcription of solo literature for all wind instruments, and an extensive
search of the articles published in the Journal of the International Trombone Association
was undertaken as well. I have concluded from these searches, that very little literature
has been produced regarding the process of arranging or adapting alternative music
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sources for solo wind literature. Therefore, much of the methodology for this project has
evolved from trial and error and common sense through years of performing and
teaching.
The Arranging Procedure
The first step in the process of creating transcribed editions for solo instrumental
performance from solo song literature is to secure accurate source materials. These
materials include: recordings, scores and translations for the song texts.
It is important to secure the finest, representative performances of the songs one
wishes to review and utilize (please see Appendix “C” for a list of Schubert reference
recordings). I make this statement because the great singers know the song literature
intimately. The singers on these recordings function as teachers in regards to the drama
of the text, phrasing, and expression of the songs. As an instrumentalist performing song
literature, it is desirable to communicate these ideas in the same manner. For the
preparation of this document, I chose performances recorded by the legendary baritone,
Dietrich Fischer-Dieskau and the pianist and accompanist Gerald Moore (Polygram
Records B000025OZL).17
The availability of scores and text translations depends upon the popularity
of the music one has chosen to review and use. The more obscure the composer and
works, the more time is spent searching for good source materials. Schubert’s song
17
Celia A. Sgori and Monika Wolf, “Dietrich Fischer-Dieskau.”
<http://www.andante.com/profiles/DFD/biography.cfm>.
22
literature was chosen for this document and recital performance for two reasons. First,
there was a need for performance literature from the early Romantic period for my
instrument, the bass trombone. Secondly, Schubert produced such an abundance and
variety of songs that it was a fascinating adventure to find interesting musical material for
both the listener and performer.
I was indeed fortunate to discover that the entire Schubert song catalog, in
computer-generated, printable sheet music, existed for purchase on a single compact disc.
The original sources for this CD catalog of song literature are out-of-copyright, standard
editions from publishers such as Breitkopf and Härtel, C.F. Peters, G. Schirmer, Carl
Fischer, G. Ricordi, Durand, and many others.18
Many new sources for text translation have appeared in print publications and
online with the growing popularity of the internet. After comparing translations for
accuracy and consistency from several different kinds of sources including books and
liner notes from the above mentioned reference recordings, I chose to use text translations
all from one source, The Lied and Art Song Texts Page. This is an archive of 18,593
texts used in Lieder and other classical Art Songs (Kunstlieder, Mélodies, Canzoni,
Romansy, Canciones, Liederen, Canções, Sånger, Laulua, etc.) as well as in many choral
works and other types of classical vocal pieces. The collection currently includes 29,361
settings and 4,443 translations to English, Italian, Dutch, German, Spanish, French, and
other languages. This source for text translations was compiled and is continuously
updated on the internet by Emily Ezust. Emily is a Canadian, computer-programming
18
Franz Schubert. The Complete Songs, CD Sheet Music, LLC., 2000.
23
specialist who has made her Lied and Art Song Texts Page a lifetime hobby-project. I
highly recommend her translations for their alignment of text with music.19 Other
reliable sources of text translations include: Word-by-word translations of songs and
arias by Berton Coffin (German in Part I), The Fischer-Dieskau book of lieder by
Dietrich Fischer-Dieskau, The Ring of Words: an anthology of song texts by Phillip
Miller, Lieder line by line and word for word (revised ed.) by Lois Phillips, The Penguin
Book of Lieder, and Schubert: The Complete Song Texts by Richard Wigmore.
The next step in the process of creating critical performance editions is to
listen to the songs. Listen to as many songs as possible, not just once but many times.
Listen without any initial judgment. Choose all the songs that sound appealing. It is
much easier to work with too much material than too little. Using a score in this initial
process is optional. If a song is appealing, make a note concerning the element of music
that holds an attraction. These notes are extremely valuable for later use when reviewing
the music with the score and in the process of arranging and organizing the songs for
performance. Remember, an instrumentalist does not have the aid of a text to
communicate ideas. It may even be advantageous to organize the listening search for
songs by choosing some type of common theme such as love, death or fishing. Overall,
this may seem like a random process; so, trust the ear and mind to subjectively choose
music that is interesting for instrumental reasons.
After choosing a substantial number of songs, it is time to review the music with a
score. This is the most important part of the transcription process. Important questions
19
Emily Ezust. “The Lied and Art Song Texts Page.” <http://recmusic.org/lieder/>. January 3, 2005.
24
to consider are: can there be changes made to the original music to facilitate an
instrumental performance, what is the basic compositional form of the songs, and what
is the dramatic content of the songs?
These questions are pivotal. Once a song is documented in a computer program,
it is easy to move the tessitura or the key signature in order to alleviate technical facility
issues providing the piano part works within that configuration. It is easy to modify
articulations, dynamics and tempo markings in order to heighten the emotion of the song
text through the music. It is almost impossible to alter the form of a song, that is adding
or removing measures, without losing its original integrity. The drama of the text cannot
be altered simply because it is contained within the music of the song itself.
This brings up yet another important component in the methodology of this
document: why it is important to archive songs into a flexible, computer-generated
format. The process of documenting or entering a song into a computer-generated
archival program, in this case Finale, gives the student, teacher or professional the
ability to make subtle adaptations, as needed, with literally the stroke of a few keys.
Documenting a song also facilitates the editing process associated with articulations,
dynamics, tempi and stylistic terminology which is crucial for the instrumental performer
who does not have the aid of a sung text in communicating the drama of the song.
Reviewing the songs with a score then reveals any obstacles that must be dealt
with in creating performance editions of the song. Again, the challenges to performance
may include: tessitura, key signature, length of the work, drama or story contained within
the text. Once these issues have been solved mentally, an accurate inventory of the song
25
literature reviewed can be made, and the desired songs can then be entered into a
computer program for the editing process.
When these songs are entered into a computer program, there are two major goals
to be achieved in the editing process: to adapt the raw music of the songs to an
individual’s performance skills (as stated above and only if needed), and to heighten the
drama contained in the song text and music through an increased emphasis on dynamics,
tempi and stylistic articulation.
This is the final step in the critical edition procedure and the reason why a text
translation and reference recording is so very important. Thoroughly understanding the
drama of the text guides the process of editing the stylistic markings of the music
(dynamics, tempi, and articulation). Without an understanding of the drama presented in
the text, the performer cannot interpret the music in a way that communicates that
message to the listener. This is why it is important to have an accurate text translation
and reference recording.
Based on my own experience documenting nine songs into approximately onehundred pages of computer-generated manuscript, I would recommend that the songs be
entered in the following sequence of steps. First, enter all the basic music into a full
piano score with the solo vocal part. Do not include expressive markings and
articulations in this initial process. This is because the expressive markings can make it
more difficult to see and hear mistakes on the musical page. Also, one may wish to
transpose the document several different ways before settling on a performance key.
Please note that accuracy is the most important part of this first step.
26
In some situations, if the original song score is clean enough and the technology
and knowledge is possessed, one can actually scan the entire song into the documenting
computer program. This reduces mistakes and decreases the amount of time the project
may consume. However, there is much to be learned by entering the music into a
computer program note by note. First, there is the skill acquired from learning the
computer program. Secondly, score copying was a process that many revered composers
used to learn the craft of composition including Johann Sebastian Bach. In my
preparation for this document, the quality of the original scores required that I enter the
music note by note.
The second step is to play through the songs in this raw format. Use the playback
mode on the documenting software or better yet, enlist a pianist to play through the music
while an instrumentalist performs the vocal solo part. For error detection, I believe that a
live performance with piano is superior to computer playback. This is because the timbre
of computer generated sounds can mask the quality of chords, i.e. major, minor,
augmented, diminished. If at all possible, record the newly arranged songs with the
pianist. Be sure to have a copy of the original score available during your initial
performances for use as a reference in error detection. I would also recommend that one
spends as much time as possible on this step of the process. It is also advisable to have
other musicians, especially those who know the literature, critique the arrangements in
this raw form. Finally, don’t forget to go back and listen to the original vocal
performances for an accuracy comparison as well.
The third and final step is to place expressive markings into the music of the
27
newly created instrumental edition. The goal of this procedure is to communicate
the drama of the text, even when it is not contained in the music. This will be possible
only with an accurate and detailed interpretation of the songs text. Once again, it is
helpful to go about this process in a specific sequential order. I would suggest that the
song’s original markings be placed in the arrangement first, and in this order: note starts
and lengths, slurs, dynamics, tempi and stylistic remarks. This order was determined
primarily on the final appearance of the printed page and on the software that I used
which was Finale. Once the original score’s markings have been placed into the new
arrangement, it is time to listen again to the original reference recording and to add
further stylistic markings based on the vocal performance. This can best be achieved by
literally marking a hard copy of the new score while listening to the reference recording.
As an instrumentalist, I believe it is important to indicate theses vocal nuances, especially
if they are not evident through the music.
Organization of the Songs for Performance
One of the main arguments that I would like to advance through this document
is that song literature for instrumental performance must be chosen carefully. Not every
song will lend itself well to an instrumental adaptation. A detail-oriented and competent
performance, one that is satisfying to both the listener and performer, entails more than
randomly choosing music out of a song collection and playing it from the vocal/piano
score.
The single most important factor in choosing song literature for adaptation to
instrumental performance is the compositional form of the work. This is because
28
compositional form is created through the arrangement of the various elements of
music: pitch, rhythm, harmony, key, meter, tessitura, etc. Compositional form is
used by the composer to create both structure and variety for the listener. These two
contrasting compositional techniques are essential for the successful transfer of a
musical experience in instrumental music.
Song literature as a whole then falls into three broad categories of
compositional form; strophic, modified strophic and through-composed. Each of
these forms offers an increasing degree of compositional interest through a
combination of the various elements of music. For the instrumental performer,
interest in music is communicated foremost through the various compositional
techniques utilized to increase variety. This element is then critical to the
instrumentalist who must rely upon other forms of interest aside from the song text.
The instrumentalist must therefore choose song literature that is musically appealing
and interesting without the aid of a story communicated through the text.
This does not mean that the instrumental performer cannot utilize strophic
form songs. In fact, many of the songs prepared in this document are strophic, and
they represent some of Schubert’s most creative compositions. These songs simply
do not work well as stand-alone instrumental pieces unless modified or combined
with other existing songs into instrumental song cycles. Again, this is because they
lack variety and because they lack substance as instrumental solo works.
Modifying the original music contained in strophic songs in order to become
stand-alone solo works has limitations as well. There simply aren’t enough musical
29
elements in strophic form songs that can be varied without destroying the original
integrity of the composition. Furthermore, the goal of this project is not to supersede
Schubert’s original works, but to adapt or arrange works that will produce meaningful
performances for both audience and performer.
It is my argument that strophic form songs work much better as instrumental
solo works when combined with other songs into “instrumental song cycles”
or performance sets. This practice gives the instrumental performer the opportunity to
create variety for the listener through many songs instead of just one. Interest in the
music can be generated by varying the drama of the text, the compositional form,
tessitura, tempo, meter, rhythm, and key relationships. It also creates performances
which in turn can sustain the listener’s interest across an extended time. Finally, this
process can generate performance literature that is both challenging to the student and
rewarding to the professional.
30
CHAPTER IV:
The Arranged Songs for the Document
The music included in this document was chosen to demonstrate three
possible performance scenarios for Schubert’s song literature. These are but a few of
the possible combinations that an instrumental soloist might choose. With Schubert’s
output alone, again over 600 songs to choose from, the possibilities are boundless.
Some of the possible vocal performance themes might include: love, death, mythology,
the wanderer, a chronology of Schubert song, even the words of a single poet.
Instrumental performers, however, can and should take this idea in a completely
different direction adapting and performing songs in a way that maximizes music variety.
Again, this is a process that can be undertaken to enhance both the listener’s and the
performer’s musical experience.
The songs represented in this document demonstrate three ways that song
literature can be assembled into arranged editions. The first example, Im Walde (In the
Woods), was chosen to demonstrate how a single song can be adapted for instrumental
performance by moving the key of the original work, and by omitting numerous repeated
stanzas from the song.
In the second examples, Auf der Donau (On the Danube), Der Schiffer (The
Boatman), and Wie Ulfru fischt (How Ulfru Fishes) were chosen to demonstrate
how an existing song cycle, composed and published as a set by Schubert, could be
easily adapted and even enhanced with minimal compositional alterations. All three
of these songs focus on a central theme, water, and they share a single literary source as
well, Mayrhofer.
31
The final arranged edition includes: Blumenlied (Flower Song), An die
Äpfelbäume wo ich Julien erblickte (To the Apple Trees Where I Glimpsed Julia),
Erntelied (Harvest Song), An den Mond (To the Moon), and Todtengräberlied
(Grave-digger’s Song). These songs were chosen to demonstrate how an instrumental
song cycle could be assembled from songs that have no thematic association with each
other except the poet. There is no central theme or common element shared between
these songs. The reasons for assembling these together into one performance set are to
achieve variety for the listeners and a successful performance experience, or educational
experience, for the performers.
In The Woods / Im Walde
This song, when performed in its original form, is an extensive work for the genre
at one-hundred seventy-four measures and a performance time of over six minutes. This
was the only song chosen for this document that has had any part of its overall form
altered, by this I mean measures added or removed. This is an example of how a large
scale song can be arranged in its overall form and still maintain its integrity as a piece of
instrumental solo material.
Schubert utilized a ritornello form to delineate the dramatic sections of the text
which alternate from major to minor depending on the mood of the poem. The pianoritornello, which is derived from the song’s two major thematic ideas, partitions these
ideas, which are sung, into sections according to the poetry. A schematic of the song can
be represented by the following pattern with (A) representing the piano-ritornello, (B)
32
representing the first theme in minor, and (C) representing the second theme in major:
ABACABABACABA. I chose to reduce the overall length of this song because of the
amount of repeated musical material. The newly arranged song is now one-hundred
twenty-four measures long and represents the following schematic form: ABACBCABA.
I decided to keep both of the (C) sections in order to maintain the overall balance.
This song in its original key was Bb minor. This took the highest notes of the
solo melody to f#-1 several times and the overall tessitura of the song was continuously
high for the bass trombone. For these reasons I chose to move the entire key down a
third to G minor.
On The Danube / Auf der Donau
This song has not been changed in any way from its original form. It is an
excellent example of how vocal literature can easily be transferred into instrumental
performance. Schubert utilized an overall ABA form to delineate the three stanzas of the
poem. The angered mood of the (B) section is easily communicated by a modulation
from the major to minor and by a change in rhythmic figurations. The tessitura and key
fit the bass trombone nearly perfectly.
The Boatman / Der Schiffer
This song is an example of the use of strophic form in an arrangement. There are
four strophes or statements of the main melody. Each strophe must be different from the
previous in order to avoid monotony for the listener. In this arrangement I chose to have
the bass trombone and piano play the first and third statements as written with no
changes to the original score. I completely omitted the fourth statement keeping the
33
closing piano ritornello. In the second statement, however, the bass trombone melody is
lowered one octave to feature the instrument’s range. In addition, the left hand or bass
clef piano part is omitted from measures thirty-one to fifty-three to allow the lowered
melody to be heard clearly. In measures thirty-nine to forty-six, the idea of transparency
is taken one step further by reducing the musical score to a simple melody call and
response between the bass trombone and piano. Both parts resume their full role as
designated by the original score at measure fifty-four. I chose to lower the key of this
song one whole step because of issues with tessitura and technique.
How Ulfru Fishes / Wie Ulfru fischt
This last song from Schubert’s published set of three is again in strophic form.
The Mayrhofer poem has three stanzas which dictate three repeats of basically the
same music. With this arrangement, I again chose to highlight the low range of the bass
trombone by lowering the solo voice in the middle stanza one octave. The piano
accompaniment was not altered or deleted because of its transparent nature. I chose not
to grossly alter any of the original music because of the interpretive implications
contained in the poems text. How Ulfru Fishes is a satire, and the song’s performance,
especially with regards to phrasing and articulations, should be executed with an element
of comedy in order to fully communicate the music. This song is an excellent example of
why an accurate text translation is necessary for an instrumentalist to fully interpret many
of these songs.
34
Creating Variety
The last five songs arranged for this document have been chosen and ordered into
an instrumental song cycle. As the spread-sheet below demonstrates, the compositional
elements of pitch, meter, range, tempo and overall form have been strategically
ordered in such a way that the listener is constantly hearing some form of new music
within the five songs selected. Strophic songs contained in the cycle are performed once
without repeats. When necessary, key signatures were lowered to eliminate pitch,
technique and tessitura difficulties on the bass trombone. The external, unifying element
among these five songs is the poet Christoph Hölty. The internal, unifying element lies
within the emotion of the poetry and the human experiences they represent.
Creating Variety Utilizing A Compositional-Elements Methodology
Selected Song
Original
Key
Transposed
Key
Meter
Tessitura
Tempo
Form
Unifying
Element
Flower Song
(Blumenlied)
E
Eb
2/4
Eb to g
MM = 88
Strophic
Poet
Hölty
A-a-A
G-g-G
12/8
B to e 1
MM = 116
A-B–A
Poet
Hölty
E
D
2/4
d to f# 1
MM = 98
Strophic
Poet
Hölty
f-Ab-F
f-Ab-F
12/8
F to f 1
MM = 56
A-B–A
Poet
Hölty
G-C-D-G
F-Bb-C-F
2/4
Bb to e 1
MM = 104
ThroughComposed
Poet
Hölty
To the Apple Trees
(An die Äpfelbäume)
Harvest Song
(Erntelied)
To the Moon
(An den Mond)
Grave-Digger's Song
(Todengräberlied)
35
CHAPTER V:
Conclusion
Early Romantic period music represents a fertile era in the development of the
virtuoso soloist. This is evidenced through the proliferation of solo works for the
piano, the violin, and the voice. From a purely historical standpoint, we can assume that
the composers of the early Romantic period knew and understood the wind
instruments and their capabilities because they often composed prominent passages
for these instruments in their symphonies. This includes the bass trombone.
Unfortunately, few solo instrumental works of lasting appeal appear from this time
period. With the exception of Ferdinand David’s Concertino, Op. 4, composed in
1837, the inventory for solo bass trombone is void. Why there is so little literature for
solo wind instruments from this time period is a question whose answer can only be
speculated. However, it is this question that drives the need for this document and the
performance literature generated through its development.
By contrast, Schubert wrote approximately 600 different songs for solo voice
and piano. His compositional creativity, as expressed through song, is as diverse as it
is prolific. His output represents much of the human experience, and his songs are
held in high esteem by both audience and performer. Again, to emphasize an earlier
point, Franz Liszt was a champion of Schubert’s music and prepared 56
“transcriptions” of Schubert songs.
Schubert’s songs are ideal for solo bass trombone performance because they
are flexible and durable, that is the songs retain their integrity when adapted to
individual performance skills. By their very dramatic nature, Schubert’s songs are well
36
suited for the intimacy of chamber performance. Finally, performance of these songs
encourages and often demands the highest level of technical and lyrical skill from both
student and professional.
37
APPENDIX A:
General Information Concerning the Selected Song Literature
Im Walde, “In the Woods” Op. 93, no. 1 / D. 834 (1825) published in 1828
Auf der Donau, “On the Danube” Op. 21, no. 1 / D. 553 (1817) published in 1823
Der Schiffer, “The Boatman” Op. 21, no. 2 / D. 536 (1817?) published in 1823
Wie Ulfru fischt, “How Ulfru Fishes” Op. 21, no. 3 / D. 536 (1817) published in 1823
Blumenlied, “Flower Song” (posthumous) / D. 431 (1816) published in 1887
An die Äpfelbäume wo ich Julien erblickte, “To the Apple Trees, Where I Glimpsed
Julia” (posthumous) / D. 197 (1815) published in 1850
Erntelied (Sicheln schallen), “Harvest Song” / D. 434 (1816) published in 1850
An den Mond “To the Moon” Op. 57, no. 3 / D. 193 (1815) published in 1826
Todtengräberlied “Grave-digger’s Song” / D. 38 & D. 44 (1813) published in ?
38
APPENDIX B:
German Texts Translated Into English
Im Walde
In the Woods
Ich wand’re über Berg und Tal
Und über grüne Heiden,
Und mit mir wandert meine Qual,
Will nimmer von mir scheiden.
Und Schifft’ ich auch durch’s weite Meer,
Sie käm’ auch dort wohl hinterher.
I wander over hill and vale
and over the green heath,
and with me goes my pain,
Will it never leave me?
Even if I sail upon the wide sea
It comes there right behind
Wohl blüh’n viel Blumen auf der Flur,
Die hab’ ich nicht gesehen,
Denn eine Blume seh’ ich nur
Auf allen Wegen stehen.
Nach ihr hab’ ich mich oft gebückt
Und doch sie nimmer abgepflückt.
More flowers are blooming in the field
than I have ever seen,
But one flower only do I see
standing on every path.
over which I have often stooped
But have never plucked
Die Bienen summen durch das Gras
Und hägen an den Blüten;
Das macht mein Auge trüb’ und naß,
Ich kann mir’s nicht verbieten,
Ihr süßen Lippen, rot und weich,
Wohl hing ich nimmer so an euch!
The bees buzz through the grass
and hang upon the blumes;
That makes my eyes sad and damp,
I cannot deny myself
their sweet lips, red and soft,
I never hung so well on yours.
Gar lieblich singen nah und fern
Die Vögel auf den Zweigen;
Wohl säng’ ich mit den Vögeln gern,
Doch muß ich traurig schweigen.
Denn Liebeslust und Liebespein,
Die bleiben jades gern allein.
So sweetly sing far and near
the birds on the branches;
I would like to sing with the birds,
But sadly I must remain silent.
So love’s joy and love’s pain,
Each stay gladly alone.
Am Himmel seh’ ich flügelschnell
Die Wolken weiterziehen,
Die Welle rieselt leicht und hell,
Muß immer nah’n und fliehen.
Doch haschen, wenn’s vom Winde ruht,
Sich Wolk’ und Wolke, Flut und Flut.
In the sky I see swift as birds
the clouds drifting along,
the waves gently roll light and bright
always pass by.
Then, when from the winds they rest,
Become cloud on cloud, flood on flood.
Ich wand’re hin, wand’re her,
Bei Sturm und heiter’n Tagen,
Und doch erschau’ ich’s nimmermehr
Und kann es nicht erjagen.
O Liebessehenen, Liebesqual,
Wann ruht der Wanderer einmal?
I wander here, I wander there,
in storms and more cheerful days,
and don’t respond to them any more
Or seek them out.
O love’s longing, love’s anguish.
When will the wanderer at last find rest?
Based on a text by Ernst Schulze (1789-1817) – Translation by Douglas Watt-Carter
39
APPENDIX B:
German Texts Translated Into English - Contiuned
Auf der Donau
On the Danube
Auf der Wellen Spiegel schwimmt der Kahn,
Alte Burgen ragen himmelan,
Tannenwälder rauschen geistergleich,
Und das Herz im Busen wird uns weich.
Upon the waves’ mirror floats our boat;
Old castles tower up toward heaven,
Pine forests rustle ghost-like,
And the hearts in our bosoms melt.
Denn der Menschen Werk sinken all’,
Wo ist Turm, wo Pforte, wo der Wall,
Wo sie selbst, die Starken, erzgeschirmt,
Die in Krieg und Jagden hingestürmt?
For man’s work fails ever:
Where is tower, where gate, where wall,
Where are they, these armoured strongholds,
That were besieged in war and in hunt?
Trauriges Gestrüppe wuchert fort,
Während frommer Sage Kraft verdorrt:
Und im kleinen Kahne wird uns bang,
Wellen drohn wie Zeiten Untergang.
Sad undergrowth proliferates,
While the strength of pious words fade:
And in the small boat, we become timid:
Waves, like Time, threaten impending death.
Based on a text by Johann Baptist Mayrhofer (1781-1836) – Translated by Emily Ezust
Der Schiffer
The Boatman
Im Winde, im Sturme befahr ich den Fluß,
Die Kleider durchweichet der Regen im Guß;
Ich peitsche die Wellen mit mächtigem Schlag,
Erhoffend, erhoffend mir heiteren Tag.
In wind and storm I traverse the river,
My clothes soaked through with the downpour;
I lash the waves with powerful blows,
Hoping, hoping for a fine day.
Die Wellen, sie jagen das ächzende Schiff,
Es drohet der Strudel, es drohet das Riff.
Gesteine entkollern den felsigen Höh’n,
The waves, they drive the creaking ship,
The whirlpool threatens, as does the reef.
Rocks roll furiously down from the craggy
heights,
And fir trees sigh like lamenting ghosts.
Und Tannen erseufzen wie Geistergestöhn.
So mußte es kommen, ich hab es gewollt,
Ich hasse ein Leben behaglich entrollt;
Und schlängen die Wellen den ächzenden Kahn,
Ich priese doch immer die eigene Bahn.
So it must be, and so have I willed it:
I hate a life that unrolls comfortably;
Even were the waves to swallow this creaking
boat,
I would still ever praise the path I have chosen!
Drum tose des Wassers ohnmächtiger Zorn,
Dem Herzen entquillet ein selliger Born,
Die Nerven erfischend – o himmliche Lust,
Dem Sturme zu trotzen mit männlicher Brust.
So let the water roar with impotent rage;
From my heart springs forth a blissful fountain,
Refreshing the nerves – o heavenly joy,
I stand against the tempest with a defiant chest.
Based on a text by Johann Mayrhofer (1787-1836) – Translated by Emily Ezust
40
APPENDIX B:
German Texts Translated Into English - Continued
Wie Ulfru fischt
How Ulfru Fishes
Die Angel zuckt, die Rute bebt,
Doch leicht fährt sie heraus.
Ihr eigensinn’gen Nixen gebt
Dem Fischer keinen Schmaus.
Was frommet ihm sein kluger Sinn,
Die Fische baumeln spottend hin;
Er steht am Ufer fest gebannt,
Kann nicht ins Wasser, ihn halt das Land.
He shakes the hook, he jerks the lure,
But noghing’s on the line;
The water sprites are making sure
The fisherman won’t dine.
They love to foil his schemes and scoff
At him as they scoot smartly off;
Bound to the bank, the helpless clown
Cannot pursue them or he’ll drown.
Die glatte Fläche kräuselt sich,
Vom Schuppenvolk bewegt,
Das seine Glieder wonniglich
In sichern Fluten regt.
Forellen zappeln hin und her,
Doch bleibet des Fischers Angel leer,
Sie fühlen was die Freiheit ist,
Fruchtlos ist Fischers alte List.
The glassy surface ripples where
The scaly tribes below
Perform gymnastic feats from sheer
High spirites, to and fro.
the fisher rues his empty creel
While trout are jumping just to feel,
As they let loose, what freedom is,
Pooh-poohing Ulfru’s artifice.
Die Erde ist gewaltig schön,
Doch sicher ist sie nicht.
Es senden Stürme Eiseshöh’n,
Der Hagel und der Frost zerbricht
Mit einem Schlage, einem Druck,
Das gold’ne Korn, der Rosen Schmuck;
Den Fischlein unter’m weichen Dach,
Kein Sturm folgt ihnen vom Lande nach.
The earth is wildly beautiful
But not as safe as we suppose;
Its evil storms with ice and hail
Can bruise the wheat and crush the rose:
But careless, playful and aloof,
The little fish have a soft, smooth roof
To shield them from the upper air –
No storm from land can reach them there.
Based on a text by Johann Mayrhofer (1787-1836) – Translated by T. P. Perrin
Blumenlied
Flower Song
Es ist ein halbes Himmelreich,
Wenn, Paradiesesblumen gleich,
Aus Klee die Blumen dringen;
Und wenn die Vögel silberhell
Im Garten hier, und dort am Quell,
Auf Blütenbäumen singen.
It is almost half of heaven’s kingdom
When, like blossoms of paradise
the flowers emerge from the clover;
And when the birds sing with silvery voices,
in the garden here and there, by the stream,
in the blossoming trees.
Doch holder bluht ein edles Weib,
Von Seele gut und schön von Leib,
In frischer Jugendblüte.
Wir lassen alle Blumen stehn,
Das Liebe Weibchen anzusehn
Und freun uns ihrer Güte.
Yet even lovelier blossoms the noble lady,
Goodhearted and fair,
In the fresh bloom of youth.
We let the flowers be
To gaze at this lovely little woman,
And delight in her goodness.
Based on a text by Ludwig Heinrich Christoph Hölty (1748-1776) – Translated by Emily Ezust
41
APPENDIX B:
An die Apfelbäume,
wo ich Julien erblickte
To the apple trees,
where I Glimpsed Julia
Ein heilig Säuseln,
Und ein Gesangeston
Durchzittre deine Wipfel,
O Schattengang, wo bang und wild
Der ersten Liebe selige Taumel
Mein Herz berauschten.
A holy rustling
And the sound of song
Vibrate through the tops of your trees,
O shaded path, where, anxious and wild,
The ecstatic frenzy of first love
Intoxicated my heart.
Die Abendsonne
Bebte wie lichtes
Durch Purpurblüten,
Bebte wie lichtes Gold
Um ihres Busens Silberschleier;
Und ich zerfloß in Entzückungsschauer.
The evening sun
Gold shook like bright gold
Through purple flowers,
shook like bright gold
around the silver veil on her bosom;
and I dissolved into a shudder of delight.
Nach langer Trennung
Küsse mit Engelkuß
Ein treuer Jüngling hier
Das geliebte Weib,
Und schwör in diesem Blütendunkel
Ew’ge Treue der Auserkornen.
After a long separation
Come kisses like those of angels:
A faithful youth here
with his beloved wife;
and he swears in the darkness of the blossoms
eternal fidelity to his chosen one.
Ein Blümchen sproße,
Wann wir gestorben sind,
Aus jedem Rasen,
Welchen ihr Fuß berührt,
Und trag’ auf jedem seiner Blätter
Meines verherrlichten Mädchens Namen.
A flower might bloom
When we are dead,
From every lawn
which her foot disturbed.
And may each blade of grass bear
My glorious maiden’s name
Erntelied
Harvest Song
Sicheln schallen,
Ähren fallen
Unter Sichelschall;
Auf den Mädchenhüten
Zittern blaue Blüten,
Freud’ ist überall.
Sickles clang,
Ears of corn fall
Under the sound of sickles;
On the maidens’ bonnets
Tremble blue flowers.
Joy is everywhere.
Sicheln klingen,
Mädchen singen
Unter Sichelklang;
Bis, vom Mond beschimmert,
Rings die Stoppel flimmert,
Tönt der Erntesang.
Sickles clink,
Maidens sing
beneath the clang of the sickles;
Until, gleaming from the moon,
Shimmering around the stubble,
the harvest song rings out.
42
APPENDIX B:
German Texts Translated into English - Continued
Alles springet,
Alles singet,
Was nur lallen kann.
Be idem Erntemahle
Ißt aus einer Schale
Knecht und Bauersmann.
Everyone leaps about,
Everyone sings
If they can even speak.
At the harvest feast,
one can see, eating from one bowl,
the master and his bondsman.
Jeder scherzet,
Jeder herzet
Dann sein Liebelein.
Nach geleerten Kannen
Gehen sie vondannen,
Singen und juchei’n!
Everyone jests,
Everyone hugs
His sweetheart.
Afterward when the tankards are empty,
They go away,
singing and shouting!
An den Mond
To the moon
Geuß, lieber Mond, geuß deine Silberflimmer
Durch dieses Buchengrün,
Wo Phantasien und Traumgerstalten
Immer vor mir vorüberflien!
Pour, dear moon, pour your silver glitter
Down through the greenery of beeches,
Where phantasms and dream-shapes
Are always floating before me!
Enthülle dich, daß ich die Stätte finde,
Wo oft mein Mädchen saß,
Und oft, im Wehn des Buchbaums und der Linde,
trees,
Der golden Stadt vergaß.
Reveal yourself, that I may find the place
Where my darling often sat,
often forgot, in the wind of beech and linden
Enthülle dich,
daß ich des Strauchs mich freue,
Der Kühlung ihr gerauscht,
Und einen Kranz auf jeden Anger streue,
Wo sie den Bach belauscht.
Reveal yourself,
that I may enjoy the bushes
which swept coolness to her,
and that I may lay a wreath upon that pasture
where she listened to the brook.
Dann, lieber Mond, dann nimm den Schleier wieder,
Und traur um deinen Freund,
Und weine durch den Wolkenflor hernieder,
Wie ein Verlaßner weint!
Then, dear moon, take up your veil again,
and mourn your friend,
and weep through the clouds
as one abandoned weeps!
the golden city.
43
APPENDIX B:
Todengräberlied
Grave-digger’s song
Grabe, Spaten, grabe!
Alles, was ich habe,
Dank’ ich Spaten, dir!
Reich’ und arme Leute
Werden meine Beute,
Kommen einst zu mir.
Dig, spade, dig!
Everything that I have
I thank you for, spade!
Both rich and poor people
Will be my prey,
Will come one day to me.
Weiland groß und edel,
Nickte dieser Schädel
Keinem Gruße Dank.
Dieses Beingerippe
Ohne Wang’ und Lippe
Hatte Gold und Rang.
Formerly great and noble,
This skull nodded
No return of greetings.
This skeleton
without cheeks and lips
had once gold and rank.
Jener Kopf mit Haaren
War vor wenig Jahren
Schön, wie Engel sind.
Tausend junge Fäntchen
Leckten ihm das Händchen,
Gafften sich halb blind.
That head with hair
Was just a few years ago
beautiful, as angels are.
A thousand young fops
licked his hands,
and gaped themselves half blind.
Grabe, Spaten, grabe!
Alles, was ich habe,
Dank’ ich Spaten, dir!
Reich’ und arme Leute
Werden Meine Beute,
Kommen einst zu mir.
Dig, spade, dig!
Everything that I have
I thank you for, spade!
Both rich and poor people
Will be my prey,
Will come one day to me.
44
APPENDIX C:
Suggested Reference Recordings
Suggested Schubert Lieder Recordings
Female Singers
Pianist
Recording Label
ISBN #
Elly Ameling
Graham Johnson
Hyperion
B000002ZF1
Arlene Augér
Graham Johnson
Hyperion
B000002ZF3
Dame Janet Baker
Graham Johnson
Hyperion
B000002ZEV
Brigitte Fassbaender
Graham Johnson
Hyperion
B000002ZF5
Lucia Popp
Graham Johnson
Hyperion
B000002ZFB
Elizabeth Scharzkopf
Edwin Fischer
Angel or EMI
B00004YU8E
Thomas Allen
Graham Johnson
Hyperion
B000002ZFA
Deitrich Fischer-Dieskau
Gerald Moore
Angel or EMI
B00005NPJU
Phillip Langridge
Graham Johnson
Hyperion
B000002ZEY
Thomas Quasthoff
Charles Spencer
RCA
B000025A9N
Bryn Terfel
Malcolm Martineau
Deutsche Grammophon
B000001GMM
Stephen Varoce
Graham Johnson
Hyperion
B000002ZEW
Male Singers
45
APPENDIX D:
Solo Bass Trombone Parts
46
APPENDIX D:
Solo Bass Trombone Parts - Continued
47
APPENDIX D:
48
APPENDIX D:
49
APPENDIX D:
50
APPENDIX D:
51
APPENDIX D:
52
APPENDIX D:
53
APPENDIX D:
54
APPENDIX D:
55
APPENDIX D:
56
APPENDIX D:
57
APPENDIX D:
58
APPENDIX D:
59
APPENDIX D:
60
APPENDIX D:
61
APPENDIX D:
62
APPENDIX D:
63
APPENDIX D:
64
APPENDIX D:
65
APPENDIX E:
Full Score Arrangements
66
APPENDIX E:
Full Score Arrangements - Continued
67
APPENDIX E:
68
APPENDIX E:
69
APPENDIX E:
70
APPENDIX E:
71
APPENDIX E:
72
APPENDIX E:
73
APPENDIX E:
74
APPENDIX E:
75
APPENDIX E:
76
APPENDIX E:
77
APPENDIX E:
78
APPENDIX E:
79
APPENDIX E:
80
APPENDIX E:
81
APPENDIX E:
82
APPENDIX E:
83
APPENDIX E:
84
APPENDIX E:
85
APPENDIX E:
86
APPENDIX E:
87
APPENDIX E:
88
APPENDIX E:
89
APPENDIX E:
90
APPENDIX E:
91
APPENDIX E:
92
APPENDIX E:
93
APPENDIX E:
94
APPENDIX E:
95
APPENDIX E:
96
APPENDIX E:
97
APPENDIX E:
98
APPENDIX E:
99
APPENDIX E:
100
APPENDIX E:
101
APPENDIX E:
102
APPENDIX E:
103
APPENDIX E:
104
APPENDIX E:
105
APPENDIX E:
106
APPENDIX E:
107
APPENDIX E:
108
APPENDIX E:
109
APPENDIX E:
110
APPENDIX E:
111
APPENDIX E:
112
APPENDIX E:
113
APPENDIX E:
114
APPENDIX E:
115
APPENDIX E:
116
APPENDIX E:
117
APPENDIX E:
118
APPENDIX E:
119
APPENDIX E:
120
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Nebraska Press, 1986.
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