One Hundred Songs by Ten Masters Edited by Henry T; Finck ... · on e h u n dred songs by ten...
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Transcript of One Hundred Songs by Ten Masters Edited by Henry T; Finck ... · on e h u n dred songs by ten...
ON E HUNDRED SONGS BY
TEN MASTERSEDITED BY HENRY T ; FINCK
VOLUME I I
BRAHMS (1833- 1897) TCHA’
I’
KOVSKY (1 840- 1893)
GR IEG ( 1 843 - 1 907) :W OLF (1860- 1 903)
STRAUSS ( 1 864
FOR H IGH VO ICE
O L I V E R D I T S O N C O M P A N Y
THEODORE PRESSER CO Dis tribu tors, 171 2 CHESTNUT ST . , PHILADELPH IAPr inted in U. S . A .
COPYR IGHT , 1 9 1 7, BY OL I V ER D IT SON COM PA NY
I NT ERNAT ION A L COPY R IGHT S ECU RED
Mu WSLfX—F
CO N T E N T S
BRAHMS'
, JOHANNES ( 1 833— 1 897)My Qi een (W ie bist da meine Kénigin),Op. 32 , No. 9
Slumber Song (Rube, Sz'
isrliebcfien), Op. 33, No . 9
l/Cradle Song Op. 49, N o. 4
My heart is in b loom (M eine Liebe ist gr im), Op. 63, No. 5V
'
Love Song Op. 71 , NO. 5
UT he D isappointed Serenader (Vergeblz'
c/zes Standcéen), Op. 84 , No. 4‘/ In Summer F ie lds (Feldeinmméeit), Op. 86, No. 2
Sapph ic Ode (SappfiiscfieOde), Op. 94, NO. 4.
A thought l ike m us ic (W ie M elodie” z ieét er mir), Op. 1 0 5 , No. 1
L igh ter f ar is now my slumb er (Immer leis'
er wz
'
rd meirz Op. 1 0 5 , No . 2
T CHAIKOVSKY , PET ER I LY IT CH ( 1 840 - 1 893)
”by ? Op. 6, N o. 5
None but the lone ly heart (N ur wer die Sefim uc/it éemzt), Op. 6, N o . 6
Cradle Song Op. 1 6, No. I
T he Canary (D er Kanar ienvogel), Op. 2 5 , No. 4
Some one sa id unto the f ool (E z'
m t z um N ar ren 7emand spr icét), Op. 2 5 , No . 6
T o Sleep (I n den Scélaf ), Op. 27, N o. 1
Don Juan’s Serenade (Standcfien des Dan yuan), Op. 38, No . 1
W hether day dawn-s (Ob lieller Tag), Op. 47, N o. 6
Serenade (Serenade), Op . 65 , No . I
D isappo intm ent (Deception), Op. 65 , No. 2
(
jRI EG, EDVARD ( 1 843— 1 90 7)I love T hee (I f /l liebe D z
'
cfi), Op. 5 , No. 3
Cradle Son-g Op. 9, No. 2
Solvejg’
s Song Lied), Op. 2 3, No. 1
A Swan (E z'
n Scfiwan), Op. 2 5 , No. 2
T he F irst Pr im rose (M ir ex'
ner Pr z'
mula Verb ), Op. 2 6, No . 4
Spr i'ngt ide (Der Fr iifi/ing), Op. 33, No. 2
On the Journey Home (Auf der R eise z ur Heimatfi), Op. 33, N o. 9
T he W ay o f the W or ld (Lazgf der W elt), Op. 48, No. 3
A Dream (E in Traum), Op. 48, No . 6
E ros, Op. 70 , N o. 1
W OLF, HUGO (1 860— 1 903)T o rest
,to rest ! (Zur R ufi, z ur R afi !)
Biterolf
Sec recy (Verborgenfieit)T rampin
-
g (Fussureise)Song to Spr ing (E r ist’s)Morn ing (In der Fr i lle)W eyla
’
s Song (Gerang W ey la’
s)From her ba lcony green (Auf dem grunen Balcon)Sad I come and bending low ly (M dfi ’ fvo/l kamm ’
icé and beladm )E
’
en l i t t le th ings (duck Heine Dinge)
CO NTEN TSST RAUSS, R ICHARD ( 1 864Devot ion (Zueigm mg), Op. 1 0 , No . 1
N ight (D ie Nae/n), Op. 1 0, N o . 3
A ll Souls' Day Op. 1 0 , N o. 8
E’
c r s ince th ine eyes returned my glances (Seitdem dein dug’
in sclxauu ), Op. 1 7, No . ISerenade Op. 1 7, No. 2
T hy wonderfu l eyes my hea rt insp i re (Breit fiber mein Haupt dein scfiwar z es Hoar ), Op. 1 9, No . 2
\Vhy shou ld we keep our love a sec ret ? ( II/it sol/ten wir ge/xeim sic fizz/ten), Op. 1 9, No . 4
Allo f the thoughts in my hea rt andmy m ind (dll’ mein t anten,mein Her z andweb : Op. 2 1
,No. 1
T hou o f m y heart the diadem (Du meiner Her z em Kr 5ne/ein), Op. 2 1 , No. 2
Dear love , I now m ust leave thee (dc/z Lid) , icfi nun : m m rcfieiden), Op. 2 1 , N o. 3
I NDEX
[ ENGLmH ]
All o f the thoughts in my heart and my m ind, Op. 2 1 , No. 1
All Sou ls’ Day , Op. 1 0, No. 8
Biterolf
Canary, T he, Op . 2 5, No . 4
Cradle Song, Op. 49, No. 4
Cradle Song, Op. 9, No. 2
Cradle Song, Op. 1 6,No. I
Dear love, I now must leave thee, Op. 2 1 , No . 3
Devot ion, Op. 1 0 , No . 1
Disappo intment , Op. 65, No . 2
D isappo inted Serenader, T he, Op. 84, N o. 4
Don Juan’s Serenade,Op. 38, N o . 1
Dream,A , Op. 48, No. 6
E’
en l i t t le th ingsE
’
er s ince th ine eyes returned my glances, Op. 1 7, No. 1
E ros, Op. 70 , No. 1
F i rst Prim rose, T he, Op. 2 6, N o. 4
From her ba lcony greenI love T hee, Op. 5 , No. 3
I n Summer F ie lds,Op. 86, N o. 2
L ighter f ar is now my s lumber, Op. 1 05 , No. 2
Love Song, Op. 71 , N o. 5
MorningMy heart is in b loom , Op. 63, No. 5
My Queen, Op. 32 , N o. 9
N ight, Op. I O, No
'
. 3
None but the lone ly heart, Op. 6, No. 6
On the Journey Hom e, Op. 33, No. 9
Sad I come and bending low lySapph ic Ode, Op. 94, N o. 4
Sec recySerenade, Op. 1 7, No . 2
Serenade, Op. 65 , No. 1
Slumber Song, Op. 33, No. 9
Solvejg’
s Song, Op. 2 3, No. 1
Som e one sa id un to the f ool, Op. 2 5 , No. 6
Song to Spr ingSpr ingt ide, Op. 33, No. 2
Swan, A, Op. 2 5, No. 2
T hou o f my heart the diadem , Op. 2 1 , No. 2
T hought l ike mus ic, A, Op. 1 05 , N o. 1
T hy wonder f u l eyes my heart insp i re, Op. 1 9, No. 2
T o rest,to rest !
T o Sleep, Op. 2 7, No. 1
T ram p ingW ay o f the W orld, T he, Op. 48, No. 3
v i i i I N DEX
VVeyla’
s Song
\t thc r day dawns, Op. 47, No. 6
W h y? Op. 6
,No . 5
W hy shou ld we keep our love a sec ret ? Op. 1 9, No . 4
A ch L ieb , ich muss nun sche iden, Op. 2 1 , N o . 3
A l lersee len, Op. 1 0,No . 8
All’
m e in Gedanken, m e in Herz und m e in Sinn , Op. 2 1 , No. 1
An den Sch laf, Op. 2 7, No. 1
Auch k le ine D ingeAu f dem grunen Ba lc onAu f der Re ise z ur Heimanth
, Op 33, No . 9
Biterolf
Bre i t iiber m e in Haup t de in schwarz es Haar, Op. 1 9,
Deception, Op. 65 , No. 2
Du m e ines Herz ens Kronelein, Op. 2 1 , N o . 2
E inst z um N arren Jemand spr ich t, Op. 2 5 , N o . 6
Er ist’
s
E ros, Op. 70 , No. 1
Feldeinsam keit, Op. 86, No. 2
Friihling, Der, Op. 33, No . 2
Fussreise
Gesang W eyla’
s
Ich l iebe D ich, Op. 5 , N o. 3Imm er le iser wird m e in Sch lumm er, Op. 1 0 5 , No. 2
In der Fruhe
Kanar ienvoge l , Der, Op. 2 5 , No. 4
Lau f der W e l t, Op. 48, N o . 3
Me ine L iebe ist griin, Op. 63, N o . 5
M inne l ied, Op. 71 , N o. 5
M it e iner Pr imu la Veris, Op. 2 6, No. 4
M ilh’
voll komm’
i
ich und be ladenN acht, D ie, Op. 1 0 , No . 3
N ur wer die Sehnsuch t kennt, Op. 6, No . 6
Ob he l ler T ag, Op. 47, No. 6
Ruhe, Siissliebchen, Op. 33, No . 9
Sapph ische Ode, Op. 94, No. 4
Schwan, E in, Op. 2 5 , No. 2
Se i tdem de in Aug’
in me ines schaute, Op. 1 7, N o. 1
Sérénade, Op. 65, No. 1
Solvejg’
s L ied, Op. 2 3, N o. 1
Standchen, Op. 1 7, N o . 2
Standchen des Don Juan, Op. 38, N o. 1
T raum , E in, Op. 48, No. 6
Verborgenhe i tVergeb l iches Standchen, Op. 84, N o. 4
W arum ? Op. 6, No. 5
W ie b ist du m e ine K '
c'
migin, Op. 32 , No. 9W ie Me lodien z ieht es m ir
, Op. 1 0 5 , No. 1
W ie sol l ten wir gehe im sie ha l ten, Op. 1 9, No. 4
W iegenl ied, Op. 49, N o. 4
x I N D EXW iegenl ied, Op. 9, No. 2
W' iegenl ied, Op. 1 6, No . 1
Z ue ignung, Op. 1 0 ,No . 1
Z ur Ruh , z ur Ruh l
ONE HUNDRED SONGS BY TEN MASTERS
3
JOHANNES BRAHMS
H E N M e nde l sso h n d i ed , i n 1 847, Ed
uard M arxse n sa i d : “A grea t m as te r h aspassed away
,bu t B rah ms i s grow i ng u p to be a
greate r s t i l l ." J oh a n nes B ra hm s was a t t h a t t i m eseve n tee n y ears o l d . H e was a pup i l o f M arxsen ,who was a p rom i n e n t m u s i c teac h e r i n H am bu rg,wh e re B ra hm s was bo rn . T he p rop hecy cam et rue
,fo r B rahm s i s n ow gen era l l y ack now l edged
t h e s upe r i o r o f M e nde l sso h n , a t leas t as a composer of symphonies, c h am be r m u s i c, an d so ngs .I n 1 853 Sch u man n m ade a se n sa t i o n b y p roc l a i m i ng B ra hm s t h e n ew “ mu s i ca l M ess i a h .H e h ad see n o n l y a few o f h i s ear l i es t wo rk s, bu tt hese co n v i n ced h i m t h a t h e re was a m a n w h owou l d ope n “ new pa th s ” i n t h e m u s i ca l wor l d .
I t h as bee n sugges ted t h a t t h i s ex t rav agan t p ra i s eof th e y ou ng B ra hm s was i n sp i red part l y by t h efact t h a t Sc h um an n d i d no t l i k e W agner,whomo t h e rs l ooked o n as t h e “ mu s i ca l M ess i a h ; t h ata t t h e t i m e w h e n he w ro te t h i s a r t i c l e
,h i s m i n d
was a l read y c l ouded by w h a t,a f ew y ea rs la ter,
deve l oped i n to fa ta l i n sa n i ty ; a n d th a t h e was n a turally p rej u d i ced i n favo r of B rah m s becau se h i sown i n f lue n ce was refl ected i n t h e y ou ng man ’ sm u s i c . B u t n o o n e can read abou t t h e ard e n tfr i e nd s h i p betwee n t h ese two m e n w i t h ou t fee l i ngth a t Sc h um a nn was s i n ce re w h en h e gave B rah m sso sp l e n d i d a se nd - o f f .Notw i t h s ta nd i ng t h i s recommenda t i o n
,t h e
y ou ng man d i d no t h av e a “ wal k - ove r .” W h e nh e was a boy o f te n h e p l ay ed t h e p i an o so we l lt h a t a n Ameri ca n man ager wan ted to engage himfo r a tou r. Yet B ra hm s n eve r p ro spered as a conce rt p i a n i s t, a n d soo n gave u p e ff o rts i n t h a t d irect i o n . One seaso n h e m ade h i s l i v i ng by p l ayi ng dan ce m u s i c i n a h o te l a t a Germ a n su mmerreso rt . As a com pose r, h e m ade h i s fi rs t h i t w i t ha ser i es o f H u ngar i a n dan ces
,wh i ch h e go t from
t h e famou s v i o l i n i s t Rem eny i, wh o had engagedh i m fo r a tou r as h i s accom pan i s t. Bu t h e was n o t
ge nera l l y c l assed w i t h t h e m as te rs t i l l a fte r t hep rod uct i o n o f his GermanR equiem,
i n 1 868, w henh e was t h i r ty—f i ve y ears o l d .
A t t h a t t im e h e h ad v i o l e n t oppo ne n ts,w ho
,
w h e n t h a t work wa s p rodu ced i n V i e n n a,actu a l l y
h i ssed it . T h ese h i sses we re a n ec h o of s im i l a rdemo ns t ra t i o n s m ade some y ea rs p rev i ou s l y
,i n
Le i p z i g, aga i n s t t h e sam e m as te r ’ s fi rs t p i a nocon certo ; a demo ns t ra t i o n w h i c h angered B ra hm svery mu c h
,a nd s u bsequ e n t l y h e s i gn ed a pub l i c
p ro tes t aga i n s t W agn e ri a n te nde nc i es i n mu s i c .Som e h ave t h ough t t h a t i t was a foo l i s h t h i ng todo
,fo r VVagnerism was des t i n ed to p rev a i l . Yet
B ra hm s d i d n o t s u f f e r from su c h p ar t i sa n s h i p ; ont h e con t ra ry
,h i s be i ng p i t ted a t so ear l y a "da te
aga i n s t W agn e r as t h e c h am p i o n of t h e co n se rvative par t y gave him a p rom i n en ce w h i c h h ewou l d no t o t h e rw i se h av e enj oy ed at t h a t t im e.I t m ay be added t h a t w h i l e W agne r n ev er ca redfor B ra h m s 's m u s i c
,B rah m s l i k ed som e of W ag
n er ’ s,ec hoes o f w h i c h may be h eard in severa l
o f h i s wo rk s . T h e re was rea l l y n o reaso n w h y t h erespect i v e adm i re rs o f t h es e com posers s h ou l dhave com e to h i sse s a nd b l ows
,fo r t h e re was n o
compe t i t i o n be twee n t h e i r ido l s . B ra hm s w ro ten o ope ras
,w h i l e W agn er w ro te h a rd l y a n y th i n g
bu t ope ras .T he pe rpe tu at i o n of t h e figh t was du e l a rge l yto t h e a n t i cs o f t h e popu l a r V i e n n ese cri t i c, D r.
H anslick , to w h om ev ery page by B rah m s wasce l es t i a l
,an d every p age by W agn er i n fe rn a l .
B ra hm s h i m se l f h ad som e v i o l e n t p rej ud i ces , bu to n t he w ho l e h e was peace- l o v i ng, an d h i s rangeo f sympathies was w i de . W h i l e Bac h , Bee t h ove n ,Sc h u m an n , a n d Sc h u be rt were h i s m us i ca l gods,he a l so enj oy ed B i z e t ’ s Carmen an d reve l l ed i nt h e de l ig h tfu l da n ce me l od i es of Johann S t rau ss ,w h o was on e o f his mos t i n t i m a te fr i e nds . A t ge n
.
era l soc i a l ga t h er i ngs B ra hm s was ap t to be sa rcast ic a n d d i sagreeab l e . T h ere i s a s to ry t h a t o n e
xi i ON E H U N DRED SO N G S BY TEN MASTERS
eve n i ng,o n l eav i ng
,h e sa i d to t he h os tess : I f
t he re i s an y o ne h e re to- n igh t whom I h ave n o to ff e nded , I beg h i s pa rdo n !T o h i s fr i e nd s h e was m os t sym pa t h e t i c , a ndto wom e n u su a l l y m os t cou r t eou s . I t i s sa i d t h a th e was o nce i n l o ve , bu t d i d no t p ropose , becau sehe fe l t h e co u ld no t , a t t h a t t i m e , su ppor t a w i fe .I n l a ter y ea rs , whe n h e bec am e wea l t h y , h e wa sS t i l l co n te n t w i t h t h e fri e nd s h i p o f wom en . Fo remos t among t h ese we re C l a ra Sc h u ma n n
,t he
w i dow of t he com poser ,and F rau H erz ogenberg.
T he l e t te rs w ri t t e n by h i m to t h e l as t - n amed andh er h u sba nd h ave bee n pu b l i s h ed
,toge t h e r w i t h
t he i r a n swe rs . T he l e t te rs by F ra u H erz ogenbergs hou l d be read by a l l adm i re rs o f B ra h m s
,n o t
o n l y becau se o f their s i n ce re e n t h u s i a sm ,bu t be
cau se o f t he i r n o l es s s i n ce re ce n s u res . B rah msd i s l i k ed adu l a t i o n o r l i o n i z i ng ; a nd o n e reasonw h y h e e s t e em ed t h i s woman was t h a t s h e n ev e rh es i t a ted to t e l l h i m t he p l a i n t ru t h abou t h i sl a tes t p i eces o r songs ,which h e u su a l l y su bm i t tedto h e r . She k n ew t h a t h i s c h i e f fau l t was t h e i ne l in a t i o n to w r i te too m uc h — to com pose a t t i m esw h e n me re tec h n i ca l sk i l l h ad to tak e t h e p l aceof rea l i n sp i ra t i o n . Once s h e asked him fra n k l yW hy , d ea r m as te r, wh en y ou ca n p rodu ce go l d ,do y ou so oft e n gi v e u s b rass ? "T h e re i s mu c h brass among t h e h u nd red a ndn i n e t y - s i x so ngs of B rah m s ; a l so , a good dea l o fs i l ve r. T h a t t h e t e n L ieder s e l ected fo r t h i s vo lum e a re o f t h e go l d e n so rt a l l adm i re rs of B ra hm sw i l l be read y to gra n t . T h i r t y o t h e rs o f t h e be tter so r t a re i n c l u d ed i n J am es H u n ek e r 's co l l eet i o n p r i n t ed i n t h e M u s i c i a n s L i b ra ry ; w h i l e goodd esc ri p t io n s of a l l t h e im po r t an t B rah m s songsm ay he fou nd i n Fu l l e r- M aitland
'
s vo l um e ont h i s compose r
,a nd i n li vans 's ex h au s t i v e vo l
u m e o n Bra hm s 's voca l m u s i c . T h ese wri t e rs areamo ng the l ead i ng adm i re rs o f Bra hm s . M r . H u
nek e r c l a i m s fo r him a p l ace amo ng t h e rom a nt i c com po se rs . T ho ugh h e i s the grea t e s t contrapuntis t aft e r Bach , the grea t es t architectonis ta ft e r Be et ho ve n
, Ve t , i n h i s so ngs h e i s n ea r l y asnai ve , as m a n l y , as t end e r as Ro be r t Bu rn s . " I lese t to mu s i c t h e va rio u s v e rse o f fi f ty- ninc poet s ,and “ h e was no t alwavs ca refu l i n h i s sele f tion
o f this ve rs e ." H e l oves t he open air, the c l oud s,t he gras s
,t h e l i l acs ." “ T he sc ho l as t i c pes s i m i sm
t h a t i n t rud es occas i o n a l l y i n h i s i n s t rum e n t a l m u
s i c i s ofte n i n t e rru p ted in h i s songs by bu rs ts o fhumor
,jesting, s tude n t ga i e t y . H e was pecu l
iarly h appy i n h i s de l i n ea t i o n o f t h e naive m oodsh i dd e n i n t h e na t i ve fo l k so ngs . \Vhile he n ev e rqu i te reac h ed t h e ado rab l e s im p l i c i t y of Haida):
h i s L i f t/e Sandman (Sandméirme/zen) a ndo t h e r so ngs o f t h i s c h a racter a re a c l ose seco ndto Sc h u ber t . H e i s a l so t he i n te rp re te r o f sou l sd i scou raged
,o f t h e as p i ra t i o n s o f t hose w hom
so r row h as c ru s h ed .
"
T he fact t ha t no fewe r t han t h i r t y - t h ree of t h eo n e h u nd red and twen t y - on e wo rk s of B ra hm st h a t h ave appea red w i t h opu s n um be rs are se t so f songs i nd i ca t es a l m os t as s t ro ng a predileétionfor t h e L ied on h i s par t as Sc h u be r t h ad . T h i s i sdue i n par t to h i s l ove o f poet ry . H e read a grea td ea l
,a nd p ri d ed him self so m u c h on h i s c h o i ce o f
v e rses fo r h i s m u s i c t ha t h e freque n t l y exp ress edt h e hope t h a t somebod y m ig h t pu b l i s h i n a separa t e vo l ume t h e poem s u sed by h i m . T h i s wasactua l ly do n e .Pe rh aps t h e p ri n c i pa l c h a rm of t he B ra hm sso ngs l i es i n t h e i r rh y t hm i c fea tu res , wh i ch ine l ude m a n y agre eab l e su rp r i ses . Pro fes so r N ieck scou l d n o t fi nd i n t h ese L ieder Sc h u man n 's g l owo f fee l i ng
,fragra nce o f poe t ry
,a nd m agi c o f ro
mance . T c h aikovsk y went so fa r as to d ec l a re t h a tBrahm s was a l toge t h e r i n capabl e o f m e l od i c invention. T he t en songs i n t h i s v o l um e e l oqu e n t l yre fu t e t ha t s t a tem en t . I n som e o f t h e o t he rs , t h eme l od y i s of a n i n s t ru men ta l ra t h e r t h a n o f avoca l t y pe , a nd occas i o n a l l y , as i n Sc h um a n n , t h ep i a no p redom i n a t es too m uc h ove r t h e vo i ce . Ye tf o r t h e m os t pa r t t he Bra hm s so ngs , ev en wh e no f t h e “ s i l ve r " o r “ b rass " k i nd , are e fl
’
e f tive f or
the vo i ce , wh i c h i s t h e reason w h y , u n fo r tu n a t e l y ,som e o f t h e poo re r o n es a re favo red by s i nge rs .li o r sev e ral y ea rs Bra hm s 's so ngs h ave been su ng ,i n Ge rm a n y
,a t a n y ra t e
,mo re freq u e n t l y t h a n
t h e so ngs o f a n y o t h e r m as t e r . T h i s i n itself doc sno t pro ve a n y t h i ng
,for t h e re was a t i m e w he n
M e nd e l ssoh n 's so ngs we re more i n favo r t h a nany o t h e rs , wh e reas now nobod y s i ngs t h em . Bu t
ONE H U NDR ED SO N G S B Y TEN MASTER S
B ra h ms ’s bes t songs — t hose i n t h i s vo l u m e andsome o th e rs — w i l l li ve longe r t h a n an y of M en
delssohn’
s .
A pa ragrap h i n R i c h a rd vo n Perger’
s exce l l e n tl i t t l e book on B ra h m s (R ec l am ed i t i o n ) may h e rebe t ran s l a ted by way of co nc l ud i ng t h i s i n troducti o n
“M os t popu l a r o f B ra h ms ’s works , a nd deservedly so, are h i s n u m erou s songs . I n t h eset h e Ge rm an mas te r is i n h i s e l em e n t . H e s tee rsc l ea r o f t h e co n tem po ra ry m an i a fo r dec l am at i o n
,wh i c h wou l d t ran s fo rm t h e ar t so ng i n to a
p i an o p i ece w i t h a d ry rec i ta t i on , a n d a l t h oughh e a lway s gi ves d ue i m po rta n ce to t h e wo rd s ,h e n eve r t h e l es s pu ts t h e ch i ef emp h as i s o n th esong- to n e an d a fi n e m e l od i c l i n e . T o be su re,t h e exu bera n t, abu nd an t m e l od i c flow of Sc h uber t a n d Sc h um an n was n o t a t h i s com mand ;bu t B ra hm s ’ s m e l od i es , eve n w h e n t h ey sou n d apopu l a r s t ra i n
,are a l way s n ob l e an d seleét. T he
maste r l ay s bare to u s i n h i s songs th e w ho l edep t h o f h i s r i c h sou l - l i fe, a nd h e u nders ta nd s,espec i a l l y w i t h his mel a n c h o l y songs, h ow tom ove a n d de l ig h t u s ."
1 . My Queen (W ie bist dameine T h i si s o n e of th e grea tes t o f Germa n so ngs, B rahm si n eve ry m easu re . I t i s t h e n i n t h a n d l as t o f agroup pu b l i s h ed as opu s 32 , an d i t com es, i n t h ewo rds of F ull e r- M a i t l an d , “as a mos t we l comec l i m ax of obv i ou s beau ty afte r va ri ou s i n te n seemo ti o n s h av e bee n po rt ray ed . P l aced u nde r am i c roscope , t h e so ng i s see n no t to be fl aw l ess .As t h e same wri te r rem ark s, i t s h ows t h a t “ t herei s som e tru t h i n th e c h a rges o f occas i o n a l fau ltyacce n tu at i o n l a i d to t h e doo r of B ra hm s ; t h e melodic Open i ng ph ras e all ows of n o b reak at t h epo i n t wh ere t h e comm a wou l d wa rn t h e reader o ft h e wo rds t h at a b reak m u s t be m ade ; t h e beav ies t acce n ts fa l l o n th e fi rs t sy l l ab l e o f ‘me i n e ’ an dt h e l as t o f ‘Kon igi n
,
’ an d,after t h e fi rs t l i n e
,w here
i t i s esse n t i al t h a t t h e wo rd s s h o u l d ru n o n tocom p l e te th e se n ten ce, th e re i s a b reak i n t h e mu
sicalp h rase . Bu t “ hard i n deed mu s t be th e h ea rt,
a nd d u l l t h e h ear i ng, of a n y pedan t w h o s hou l dres i s t t h e appea l o f t h e l ove l y so ng o n accou n to f a mom en ta ry i n fract i o n of a ru l e w h i c h B ra hm s
x i i i
e l sew h ere s h ows h i m se l f m os t care fu l to observe .For t h e song, from th e fi rs t n o te to t h e las t, i s oneof th e i mmortal l y r i cs o f t h e world,and i t i s qu i tec l ea r t h at t h e m u s i ca l t h em e cou l d no t h ave bee nso tw i s ted an d c hanged as
'
to p rov i de a n i dea lm u s i ca l equ i v a l e n t fo r t h e open i ng wo rds w i t hou t a sacr i fice o f abso l u te m u s i ca l beau ty w h i c hwe m ay we l l i m ag i n e t h a t B ra hm s was re l uctan tto m ake .
2 . S/uméer Song (Ru/ze, T he compose r o f t h e New W or ld sy mp ho n y
, A n ton inD vorak (w hose ge n i u s B ra h m s d i scove red), on cesa i d to t h e ed i to r o f t h i s v o l ume t h a t to h i s tas tet h e bes t so ngs com posed s i n ce Sc h u be rt we re t h eM age/onenlieder of B rah m s, opu s 33.T h ey are se tt i ngs of fi ftee n poem s from T i eck ’ sM egelone.T h i sj udgm en t i s su rp r i s i ng becau se t h e grou p h asser i ou s defects, w h i c h t h e mos t a rde n t B rah m si tes do n o t d e n y . T h a t t h e se t “ does no t m akea v ery e f f etf tive cy c l e w h e n perfo rmed i n its eu
tirety” i s o f n o Spec i a l i m po rta n ce, fo r th e sam e
i s t ru e o f t h e cy c l es o f B ee t hov en, Sc h u bert ,
an d Sc h u man n . B u t it is su rp ris i ng t h a t B ra hm ss hou l d h av e fa i l ed to m ake u se of t h e d ramat i coppor tu n i t i es o ff e red by t h e poem s . T h ere aren o remi n i scen t t h em es to gi ve co h eren ce to t h esongs , a nd , as Fu l le r-M a i t l a n d adm i ts , “ t h e re i sn o t even a n a ttem p t a t l oca l co l o r
,no r i s Sulima’
s
song an y moreOr i e n ta l i n c h aracte r t h a n th e res t .”T he s tory , too long to te l l h ere, may be fou ndi n t h e append i x to vo l um e o n e of M i ss M ay ’ sL if e of B ra/zms. T he n i n t h of th e fi ftee n so ngs ,R u/ze
,S ii sslieee/zen, is mus i ca l l y t h e m os t fasc i
n at i ng — “a magi ca l l y beau t i fu l l u l l ab y i n
w h i c h t h e accom pan i men t seems to be p rov i dedby gen t l y wav i n g b ra n c h es .” I t i s s u ng by P i e rrew h i l e h i s l ady s l eep s . T i eck ’ s book was o n e o fB ra hm s ’s fav o ri tes wh en , as a boy of fou r teen ,h e read i t w i t h t h e t h i r tee n - y ea r—o l d L ischenGiesemann.
3. Cradle Song I t i s odd th a t t h em os t w i de l y k nown o f all t h e crea t i o n s of B ra h m ss hou l d be a c rad l e song, fo r h e was n ev e r m arr i ed . H e was rat h e r u n soc i a l , a n d to adu l ts o ften‘sa rcas t i c a nd rude
,bu t fo r ch i l d ren h e h ad a ten
der heart, a nd pocke ts fu l l o f p rese n ts . T h i s ten
x iv ONE H U N DR ED SO N G S B Y TEN MASTERSde rness i s beau t i fu l l y revea l ed i n t h e p rese n t so ng ,based o n a poem by Ka r l S im rock .
4 . My hear t is in bloom (Al eine L iebe is! gr im ).One of t he favo ri te B rahm s L ieder , bu t n o t t hem os t marve l l ou s l ove song eve r com posed , aso ne m igh t i n fe r from Fu l l e r- Maitland
'
s dithy
ram b ic supe r l a t i v es : “ Al eine L iebe is! gr i mi s on e of t he t h i ngs co n ce rn i ng w h i c h i t i s imposs i b l e to guess h ow i t came i n to t h e c rea to r 'sbra i n . I t i s so i n e ff ab l y s po n ta neou s t h a t i t inu s tseem to h av e bee n co nce i ved i n a s i ng l e i m pu l seand pe rfected a t a n i n s ta n t . T he g l ow of y ou t hfu l pass i o n h as su re l y n eve r bee n so su pe rb l yreflected i n m u s i c , a nd t h e m i n d ca n no t graspan y p rocess by w h i c h i t was evo l ved , o r t h i n k o fa n y momen t a t wh i c h i t was i n com p l e te ." L i l l i a nNo rd i ca was no t fo nd of B ra hm s 's so ngs , bu tt h i s o ne s h e l i ked
,a nd s h e k n ew h ow to t h r i l l a n
aud i e n ce w i t h i t .5. Love Song T o t he ed i tor o f this
vo l um e t h i s seem s t h e mos t i n sp i red , spo n ta n eous ,and de l i g h t fu l o f Brahms
'
s voca l wo rk s — an
adorab l e song . I t s h ows , ev e n m ore t h a n AleineLiebe ingr iin, h ow l ove exerc i ses i ts c rea t i v e Sp e l ll i k ew i se ove r bac he l o r com p osers . I ts o r ig i n a l i tyi s com p l e te n o o t h e r com pose r h as su ng a so ngresem bl i ng i t, a nd t he p i a n o pa rt i s B ra hm s i ne ve ry measu re . I t i s n o t su ng as o fte n as i t s h ou l dbe
,wh i c h i s s t range
,fo r i t r i s es to a mos t e f f ec
t i ve c l i m ax . T he i n te r l u des a re ve ry beau t i fu l .6. The D imppoin/ed Serenader (Vergebliches
Sidndchen). W i t h a n i m a t i o n and good h umor "t h e com pose r wa n t s t h i s popu l a r n u m be r to besu ng . T he t ex t l ack s refi n emen t , bu t t h e mu s i ci s “ ca tc h y . Conce r n i ng i t , Fu l l e r-M a i t l a nd su pp l i es t h i s i n fo rm a t i o n : “ Opu s 84 bea rs t h es t ra nge i n sc ri p t i o n
,Fu r e i n e od e r zwe i S t i m
men , ’ bu t i t i s u n l i k e l y t ha t o n any occas i o n a n yof t h em h ave bee n su ng by two pe rson s . T hemod e rn s i nge r , espec i a l l y i n Ge rm a n y , i s so auxi ou s to sh ow h ow m a n y d i ff e ren t so r t s o f vo i cep rodu ct i o n h e h a s l ea rn ed , t h a t h e m i sse s n o opportunity of s i ng i ng songs i n w h i c h two o r morevo i ces ca n be i m i ta t ed . T h e re is , i n d eed , a n adIibilum part for t h e seco nd vo i ce s i m u l tan eou s l yw i t h the fi rs t , i n the fi ft h of t h e set , Spawn/mg ,
bu t h ere t h e m u s i c o f eac h p a i r o f s tan zas i s th esame, a nd th e m a l e a nd femal e vo i ces a re sunposed to a l te rn a te, as t h e y a re a l so i n t h e bes tk now n of t h e se t
,Vergebliches Sldndelien, t hough
t h i s i s a l wa y s s u ng by o ne s i nge r,w h o m u s t pe r
so n i fy bo t h t he a rde n t l ove r a nd t h e d i sda i n fu ll ad y a t t h e w i ndow .
7. I n Summer P ie/d: In no n eo f Brahm s
'
s songs i s h i s l ove of n a tu re more co nv incingly po r t ra y ed t h a n i n t h i s , wh i c h i s a ge ne ra l favo ri t e . T he poe t piétu res him self ly ing i nt h e ta l l gree n grass , gaz i ng a t t h e b l u e s k y andt h e w h i te c l o ud s floa t i ng pas t
,l ead i ng h i s m i nd
o n to t hough ts o f eternal spaces ; and t h e pe n s i v em u s i c refletf ts a l l t h i s a s i n a m i r ro r . Never wasa mo re pe rfect p ictu re of a sum mer noonday .
"
8. Sapp/i ie Ode(Sapp/zi.tebeOde). \Vhile romant i c l o ve d i d no t p l ay a pa r t i n B ra hm s 's l i fe
,be
favo red poem s co nce rn ed w i t h i t . H a n s Sc hm i d t 'sSappb ieOde i s o n e o f these ; i t i s freq u e n t l y h ea rda t rec i ta l s becau se o f t h e popu l a ri ty o f B ra hm s 'sse t t i ng . Rega rd i ng t h e co rrect i n te rp re tat i o n oft h i s song Fu l l e r M a i t l a n d warn s t hose voca l i s tsw h o are so fo nd of s i ngi ng i t t h a t “ t h e l as t fewba rs o f eac h verse , i f pe rfo rmed i n s t r ict t i m e ,make t h e c fi'
eet of a beau t i fu l a nd we l l - o rde redrallen/ando ; i f t h e t i m e be s l acke ned , ove r a ndabove th i s , mere no n se n se i s t h e resu l t ."
9. /1 {bong/i t like music (W'
ie Aflelodien z ieb/er mir ). T he grea te s t t h i ng i n m u s i c , afte r a l l , i sspon ta ne i t y of m e l od i c i n ve n t i o n . [Vie Ale/adieuh as it
,and t h a t i s w hy i t i s o n e of t h e favo red mas
tersongs ,whi|e so ma n y o t h e rs o f B ra hm s’ s o n e
h u nd red a nd n i n e t y - s i x L ieder a re n eg l ected . H e
him self knew t h a t i t was o n e o f his bes t p rod u cts,
fo r, j u s t as Sc h u be rt u sed to i n t rod u ce t heme so f h i s fi nes t so ngs i n h i s i n s t ru men ta l wo rk s
,so
B ra hm s m akes a n a l l u s i o n to t h i s song i n h i sv i o l i n so n a ta i n A m aj o r , w h ic h , t h oug h bear i nga n ea r l i e r opu s nu m be r
,wa s com posed l a te r .
1 0 . [ jgli/er f ar i! now my slumber ( Immer leirer
wirdmein Selz/ummer ).“ A big so ng
,t hough sad ,"
one adm i re r h as c h a racte r i zed t h i s f amou s L ied.
l‘idwin l‘ivans , i n h i s h uge vo l u m e o f s ix h u nd redpages i n w h i c h a l l o f B ra hm s 's v oca l wo rk s a rea n a l y zed i n d e t a i l . sav s of Immer lei rer : “ A pa
H U N DRED SONG S B Y TEN MA STER S xv
t h e tic so ng, verv d elica tely se t . a n d co n ta i n i ng w h i c h t h e accom pan i men t fo l l ows t h e vo i ce ;som e cnorce narm omc prog res s io n s . T h ere are a f terward s tak i ng an independent f ormwith r ig h ttwo verses . at m e z omm encem ent of each of ha nd sy n copat i o n and bass cou n ter-melod y .
PETER ILYITCH TCHAIKOVSKY
mu s i c dou b t l e ss h a t h c h a rm s tosoo t h e t h e sav age b reas t
,i t i s no n e t h e
l ess t rue t h a t mus i c i a n s a re m uch gi v e n to sq uabb l i ng . I n Russia, in t h e day s o f Ru b i n s te i n andT c ha ikov sk y ,
t h e m u s i c i a n s we re d i v i ded i n totwo hos t i l e camp s
,a nd wa rfa re wa s waged re l e n t
l ess l y be tween t h em . On t h e o n e s i d e w e re t heN a t i o n a l i s t s , who based t h e i r a r t l a rge l y o n Russ i a n fo l k m u s i c
,a nd o t h e r wi se s t rov e to be u n l i k e
t h e com pose rs o f Ge rm a n y,F ran ce , a nd I ta l y .
On t h e o t h e r s i d e we re t he Cosm opo l i t a n compose rs — t hose w h o h ad come u nde r t h e influe n ce of t he m as te rs of t h e co u n t ri e s n amed , a ndw h o p re fe rred to i n ven t a nd e l a bo ra te me l od i esof t h e i r ow n
,ra t h e r t ha n borrow fo l k - tu n e s .
T he l eade rs of this facti o n we re T c h a i kovsk y andRu bi n s te i n . T he fi rs t o f t h e N a t i o n a l i s ts wasG l i n k a
,a nd th e mov emen t s ta rted by h i m w i t h
h i s opera /1 Lif e f or Me Czar cu l m i n a ted i n TheStone Gnerl of Dargom ijz sky , a nd t h e Bor is Codounofl o f M ou sso rgsk y . Ru b i n s te i n pa i d Gl i n k at he com p l i me n t o f calling h i m o n e of t h e grea tes tf ive o f all com pose rs ; bu t to t h e l a te r N at i o n a lists h e refe rred as “ t h ese y ou ng Ru ss i a n com posers
,wh o co n t i n u e to co n fi n e t h em se l ves l a rge l y to
popu l a r a nd n a t i o na l t h emes,expos i ng t h e re by
t he i r pov e rt y of i n v e n t i o n,a l ack w h i c h t h ey
a t tem p t to co ncea l u nd e r t he c l oak of n a t i o n a lism .
"
Ou ts id e o f Ru ss i a,u n t i l a few y ea rs ago , t h e
h i s to ry o f Ru ss i a n m u s i c m ea n t t h e s to ry o f t h ea cti v i t i es o f Ru b instein a ndwork s were t h e on l y o n e s from th a t cou n t ry t h a ta rou sed a w id e i n t e res t a nd gen e ra l ad m i ra t i o ni n fo re ig n pa r t s . T he Ru ss i a n d a nce rs h av e nowmade E ng l i s h , Fre nc h , a nd Am e ri ca n aud i e nce sacqu a i n t ed wi t h o n e bra n ch of t h e i r n a t i o na l "a rt , wh i l e , t h a nk s l a rge l y to t h e m agi c o fCh a l i ap i n , som e o f the N at i o n a l i s t i c o pe ra s h ave wona t t e n t i o n a nd adm i ra t io n . In Am e r i ca t h e e ff o r t so f W assily Safono f f , Ku rt Schindler ,and M odes tA l tsc h u l e r, w i t h h i s Ru ss i a n Sym ph o n y O rch estra
,h av e m ad e mus i c- lo v e rs
,from N ew York to
Ca l i fo rn i a , acq ua i n t ed w i t h t h e bes t co n ce rt wo rk s
of t he l ead i ng Ru ss i an s , t h ree of w hom ,a t l e as t
— R i m sky - Ko rsako ff , Rac hm a n i no ff , a nd S t rav insky s h ow ev i d e n ce o f genius i n t h e i r wo rks .li v e n t hese
,h owev e r , h ave no t c rea ted as rav i s h
ingly beau t i fu l m e l od i es as d i d Ru b i n s t e i n a ndT c ha ikov sk y , w ho will, fo r t h i s reaso n , con t i n u eto be t h e m os t adm i red of th e Ru s s i a n s
,excep t
by t hose w h o , figu ra t i ve l y speak i ng , va l ue t h epecu l i a ri t i e s o f na t i o n a l cos tum es mo re t h a n t h ebeau ty of t h e wom e n who wear t h em .
A s a m e l od i s t,T c h aikov sk y h as ve ry few
equa l s . W ho h as n o t bee n t h ri l l ed to t h e marrow by t h e h eave n l y me l od y open i ng t he s l owmovemen t o f his fi ft h symphony ? Can y ou po i n tto an y t h i n g more su p reme l y l ove l y i n t h e wo rk so f M oza rt, Bee t h ove n , Sc h u be r t , Chop i n , B iz e t ,Gri eg , Ve rd i , o r W agne r, t ha n t ha t i n sp i red instrum ental so ng ? T he re are m a n y o t h e r m e l od i esi n h i s wo rk s a l mos t eq u a l l y beau t i fu l ; a nd t h eseaccou n t, i n l a rge part, fo r t h e ex t rao rd i n a ry popularity t h i s grea tes t o f t h e Ru ss i a n m as te rs h ase nj oy ed d u ri ng t he l as t two d ecades .A s me l od y i s common l y as su med to be a p rod uct of t h e Sou t h , t h e me l od i ou s n ess o f T c h aikovsky
'
s mu s i c i s o fte n asc ri bed to h i s h av i ng ,as a y ou t h
,bee n ve ry m uc h i n te res t ed i n I ta l i a n
ope ra . Bu t h i s m e l od y i s as d i ff e re n t from I ta l i a nm e l od y as Ru ss i a n fo l k so ng i s from t h e I ta l i a n .T hough i n te n se l y indiv idual, h i s m u s i c i s a t t h esame t i m e t h o rough l y Ru ss i a n
,be i ng charaéter
iz ed, i n tu rn , by t h e c l i m a t i c a nd e t h n i c m e l a ncholy , t h e barbar i c splendo r, and t h e fie rce Cossack e n e rgy o f t h a t peop l e . I low amaz i ng l y s tup i d n o t to recogn i z e h i m a s a Na t i o n a l i s t t h ev e ry l eade r o f t h e N a t i o n a l i s t s ! H ow ri d icu l ou sto mak e t h e u se of bo rrowed fo l k - t u ne s t he cr iterion of m usical pat ri o t i sm
,t h e reby v i rtua l l y
exc l ud i ng ge n i u s — t h a t i s , the facu l ty of c rea ti ng o n e 's own m e l od i es ! l i ve n Ru b i n s t e i n was aN a t i o n a l i s t
,i n t h e l a rge r a nd be t t e r se n se of t h e
word . H e was t h e m u s i cal i l l u s t ra to r o f t h e o rientalism (pa rt l y J ew i s h ) t h a t i s so i m po rta n t a ne l em e n t i n t h e l i fe a nd a r t of Grea t er Ru ss i a .And h e ac h i ev ed t h i s m u s i ca l orientalisni no t by
x v i i i ON E H U N DR ED SO N GS B Y TEN MASTERS
i n t rod u cti o n to For}; Song: by Tchaikovsky , apt l yrefe rs to t h i s so ng as “ a ch a rm i ng l y ric , te nde r,gracefu l , ra t he r Ga l l i c t h a n Ru s s i a n .
" Bu t i t i smore t h a n te nd e r a nd gracefu l ; i t i s a pass i o n a te ,b ri l l i a n t efl ’
us ion which , if sung w i t h spirit , cannotfa i l to rouse a n aud i e nce to g rea t en t h u s i asm , prov ided t he p i a n i s t k nows t h e word s a s we l l as t h emus ic a nd fee l s t he t h ri l l o f t h e sp l e nd i d c l i maxb egi n n i ng w i t h t he str ingent/o a t t h e words , “ T ell
m e wh y i s m y h ea r t fi l l ed w i t h fea rs ," a nd cu l m in a t i ng i n t h e f/f o f m y love . T he l a s t e igh tm easu res a re a l am e n t ab l e a n t i - c l i m ax a nd s hou ldby a l l m ea ns be om i t t ed , t h e p i a n i s t e nd i ng w i t ht h e c ho rd a t a tempo. I t i s i n com p re h e n s i b l e h owa com pose r w ho was a b l e to pe n so i n sp i red a ndspon ta neou s a so ng cou l d h ave desce nded suddenlv to suc h ba t hos a nd twadd l e , excep t o n t h et h eo ry t ha t t h e app l au se fo l l ow i ng t h e s i nge r'sl as t tone wou l d d row n t h e p i an o pa r t a n y wa y .
T h e re i s m u ch of t h a t so r t o f t h i ng i n t h e mu s i cw ri t te n fo r t h e ope ra h ouse as we l l a s t h e co nce r th a l l
,a nd some of t h e grea tes t mas te rs d ese rve
ce n su re a nd ed i t i ng t h e re fo r .2 . None but the lone/y bear ! (Nur wer die
Sehnsucht kenm). A n o t h e r s p l e nd i d so ng , be t rayi ng i n eve ry meas u re t he spon ta ne i ty o f t ru em e l od i c ge n i u s . M r . H u n eke r h a rd l y ex aggera t es wh e n he d ec l a res t h at n o t Sc h u be r t h i mself com passed t h e aby sm a l woe of t h i s famou sGoe t h e poem as d i d t h e Ru ss i a n . l t i s so wonder f u l a l y r i c t ha t a l o n e i t wou l d m ake a m usical
repu ta t i o n .
"
T c haiko v sk y was twen t y - n i n e whenh e w ro t e t h i s mas tersong, a l so i nc l u d ed i n h i so pu s 6. F rom fi rs t to l as t — h i s h ea rt re nd i ng Pat h e t i c S y m pho n y — he re v e l l ed i n the “ lux ury
of woe — a su bj ect o n w h i c h a Ge rm a n au t ho rh a s w ri t t e n a who l e vo l um e .3 . Cradle Song Crad l es are nol o nge r i n favo r i n t h e nu rse ri es
,bu t c rad l e songs
i n mu s i c rooms and co nce rt h a l l s w i l l n ever ceaseto appea l becau se so m a n y o f the grea t mas t e rshave i m mo rt a l iz ed t h i s spec i es o f com pos i t i o n .I n compari ng t h i s Ru ss i a n spec i m e n w i t h t h ec rad le so ngs ofCho p i n
,B ra hm s
,a nd o t h e rs
,o n e
m a rv e l s at t h e va r i e t y o f rh y t hm ic d ev i ces u sedto sugges t t he rock i ng ino tion ,
4 . The Canary (Der Kaitar ient iogel). T chaikov
sk y has l i t t l e i n common w i t h Ru bi n s te i n excep t h i s a bu ndan t flow of me l od y . The Canary ,
howeve r , reca l l s Ru bi n s te i n 's l’ersian so ngs i ni ts m us i ca l a tmosphe re a nd t he qua i n t l y o ri e n ta ls ty l e of t he poem .
5. Some one said unto thef ool (E int t z um Nar ren
7emand Jpr irli t). T h o rough l y Ru ss i a n i s t h i s so ng .
Apa rt from i ts pu re l y mus i ca l m e ri t s i t i s a l so o fespec i a l i n te res t becau se i t s h ow s T c h aikovsk y i no ne of h i s ra re h um o rou s mood s . /1//egr o giorotome rry andjocu lar i s h i s exp ress i o n ma rk fo r i t .6. To S/eep (An clan Schlaf ). On l y t h ose whoh a v e read t h e e l a bo ra te and fasc i n a t i ng l i fe ofT c haikov sk y by h i s b ro t h e r ca n rea l i ze h ow apoem l i ke t h i s — a p ray e r t ha t s l eep a nd d ream sa t l eas t may bri ng peace to t hose w h o a re be ndi ng u nde r gri ev ous l oad s , mu st h av e appea l ed toT c h aikovsk y a nd s t i r red h i s m u s i ca l fa n cy .7. Don 7itan
'
s Serenade (Sta'
ndc/ien der Don
yuan). T h i s i s n o t o n l y T chaikovsky'
s“
great
es t so ng fo r l ow vo i ce ,” as M r. H u n ek e r ca l l s i t ;i t i s o n e of th e wo r l d 's mastersongs, a se t t i ng ofT o l s to i 's poem wh i c h , i f s u ng (and p l a y ed ) w i t hsp i r i t a nd i n t h e ri gh t mood
,never fa i l s to de l igh t
a n aud i e nce w i t h i t s v i s i o n of t h e A nda l u s ia nl ove r add ress i ng h i s be l oved , a nd c ha l l e ngi ng a l lr i v a l s to com ba t , i n t h e t ru e Span i s h s t y l e .8. IV/iet/ier day down; (Ob lie/ler Tag) i s a go r
geous e ff u s i o n — an a rd e n t l ove so ng w h i ch i n i t smood prese n ts a v i v i d co n t ras t to mos t of t h i scom pose r 's so ngs .9. Serenade (Serenade). Se t to Fre nc h wo rd s b y
T urq uetiz ,t h i s so ng i s l ess w id e l y k now n t ha n
t h e Spa n i s h Se re n ad e o f l) on J u a n , bu t t h a nk s toGe ra l d i n e li arrar , w ho s i ngs i t freq u en t l y a t he rrec i t a l s
,i t i s w i n n i ng t h e popu l a r i t y i t d ese rv es .
to . N o n e o f t h eo n e h u nd red a nd sev e n songs o f '
l'
chaikov skv
speak s to t h e h ea rt more d i rect l y th an t h i s m e lancho ly d i t t y . I n i t s m e l od y s i m p l e as a fo l kso ng , it i s racy of t h e Ru ss i a n so i l , t hough w ri t t e nto Fre nc h v e rses . l t s rac i a l sad n ess i s em pha
s i zed by t h e com pos e r 's q u a i n t h a rmon i es .wh i c hh au n t t h e m emory . l‘im m a I ‘ia n tes was the f i rs tto ex h i b i t t h i s gem to Am e ri ca n aud i e nc es .
EDVARD GRIEG
ON E o f t h e so ng- w r i te rs excep t Sch u be rtc rea ted so l a rge a n u m ber of abso l u te l y
n ew and e n tran c i ng m e l od i es as Gr i eg ; y e t, owi ng to a n i n c red i b l y s tup i d m i su nd ers tand i ng, h ed i d no t rece i v e fu l l cred i t du ring h i s l i fe t i m e fort h e gen i u s w h i c h e n abled h i m to crea te all t h esegl o r i ou s m e l od i es . I t was k now n t h a t h e was a nardentadm irer o f the folk - tuneso f his n a t i v e co u ntry , an d th a t h e h ad a rranged a n um ber of t h emfo r t h e p i a n o ; a nd from th i s i t was ass um ed , i nt h e m os t id i o t i c fas h i o n
,t h a t t h e me l od i es o f h i s
on e h u nd red a nd forty—s i x l y r i c so ngs we re basedo n bo rrowed N orweg i a n fo l k- tu n es . A s a m at te ro f fact, every one of t hose o n e h u nd red an d fo rtys i x m elod i es i s h i s ow n
,as h e h i m se l f assu red me .
A p rom i n e n t Amer i ca n m u s i c i a n o n ce w ro tet h a t h e could no t ope n a co l l ecti o n o fN o rwegi a nfo l k - t u nes w i t h ou t see i ng t h i ngs t h a t Gr i eg h adborrowed . I c h a l lenged h i m to po i n t to a single
case; bu t h e neve r d i d so, fo r obv i ou s reaso n s . Im yself hav e looked i n v a i n t h rough t h e fo l k songco l l ecti o n s f or a n y suc h bo rrow i ngs .A no t h e r eminent Ameri ca n m u s i c i a n sa i d to m e o n e day : “ I ti s n o d i sgrace fo r a com pose r to be accu sed ofborrow i ng fo l k - tu n es ; t h e grea tes t o f them h avedo ne i t.” T o wh i ch I replied : B u t i t is d i sgraceful to accu se of t h i s p racti ce a com pose r w h o h asneve r i n du l ged i n i t ."Grieg
’
s ar rangements o f N o rwegi a n fo l k- tu n esare p l a i n l y m a rked as su c h . T he res t o f his p i ecesfo r p i an o , li k e t hose fo r o rc h es t ra , c h o ru s, an dso l o vo i ce, a re e n t i re l y h i s ow n i n m elody , h a rmo n y , a nd eve ry th i ng else . And it is on these
compositions t/zat kit f ame and popular ity are basedentirely ; for, odd l y e n ough , h i s a r rangemen ts o ffo l k - m us i c a re a lm os t u n k now n to t h e pu b l i c aswe ll as to n early all mus i c i a n s . Pe rcy Gra i n ge r wast h e fi rs t grea t p i a n is t to gi v e t h em a p rom i n e n tp l ace o n h i s Amer i can p rogramm es
,a n d h e h as
w ri t te n regard i ng t h em t ha t Gri eg was n ow h eree l se m ore am az i ng l y h i s ow n weird
,partly selfi s h ,partly hero i c se l f, t h a n i n h i s se t t i ngs fo r p i an oof Norwegian Folkt ongr, opu s 66, an d o f PeasantDancer (Slaater), opu s 72 .
Norwegi a n fo l ksongs are n o tab l e fo r th e i rfres h n ess a nd beau ty ; y e t, as P h i l i p H a l e h asap t l y remarked , Look ove r t h ese folkso ngs a ndsee how super i o r to t h em i n h au n t i ng beau ty a ret h e m e l od i es o f Gr i eg .” Ge n i u s
,afte r a l l
,i s su
peri o r to t h e bes t t h e popu l ace ca n p rodu ce co llef tively ! B u t t h e n o t i o n t h a t Gr i eg bo rrowed h i sm e l od i es was so p rev a l e n t t h at som e o t h e r compose rs actua l l y u sed th em free l y i n t h e be l i e ft h a t t h ey were s im p l y h e l p i n g t h em se l v es to t h ecommo n s to res o f w i l d h o ney !I sugges ted to Gr i eg t h a t h e s h ou l d h av e u sedth e cudgel o n th ose w ho t rea ted h i m as o n e w hoh ad do n e l i t t l e m o re t h a n t ra n sp l a n t w ild flowersi n to h i s ga rde n ; bu t, u n l i ke W agn er, h e was n o ta figh ter
,an d fo r t h i s t h e re we re p h y s i cal as we l l
as tem pe rame n ta l reaso n s . I n co n sequ e n ce ofa seve re a t tack o f p l eu ri s y a t t h e t i m e w h e n hewas a s tude n t a t t h e Le i p z ig Con se rv a to ry
,h e
was condem ned to spen d th e remai n i ng fo rtyseve n y ears o f h i s l i fe w i t h o n l y o n e l u ng
,wh i c h
e n ta i led m u ch l os s o f v i go r a nd acu te su ff e r i n g .
H e was bo rn a t Be rge n i n 1 843 ; an d i t was byt h e adv i ce o f t h e famou s Norwegi a n v i oli n i s t
,
Ole B u l l , t h a t h e h ad bee n sen t to Le i pz i g . H is
i ll n es s i n te r ru p ted h i s s tu d i e s ; bu t h e re tu rn edand comp l e ted t h em . H e was su rp r i sed a nd d i sappo i n ted to fi n d t ha t t h e i dols o f h i s y ou th
,
Chopin,W agner,and Schumann,were n o t y e t appreciated a t t h e co nse rva t i ve Le i pz i g i n s t i tu t i o n .H e l ea r n ed m ore from t he i r work s t h a n from h i sp ro fesso rs . Sc h um an n , i n par t i c u l a r, i n flu e n cedh i s ea r l i es t com pos i t i o n s , i n c l u d i ng t h e famou ssong I Love T/zee. Am ong t he o t h er songs th a tbe tray Germ a n i n fl ue n ces a re M orning Dew an dMy mind is like a peak m ow—crowned.
Befo re he wen t to Le i pz i g, Gri eg h ad m adeex cursions into t h e m ou n ta i n s w i t h Ole Bu ll,du ri ng wh i c h h e becam e acq u a i n ted w i t h som e oft h e Norwegi a n f olksongs ,which m ad e a deep impress i o n o n him . On re tu rn i ng from Le i pz i g tomake h i s h ome on ce m o re i n Norway
,h i s i n te res t
i n t h i s n at i ve m u s i c was ren ewed and i n c reased,
partly through th e e n th u s i asm o f his you ng fr i e n d,
XX
R i c h a rd Nordraak . T he ncefo r t h h e e ndeavoredto avo id t h e T eu ton i c a tm osp h ere i n h i s compos i t i o n s a nd to make t hem m o re N o rwegi a n i nc h a racte r . I h a v e a l read y ex p l a i n ed t h a t t h i s doesn o t mea n t ha t
,l i k e t he Ru ss i a n N a t i o n a l i s ts a nd
o t h e rs,he i n t rod uced N o rse fo l k - tu nes i n to h i s
ow n com pos i t i o n s . Nor does i t mean t h a t h ecop i ed t he h a rmon i es o f fo l k so ngs
,fo r fo l k m u s i c
has no h a rmo n ies . Grieg'
s h a rmon i es a re as m uc hh i s own as h i s me l od i es , a nd t h e more we s tud yNo rwegi a n fo l k so ng and t he No r t h e r n compose rs befo re Gri eg, t h e mo re as to n i s h ed we a rea t h i s o r ig i n a l i t y . \Vhat i t does mea n i s ra t h e ra matte r o f at inosphere a nd m ood , toge t h e r w i t hce rta i n rh y t h m i c a nd i n t e rv a l l i c pecu l i a r i t i e s .Gri eg h i m se l f has l u c i d l y ex p l a i n ed wh a t we
are to u nde rs tan d by N o rwegi a n ” i n m u s i c“T he fu ndame n ta l t ra i t o f No rwegi a n fo l k so ngas co n t ras ted w i t h t h e Ge rm an i s a d eep m e l a ncholy , wh ic h m ay sudd e n l y c h ange to a w i l d
,
u n res t ra i n ed ga y e t y . M y s te ri o u s gl oom a nd indom i t ab l e w i l d n ess — t h ese a re t h e co n t ras ts o fN orwegi a n fo l k song . No rwegi a n m u s i c i s o fte nas ru gged as t h e bo l d rock s t ha t ov e rh a ng t h osen a rrow and w i n d i ng a rm s o f t h e sea w h i c h a recal l ed f jo rd s . I t d e l igh t s i n ab ru p t ch a nges ; i tsrh y t h m s a re i rregu l a r a nd cap ri c i ou s
,l i k e t hose
of t h e H u ngari an gy ps i e s ; i t s to n a l i t y i s uncerta i n a nd vac i l l a t i ng ; a nd t h e re i s a p refe re n ce fo rt h e m i n o r m od e a nd q u a i n t m e l od i c i n te rva l s .T he “ b l e nd i ng o f d e l i cacy a nd grace w i t h roughpowe r a nd u n t am ed w i l d n es s a s rega rd s t he i r m e lody ,and more pa r t i cu l a r l y t h e rh y t hm ,
to w h i c hGri eg refe rs , we fi nd i n m a n y o f h i s own p i eces ,too , wh i c h h e l p s to m ak e t h em N o rwegi a n . W e
fi nd i n t h em a l s o t h e rh apsod i c m a n n e r and t h eeve r- c ha ngi ng rubato pace wh i c h c h a racte r i zeNo rse mus i c ; as we l l a s the l ov e o f a d ro n e bas s ,c h a nge l es s t h rough ma n y m easu res
,wh i c h No r
way has i n common w i t h Sco t l a nd,t h e hom e o f
t h e bagp i pe , w h e re Grieg'
s grea t- gra nd fa th e r wasbo rn .Gri eg ’a songs a re m e l od i ca l l y so l ov e l y t ha t i t
is easy fo r a n y good s i nge r to e nc ha n t aud i e n cesw i t h t hem . Bu t t h o rough l y to t h ri l l and hy pnotiz e t he h eare rs , voca l i s t s m u s t be a bl e to sugges t
ON E H U N DR ED SO N GS BY TEN MASTERS
t h i s N or t h l a nd a tmosp he re . For fu r t h er de t a i l sregard i ng i t I m u s t re fe r t hem to m y book , Gr iegand li t; lll ttJ t
'
c,wh i c h was w ri t te n w i t h h i s coop
c ra t i o n . T he fi rs t ed i t i o n was rev i sed by h i m .
Norweg i a n sce n e ry i s bo l d e r,w i l d e r
,grander
t h a n t ha t o f t h e res t o f liurope, ex cepting Sw i tz erland. Bu t h e re a nd t h e re o n e com es u pon agree n fe r t i l e v a l l e y i n w h i c h c h e rri e s a nd s t rawbe rri es ge t afl avo r and a frag ra n ce h a rd l y a t t a i n eda n yw h e re e l se i n t h e wo r l d . Suc h g ree n va l esw i t h l u sc i ou s fru i t s a nd be r ri es we o fte n com eupo n u n ex pected l y i n Grieg
'
s w i l d es t pieces , aiidt hey co n s t i tu te o n e o f their u n i qu e c h a rms . A t ri pt h rough h i s m u s i c i s l i k e a tou r o f No rway ; i t h ast h e same b rac ing,stim u lating e ff ect o n t h e ne rves ,t h e b rain, and t h e h ear t . I n 1 900 I w ro te i n Songsand Song
- W r iter s : “ W h e n I h ad reve l l ed i n t h emu s i c o f Ch op i n a n d W agn e r, L i sz t a nd F ra nz ,to t he po i n t o f i n tox i ca t i o n
,I fa n c i ed t ha t t he
l as t wo rd h ad bee n sa i d i n h a rmon y and i n m e lody ; w he n l o ! I came ac ros s t h e songs a nd p i a n ofo rte p i eces o f Gr i eg , a nd o nce mo re fou nd m yse l f mo v ed to tears o f delight .
" I a l so w ro te t h a t“ Gri eg h as i ndeed c rea ted t h e l a tes t , t h e mos tmode rn a tmosph e re i n m usic .
"T his i s n o l o nge r
true , i n v i ew o f t h e ac h i eveme n ts o f Debu ssy ,R i c h a rd S t rau ss , Sc hon be rg, S t rav i n sk y , a ndo t h e rs ; bu t th e co n tem p t fo r s i m p l e me l od y , a ndt h e u se o f dissonances fo r t h e i r ow n sake ( i n s teadof as a mean s o f ex p ress i o n a nd co n t ra s t ), w h ic hco n s t i tu te t he “ a tmosp h e re " o f t h e u l t ra- mode rn com pose rs
,w i l l n o t l as t l o ng . W h e n t h e fog
l i ft s,i t wi l l be ack now l edged t ha t i n t h e legitimate
u se o f dissonances Gri eg we n t as far as an y o f h i ssuccesso rs . “ T he rea l m of ha rmo n y ," h e o ncew ro te to m e
,was a l way s m y d ream -wo r l d ."
F rom t h i s d ream l a nd h e b rough t u s contribut i o n s to t h e evo l u t i o n o f h a rmo n y mo re o rigi na la nd v a l u ab l e t h a n t hose p rov i d ed by an y o f t h eco n tempo ra ry compo se rs j u s t re fe rred to .L i sz t
,w hom no t h i ng g rea t escaped , was t h e
fi rs t to recogni’
t e t h e h a rmo n i c o rig i na l i t y a ndthe ge n i u s o f Grieg. I I is cord ial l e t t e r to him h adt h e i m po r t a n t e ffect of i nd u c i ng t h e N o rwegi a nGove r nm e n t to gran t h i m a su m o f money wh ic hmad e i t poss i b l e for h i m to v i s i t L i sz t i n Rome .
ONE H U N DRED SO N G S B Y TEN MASTER S
Some y ears la te r t h e Gove rnm e n t vo ted h i m anan n u i ty o f six tee n h u nd red crown s
,w h i c h e n abled
h i m to gi v e u p t h e d rudge ry of teac h i ng,and
devo te h i mse l f t h e n cefo rt h ch i efl y to composi n g. H e b rough t it abou t t h a t
,i n t h e wo rd s o f
t h e poet Bj o r n so n ,“ Norwegi a n moods a nd Norwegian li fe a re a t h ome i n every m u s i c room i nth e w ho l e wor l d . H is a rden t pa t r i o t i sm i s o n eo f t h e m an y m oods po rt ray ed i n h i s songs ; a n das h e lo ved h i s h om e l a nd , so d i d t h e N orweg i a n sl ov e h i m . W h e n h e d i ed
,t h e c i t y o f B e rge n so
licited t h e h o no r o f tak i ng c h a rge o f th e fu n e ra lse rv i ces
,bu t t h e Norwegi a n Gove rnm e n t i n ter
ve n ed an d m ade it a n a t i o n a l a ff a i r . M o re t h a nforty t h ou sa n d perso n s p a r t i c i pa ted ; a l l s c h oo l s ,s h ops
,a n d factori es were c l osed o n t h e day of
t h e fu ne ra l .I n o t h e r cou n tr i es Grieg
’
s mu s i c i s n o l essado red th a n i n h i s ow n l an d . H is fi rs t Peer Gy ntsu i te i s p robab l y t h e mos t popu la r o f a l l co n ce rtp i eces ev e ryw here . T o u s h i s m u s i c h as a n add itional in teres t becau se t h e grea tes t o f Ameri ca ncom posers
,E dward M acDowell
,was m ore in
fluenced by Gr i eg, wh om h e wo rs h i pped , t h a n bya n y o n e e l se .H e adoredGrieg
’
s mus i c becau se h ek n ew i t so we l l . I t i s becau se man y o t h e r m u s ic ians k now i t less well, t h a t m u c h of it rema i n sm u s i c o f t h e fu tu re. S i ngers, i n par t i cu l a r, h av eh i t h e rto ove r l ooked some o f h i s m astersongs i nt h e m os t in exp l i cab l e way
,fo r t h ey are as e f f ect i ve
as th ey a re beau t i fu l . T o be su re,i t i s n o t g i ve n
to man y voca l i s ts to be ab l e to rev ea l t h e te ndern ess a n d t h e V i r i l i t y wh i c h a l te rn a te i n t hesesongs .I t is a part i cu l ar l y d i ffi c u l t t as k to se l ect t h ebes t te n o f Grieg
’
s L ieder for t h i s v o l um e, be
’
cau se t here a re so m an y t h a t h av e a c l a i m tobe in c l u ded . I t was somew h a t eas i e r to c h ooset hose to be i n c l u ded i n t h e F if ty Songs oy Gr ieg,i n t h e M u s i c i a n s L i b ra ry . T h a t t h ose are indeedth e bes t fi fty o f t h e o n e h u n d red a nd fo r ty - s i x
,I
fee l s u re because Gri eg w ro te to m e afte r read i ngm y Song and Song
- lV r iterr : “ A l way s t h e cr iticsh ave po i n ted ou t m y leas t i m po rtan t t h i ngs as t h ebes t, a n d u n fo rtu n ate l y vice ver sa. H ow h appy Iam th at t h i s i s n ot t h e case w i t h y ou . You h ave
x x i
in the mai n dwe l t o n t h e very so ngs wh i ch I m yse l f co n s i de r t h e bes t.
I . I Love T/zee (1612 liebe D ie/z). T h i s i s t h em os t popu l a r o f a l l t h e Gr i eg songs . I t is a m u s ica l l ove—l e t te r
,com posed i n I 864, t h e y ear w hen
Gr i eg became engaged to h i s cou s i n , N i n a H a
geru p . For h e r i t w as w r i t te n , a n d n ever h as al ov er pou red ou t h i s fee l i n gs m ore i n te n se l y ,moreoverw h e l m i ngl y . T o th e ed i to r o f th i s v o l um eGri eg o nce w ro te : M y bes t songs w ere composed fo r h er ; t h ey em bod y m y perso nal fee l i ngs ,an d I could nomore h ave s topped exp ress i ng th emi n songs t h a n I cou l d h ave s topped b reath i ng.”She fu l l y deserved su c h l ove, for s h e was a n i dea lw i fe for h i m . T c h ai kovsk y dec l ared h e n ever “meta bet te r i n fo rm ed o r more h igh l y cu l t i v a ted wom an.
”She often sang t h e Gr i eg songs in pu b l i c .
H er a rt rem i n ded F rau vo n H ols te i n o f Jen n yL i n d ’ s “ i n its cap t i va t i ng abandon, d ram at i c v ivacity , sou l fu l t rea tm en t o f th e poem , a nd una ff ected m anner ; ” and to Gri eg him self it seemeda m a tte r o f cou rse t h a t o ne s hou l d s i ng so beau
tif ully , so e l oque n t l y , so sou l fu l l y as s h e d i d .”
2 . Cradle Song (W iegenlied ). A be tte r t i t l e fo rt h i s inefl '
ab ly sad so ng wou l d h av e bee n Valer’
s
W iegenlied, fo r i t i s a d i rge su ng by a fa th er, fo rt h e mot h e r w h o d i ed in giv i ng l i fe to h e r boy ;a n d t h e fa ther co n fesses h e wou l d h ave take n h i sown l i fe tojoin h e r bad i t n o t bee n fo r t h e ch i l d
’sn eed of a p ro tecto r. T he re i s a p rev a l e n t be l i eft h a t som e o f t h e bes t Gr i eg so ngs a re too intimefo r pu b l i c perform a n ce . H e h im se l f fea red th a tt h i s c radle song wou l d h av e to be exc l uded fromrecitals for t h at reaso n , a n d , as h e w ro te to m e i n1 899, h e was d i sm ayed to fi nd i t o n a p rogramm ei n Le i p z i g . B u t t h e voca l i s t was Jo h an n es M esschaert an d no l es s a pe rso n th a n A r t h u r N i k i schp l ay ed t h e p i ano pa rt . A fte r a few measu res h adbeen su ng
,deep s i l e n ce p revai l ed i n t h e h a l l .T he
composer ’ s h opes began to r i se, becau se t h e perf ormance was so i n com parab l y beau t i ful ; andw h e n t h e las t note h ad bee n su ng, t h e au d i e n ceexp ressed i ts s at i s fact i o n i n a n ou tbu rs t of p rol o nged app l au se . Note t h e exp ress i o n m ark , no ttoo s l ow
,bu t ve ry mou rn f u l l y .” T he p i a n o par t
i s pianimimo t h rough ou t ; t h e accen ts mu s t be
xx i i
very su b t l e , y e t d i s t i n ct. T he i n te n se gri e f, comb ined w i t h t h e l u l l i ng tende rness t h a t be l o ngs toa c rad l e so ng
,gi ves t h i s L ied a u n i qu e p l ace i n
m u s i ca l l i te ra t u re . T he popu l a r au t ho r of t h epoem
,A nd reas M u nc h , wa s g ra n ted a pen s i o n
by t h e N o rweg i a n Gove rnm e n t . H is bes t worki s h i s Sor row and Comf or t, i n w h i c h h e bewa i l s t h edeat h of h i s w i fe .3 . Sol'vejg
'
s Song (Solvejg'
s Lied ). Nex t to 1Love Thee t h i s i s t h e mos t w i d e l y k nown o fGrieg
'
s songs . \Vh e n I w ro te t h e i n t rod ucto rypages to F if ty Songs by Gr ieg i n t h e M u s ic i a n sL i b rary
,I s ta ted t ha t Gri eg h ad w ri t te n to m e
t h a t So/t 'ejg’
s L ied was t h e o n l y o n e o f h i s so ngsw h i c h co n ta i n s a bo rrowed m e l od y . T h i s wasa l apse o f memory . Look i ng aga i n t h rough h i stwe n ty o r more le t te rs to m e (wh i c h a re nowp ri n t ed i n Gr iegandhis lllusic) I cou ld fi nd no su c has se rt i o n . M o reov e r
,M adam e Gri eg p rom p t l y
wro te m e t h a t I was m i s tak e n ; t h a t , l i k e a l l o fGrieg
'
s so ngs , t h i s was e n t i re l y h i s own , a nd t ha tshe d i s t i n ct l y rem em be red t h e day w h e n be composed it .T he n ea res t app roac h to “ bo rrow i ng " i na Gri eg song i s i n d bird cr ied o
'
er the lonely sea,
w h i c h em bod i es i n t h e introdu f tory measu res am e l od i co—r h y t hm i c mo t i v e w h i c h h e h ea rd froma gu l l . So l vejg (p ro nou nced so l e - vigh
'
) i s t h e h ero i n e o f l bsen '
s famou s play ,Peer Gy nt. She fa l l s i nl o ve wi t h Pee r
,no twi t h s t a nd i ng h i s rough peas
a n t way s ; bu t he h as fa n tas t i c as p i ra t i o n s to becom e empe ro r o f t h e wor l d
,a nd soo n l eaves h e r
i n qu es t o f ad v e n tu res . She rem a i n s i n t h e bu th e h ad bu i l t fo r h e r i n t h e Nor wegi a n fo res t
,a nd
h e r song a t t e sts t h a t h e r t h ough t a nd h e r h ea rta re w i t h h i m a l way s .4 . f l Swan (E in Schwan). W h i l e Solvejg
'
s Liedi s a s i m p l e l y ric , wh i c h eve n I ’a t t i fou nd su i t edto h e r vo i ce and s ty l e , t h e a l mos t equ a l l y popul a r a nd m ore Griegian Swan req u i re s a s i nge r o fa more mod e rn t y pe w ho i s ab l e to b ri ng ou t t h edeepe r m ea n i ng o f lhsen'
s poem ,thc varied mus i
Cal express i o n , a nd , espec ially , the su pe rb c l im axwh e re the swa n , a ft e r a l i fe lo ng s i l e n ce , s i ngs a tlas t . In on e o f his l e t te rs to m e Gri eg ask ed m e to
cal l par t icu l a r at t e n t i o n to the fa ct t h a t t h e wo rd s“ja, da— da sa ngs t du
" s h ou l d be su ng sempre
ON E H U N DRED SO N G S BY TEN MASTER S
f or tissimo, i f poss i b l e eve n w i t h a cr escendo, a ndby no mean s diminuendo a nd piano. W h e n I bse nh ea rd Gri eg p l ay t h i s so ng , w h i l e h i s w i fe sa ng i t ,be p ressed t h e hand s of bo t h an d w h i spe red o n ewo rd : U nde rs tood .
"
5 . The F ir st P r imrose (M it einer Pr imula Ver is). Perh ap s ed i tors ough t n o t to “ gu s h , bu tw ho ca n h e l p gu sh i ng ove r t h i s so ng of a l ove rwho o ff e rs t h e fi rs t p ri m rose o f t h e seaso n to h i sbe l oved i n exch a nge fo r he r h ear t ? A ll t h e de l icacy of a flower, t h e fragra n ce of M ay , t h e buoya ncy of y ou t h , a re i n t h i s m u s i c . W h e n I wro tem y Songs and Song- ll’ r iters I was fo r ty - fi ve y ea rso l d , y e t t h i s i s how m y e n th u s i asm ra n away w i t hme : Can an y o n e h ea r t h a t exqu i s i te so ng, TheF i rst Pr imrose
,w i t h o u t be i ng m oved by a t h ri l l
o f delight l i k e t h a t w h i c h m u s t be fe l t by a n a turalistwhen he fi rs t comes across ab i rd of pa rad i se
,
w i t h i t s go rgeou s p l u mage so d i ff ere n t i n pa t te rna nd co l o r i ng from t h a t of a l l o t h e r b i rd s ? W h e nI fi rs t h eard i t , I was a ff ected as l was whe n Isaw m y fi rs t M a ri posa L i l y i n Ca l i fo rn i a . A
more g l o r i o u s o rig i n a l,s i m p l e so ng was n eve r
w ri t te n ." I t i s v e ry e f fect i v e , too , and wou l d beex t rem e l y popu l a r i f voca l i s t s h ad se nse e n oug hto s i ng i t .6. Spr ingtide (Der T he t i t l e of t h i ssuperb creat i o n i s m i s l ead i ng. I t i s a n y t h i ng bu ta s p r i ng song. T he poe t v o i ce s t h e sad fee l i ngs o fon e w h o
,k now i ng t h a t h i s day s a re n um bered ,
gra tefu l l y rej o i ce s i n h av i ng bee n p ri v i l eged tol i v e t h rough o n e mo re sp ri ng — to see o n ce moret h e s n ow me l t
,res t h i s ey es o n t h e g ree n m ead
ows,a nd h ea r t h e l a rk s s i ng. W h e n Gri eg a r
ra nged t h i s mastersong fo r o rc h es t ra h e ca l l ed i tThe Last Spr ing becau se , as h e exp l a i n ed to m e ,i t l acked
,i n i t s i n s t ru me n t a l v e rs i o n , t h e wo rd s
t h a t exp l a i ned t h e mea n i ng o f t h e t i t l e . H is LastSpr ing wou l d h ave bee n s t i l l m o re defi n i te .W h e nT c h aikovsk y h ea rd N i n aGri eg s i ng t h i s h eave n l ysong at Le i p z i g h e w as mov ed to tea rs ; a nd su bseq ue n t l y h e s h owed h i s grat i tud e fo r t h e grea tp l e asu re gi ve n by se nd i ng h e r h i s ow n songs ,witba co rd i a l d ed i ca t i o n . W h a t me l od i c b readth,whatexqu i s i te te nd e rn ess i s h e re com bi n ed ! No te t h esu pe rb l y swe l l i ng harmonies , eutrancing modu
ONE H U N D RED SO N G S B Y TEN MASTERS
lations in to unex peéted k ey s . I n i ts orchestralgarb i t i s o f indescribable beau ty . T he i r i descen tco l o rs g l ow an d shimm er,as i n W agn er ’ s Siegf r iedI dy l.T he N ewYork P h i l h a rmo n i cOrch es t ra h asastriél: ru l e aga i n s t e n co res, bu twhenJosef Stransk y fo r t h e fi rs t t i m e p roduced t h i s p i ece befo rea P h i lharmo n i c aud i e n ce t h a t ru l e was s h at te redi n to a th ousa nd fragme n ts . H e s i m p l y h ad to repeat it. I t m akes a grea t o rgan p i ece, too , an d i sem i n e n tly su i tab l e fo r u se i n c h u rc h es e i t h e r fo rt h e o rgan a l o n e o r wi t h vo i ce . Fo l low t h e exp ress i o n m arks ve ry care fu l l y
,espec i a l l y t h e dolcissinzo
i n t h e n i n t h m easure,and t h e gradual c resce ndos .
7. On the yourney Home (Anf der Reise z ur
Heimath). L i k e Spr ingtide t h i s mastersong i s a se tt i ng of a poem by A .O.Vinje,whose p rose wo rk sd i d m u ch to e n l ig h te n t h e Norweg i a n peop l e
,
a n d wh ose v e rse s se t Gr i eg “ all aflam e w i t h eut h u s i asm
,
” as h e w ro te to m e, t h u s fer t i l i z i nghis fan cy w i t h some o f i ts m os t t h r i l l i ng concept i o n s . V inje
’
s poem gi ves exp ress i o n to t h e emot i o n s o f o ne wh o h as bee n away from hom e an dre tu rn s to see aga i n t h e fam ili a r fe r t i l e va l l ey s betwee n t h e s n owmou n ta i n s an d to h ea r h i s mo th ertongue o nce more. I n Grieg
’
s heart,which a lway srema i n ed i n N orwa y w he n h e res i ded e l sew h eref or a t i m e, i t s t ru ck a deep l y respon s i v e c h‘o rd ,patr i o t i sm a nd l o ve o f h om e be i ng two o f th es t ronges t t ra i ts i n h i s charaéter . T h i s wh o l e songis of indescribab le beau ty .A t te n t i o n i s ca l l ed particularly to t h e l as t f ou r measu res , i n w h i c h t h ecompose r i s overw h e l m ed w i t h em o t i o n a s m emories of y ou t h come back to h i m . T h ese fi n a lm easu res a re a ferve n t a n d g l o r i ou s ou tbu rs t o ffee l i ng, fo r w h i c h f ew para l l e l s ex i s t i n t h e w ho l e
x x i i i
ra nge o f mu s i c . Note fu rt he r t h e refres h i ng l yu n co n ve n t i o nal e nd i ng o f t h e m u s i c.8. The W ay of the W or ld(Lanf der W elt ).T h e reare cases o f i n fa tu at i o n w h e re eve ry t h i ng i s u nderstood w i t hou t a f ormal proposal an d a k i ss i sas spo n tan eou s an d i nev i tab l e as t h e fi rs t g l a n ceof l ov e . U h l an d ’ s poem te l l s o f s u c h a case, an dGri eg has added a m erry m u sical commen ta ry asspo n tan eou s as t h e g l an ce a nd t h e k i ss . H e re, asi n mos t o f Grieg
’
s songs, m uc h o f t h e e f f ect depe n d s on t h e a r t i s t i c u se o f t h e su s ta i n i ng peda l .W h e n I w ro te t h e n o tes fo r F if ty Songs by Gr iegI sa i d : “ T h i s so ng w i l l som e day h ave a sen sational su cces s i n con ce r t h a l l s . T he s i ngers h av en o t d i s cove red i t y e t .”T hey h ave n ow . D r.W fi ll
n e r took t h e l ead ; h e h ad to repeat i t eve ry t im e,a nd to- day i t i s o fte n app l au ded a t recitals .
9. A D ream (E in Traum). Of all t h e Gr i egso ngs th i s i s perh ap s t h e mos t e f fecti v e fo r t h eco ncert hall.W ith i t s cresce n dos a n d u rge
,r i s i n g
a t t h e e nd to a s t i rr i ng c l im ax , i t i s s u re o f a rou si ng t h e e n t h u s i asm o f an y aud i e n ce . I t i s a l ov eso ng i n t h e H e i n e v e i n , by F r i ed r i c h vo n Bode ns ted t, bet te r k now n as M irza Schaff y , to w homGerm an y owes som e o f h e r c ho i ces t l y ri cs .
1 0 . E ros. T h i s i s a n o t h e r so ng w i t h a sp l en d i dfi n a l c l i m ax
,w h i c h e ndears i t to s i ngers a nd hear
e rs a l i k e . T hough i t bea rs a l a te opu s n um beri t h as l ess o f t h e esse n ce a n d qua i n t n es s o f
Gr i eg i n i t t h a n m os t o f h i s so ngs , i n c l u d i ng TheM ountain M aid
,At M other
’
s Grave,E re Long,
F r iendship, TheOldM other,Al a Young W oman
’
s
B ier,M argar et
’
s Cradle Song,Ragnhild, Ragna,
a n d o t h e rs w h i c h,a l as
,ca n no t be i nc l uded i n t h i s
vo l u m e .
HUGO W OLF
N E of t h e m os t amus i ng t h i ngs i n m u s i ca lb i og rap h y i s t h e v i o l en t ha t red o f Brahm s
wh ic h H ugo W o l f fe l t all h i s l i fe , a nd w h i c h befree l y exp ressed i n p ri n t du ri ng t h e t h ree y ea rsi n wh i c h he se rved as m u s i ca l c ri t i c o f t h e V i e n n aSalonblatt, a s we l l as i n l e t te rs to h i s fri e nd s . H e
h e l d B rah m s to be d efic i e n t i n t h e capac i ty fo rrea l l y deep fee l i ng . T o li cks te in h e o nce sa i d :“ T he t rue tes t o f t h e grea t n ess o f a com pose r i st h i s — can he ex it/t ? W agne r ca n exu l t ; B rahmscan no t .” T o t h i s po i n t h e o fte n refe rred , p l ay i ngse l ecti o n s from Lohengr in wh ic h i l l u s t ra ted w ha the t hough t was l ack i ng i n B rahm s . H e po i n tedou t flaws i n t he sca n s i o n o f som e B ra hm s so ngs ,pa r t i c u l a r l y t h e Vergebliches S ta
'
ndchen ; he com
plainedo f the“c h i l l Nov em ber f ogs
"in h i s work s ;
a nd h e agreed w i t h N i e t z sc h e t h a t B ra h ms 's m e lancholy w as “ t h e me l a nc ho l y o f iinpo tence .
"
W ha t m ak es t h ese c r i t i c i sm s am u s i ng i s t h a tW o l f
,i n h i s own so ngs , resemb l es B ra h m s more
t ha n h e does an y o t h e r com pose r excep t Loewe .Som e of t h e W o l f so ngs , i n d eed , s h ow t h e sp i ri ta nd i n flue nc e o f B ra h m s so s t ro ng l y t ha t t h eym igh t eas i l y be a t t ri bu ted to h i m . I n t h em t h erh y t h m i c e l em e n t p redom i n a t e s ove r t he m e l od i c
,as i t does i n m os t o f t h e L ieder o f B ra h ms ,
who,h oweve r
,was mo re o rigi n a l a nd p ro l i fi c as
a m e l od i s t t h a n W o l f.\Vhat d i d B ra hm s , i n tu rn , t h i n k o f VVolf ’
s
mu s i c ? I t i s o n reco rd t h a t wh e n El/en
lied a nd I’euer reiter we re p roduced i n V i e n n a ,u nd e r VVilhe Im Ge r i ck e
,B ra hm s was p rese n t
,
a nd a n ey e-w i t n es s speak s o f hav ing see n h i m ap
p l aud wa rm l y,no tw i t hs t a nd i ng t h e m a n y s h arp
t h i ngs W o l f h ad sa i d o f him i n ea r l i e r y ea rs .T he f o llowe rs o f Brahms we re l ess i n c l i n ed to f o rgi ve a nd fo rge t . O ne o f them ,
M ax Kalbeck,who
h a s w ri t t e n the o f f i c i a l B ra h m s biog rap h y i n fou rvo l u m es
,charaéleriz ed a grou p o f \Vo lf songs h e
h eard at a co nce r t i n V i e n na sa“ d ry , pu e r i l e s t u ff,ex t ravagan t l y ba n a l m e lod i es a nd ri d i cu l ou s harmon i c con vu l s i o ns , t ha t wou ld fa i n pass t h emse l ve s o ff as emo t i o n s o f t h e sou l . "W i t h t h i s co n t emp tuous se n t e n ce i t i s amus
i ng, o nce more, to compare the ecs ta t i c rhapsod ie s o f H ugo W olf
'
s E ng l i s h b i ograph e r, E r nes t
N ewman , who h as su pp l em e n ted h i s book o nt h i s com pose r by a l o ng and equa l l y eu l ogi s t i ci n t roduct i o n to t he vo l u me of t o
'Songs by Hugo
IVolf in t h e M u s i c i a n s L i b ra ry . T o t h i s em i n e n tc ri t i c t h e man y adm i re rs of H ugo W o l f maytu rn fo r co n fi rm a t i o n o f t h e i r m os t ecs tat i c op i ni o n s o f h i s com pos i t i o n s . Not o n l y are W o l f'sso ngs , i n t h e op i n i o n ofM r. Newman , “ t h e mos ts ig n i fi ca n t deve l opme n t i n t h i s fo rm of ar t s i n ceSc h u be rt," bu t h e h as n o h es i ta t i o n i n pu t t i ngh i m a t t h e head o f t h e so ng- wri te rs o f t h e wo r l d .
H e s u rpasses t h em a l l ," h e dec l a re s , “ to t h esame ex te n t a nd fo r t h e same reaso n t ha t W agnersu rpas ses a l l m u s i ca l d rama t i s t s
,— in v i r tue of
t h e vas t ra nge of h i s i n te res t s,h i s S hak spe rea n
bread t h of s y m pa t h y , t h e i n fi n i te p l as t i c i t y of h i sco n cep t i o n s , h i s g i ft fo r fi nd i ng fo r eac h poem am us i ca l exp res s i o n so po ign a n t a nd ve rac i ou s t ha to ne ca n n eve r aga i n i m agi ne i t be i ng exp re ssedi n a n y o t he r way . I f y ou come to h i m w i t h a p refo rm ed co ncep t i o n o f t h e so ng as a n exqu i s i teme l od y fo r t h e vo i ce t h rown i n to h ig h re l i e faga i n s t a p i a n o accom pa n i me n t t h a t i s o fte n ofno pa r t i cu l a r s i g n i fi ca nce i n i tse l f
,y ou w i l l o f
cou rse ra n k h i m be l ow Sc h u be rt . T o p l ace h i m ,
as some o f u s do , above S ch u be rt, i s n o t to d i sparage t h a t wo nd e rfu l ge n i u s ; W o l f h i m se l fwou l d h ave t h ough t poo rl y o f a n y adm i re r o f h i sw h o was gu i l t y o f i n se n s i t i ve n ess to t h e l y ri cbeau t y of mos t o f Sc h u be rt 's so ngs ,
a nd no ins t ru tted l ov er o f W o l f i s l i k e l y to be so l i m i t edi n h i s sy m pa t h i es . Bu t to see a man cr i t i ca l l y i sno t to d i spa rage h i m .
l i t igo \Vo lf had,M r . N ewman goes o n to say ,
j u s t the gi ft s t ha t Sc h u be rt e i t h e r l acked o r d i sp l ay ed o n l y i n te rm i t t en t l y . I le appea l s to u s as apoe t n o l es s t h an as a m u s i c i a n . I t i s as a m u s i c i a nalone , in m a n y cases , t h a t Sc hu be r t m ak es h i sm ainappcal to u s ; h i s m e lodies are oft e n so d i v i n ei n t hem se l ves t h a t we scarce l y t rou b l e to t h i n kof t h e wo rd s . Now t he sec re t o f W o l f 's peculiar power i s t h a t h e p i e rced to t h e verv h ea rt of
xxv i ON E H U N DRED SO N G S B Y TEN MA STER Sgrea t gen i u ses
,he neve r t h e l es s h ad a mos t ex
a l ted i dea of t he va l ue of h i s so ngs . I n h i s l e t tersto fr i e nd s one com es ac ros s suc h exp ress i o n s ast h ese
,re fe rri ng to h i s l a tes t c rea t i o n s : A god
l i ke song,I te l l y ou H eavenly ,
wonder f u l l”Two
new so ngs , “ t h e l i k e o f w h i c h h as n ev e r bee nhea rd .
"
W h a t I w ri t e now,dea r fri e nd , I w ri te
for pos te ri t y . T he y are m as te r- work s ." W h e ny ou hea r t h i s , y ou ca n have o n l y on e des i re i ny ou r sou l — to d i e .From be i ng u nd e rra t ed (excep t by him se lf and
a f ew fri e nd s ), \Vo lf , soo n afte r h i s dea t h , beganto be ove rrated by a g rou p o f enthus iasts . T heyd i s t racted a t te n t i o n from h i s rea l ac h i eveme n tsb y m ak i ng absu rd c l a i m s , su c h as t h a t h e haddon e for t h e Lied w ha t W ag ne r h ad d on e for t h eope ra ; a nd t h a t h e had gi v e n t h e p i a no pa rt as i gn i fi ca n ce i t n ev e r h ad h ad befo re . A s a m a t te ro f fa! ,
i t was Sc h u be r t who d i d fo r t h e L ied w ha tW agn e r did,
af ter him ,fo r t he ope ra . I n so ngs l i k e
.Margaret at the Spinning H/heel
,The E r lking ,
1l '[y
Phantom Double,The Guide Post, a nd Death and
the tI/Iaiden,h e efl’
eéted a u n i o n be twee n poemand m u s i c as i n t i m a te as t h a t i n a n y sce n e o f W agne r ’ s mu s i c- d ram as . Fu r t h e rm o re , i n these , andm a n y of h i s o t h e r so ngs
,h e gave t h e p i a no p a r t a
s ign i fi ca nce t ha t has n eve r bee n su rpas sed . Sc h uman n
,i n h i s IVa/desgespra
'
ch a nd I ch gro/le nicht,a nd F ra n z a ndGrieg,in t h e i r bes t e ff orts , ac h i eveds i m i l a r m a rv e l s
,w h i l e L i sz t ’ s Loreley i s m uc h
m o re l i k e a m i n i a t u re W agn e r m u s i c- d rama t h ana n y t h i ng H ugo W o l f eve r w ro te .W h a t W o l f real l y d i d ac h i ev e wa s t ha t , moret h a n a n y o n e e l se
,h e m ad e the mu s i c i a n “ p l a y
seco nd fidd l e " to t h e poe t . G l u ck , W ebe r, a ndW agne r a l so p reac h ed t h a t “ t h e p l ay '
s t h et h i ng ; " bu t i n t h e i r best pages t h ey d i d no t l i veu p to t h i s doct ri n e . W o l f d id . M o re t h a n an yone e lse ," i n t h e word s o f M r . Newman , “ h efrank l y accep ts the po e t as h i s s t a rt i ng- po i n t .At his rec i ta l s he u sua l l y bega n b y read i ng t h epo em to the aud i e nce befo re a no te o f t h e mu s i cwas a l l owed to be h ea rd . U n l i k e Sc h u be r t a nd t h eo t h e r great me l od i s t s , w ho fe l t t h a t t h ey m igh tp l a y a l o n e h a nd ” a nd s t i l l w i n w i t h t h e pu b l i c ,\Vo l i fe l t t hat fu l l u nd e rs t a nd i ng of t h e poem
was esse n t i a l to t h e su cces s of h i s so ngs . W h e nh i s M o rike cy c l e was p r i n ted h e gave thepoet t h ep l ace o f h o no r by h av i ng h i s po r t ra i t as fro n t i sp i ece .Bu t i t i s i n t h e co n s t ructi o n o f h i s voca l pa r t s
t ha t h e pay s t h e mos t h um b l e hom age to t h epoe t . You will n o te t ha t t h i s pa r t
,as M r . N ew
m an pu t s i t , no t o n l y fa i t h fu l l y fo l l ows t h e gene ra l se n se o f t h e poem
,bu t t h a t i t cu rves a nd
d a r ts , r i s es a nd fa l l s , h as te n s o r s ta nd s s t i l l i nco n fo rm i ty w i t h pa r t i cu l a r sugges t i o n s i n t h ewords .” I f t h i s t rea tmen t o f th e s i nge r as p rim a ri l y a n e l u c i d a to r o f eve ry wo rd of t he poemi s accepted as t h e ca rd i n a l v i rtu e i n so ng- wri t i ng
,
t he n H ugo W o l f i s u ndou bted l y s u p rem e . Bu ti f t h e power of c rea t i ng voca l me l od i e s w h i ch
,
wh i l e rep rod u c i ng t h e mood o f t h e poem realis
t i ca l l y , a re a t t h e same t i m e e n t ra n c i ng a l l byt h emse l ves i s t h e h igh es t achieve tnent i n so ngwri t i ng
,t h e n W o l f fa l l s be l ow a l l o f t h ose w h o
h ave becom e famou s i n t h i s d epa r tm e n t o f m usic .
“ W ha t i s a c ri t i c ?” a boy ask ed h i s fa t h e r,
w ho rep l i ed : “A c r i t i c,my son
,i s a ma n who
wri t es abou t t h i ngs h e does n ’
t l i k e . I n t h e caseo f W o l f's so ngs — eve n t h e bes t o f t hem — t h eed i to r o f t h i s v o l u m e fra n k l y adm i t s t h a t h e i sa c r i t i c i n t h a t se n se of t h e word . Bu t i t has a l sobee n sa i d t h a t a c ri t i c i s u su a l l y ri gh t i n w h a t h ep ra i ses a nd w ro ng i n w h a t h e d i spa rages . D i p lomatically accep t i ng t h a t m ax i m as t ru e , t he ed i to rw i l l e ndeavo r i n h i s com m e n t s on t h e t e n \Volfso ngs c hose n fo r this vo l um e , to h ide h i s own
op i n i o n s u nde r a bu s h e l , wh i l e pa rad i ng t h e favorab le v i ews o f t h em p romu lga ted by E rn es tNewman and o thers, including H ugo VVolf himse l f .
I . To rest,to rest .
’(Z it r R ah
,z ur R ich !) T he
fi rs t secti o n o f this song i s , i n the op i n i o n of M r .Newman , o ne o f t h e no b l es t o f a l l W o l f ’ s conceptions ;
“ a m o re m ov i ng,more s i n ce re vo i c i ng
o f bod i l y a nd m e n t a l fa t igu e cou l d ha rd l y be i magined. I t i s a n ea r l y wo rk
,o n e of s i x so ngs to
poem s by Schefi el,whichW’
o lf composcd in i 888 ;
bu t i n i t s h armon i c a nd d ec l ama to ry fea tu res i ta l read y sugges t s t h e s t y l e o f h i s m atu re per i od .
2 . Biterolf . E uge n Sc hm i tz , o n e of B ra hm s's
ON E HUNDRED SONGS B Y TEN MASTE RS
biograp h ers, adm i res i n t h i s so ng part i cu l a r l y t h ein troducto ry m easu res, wh i c h , w i t h s im p l e h armo n i c m ean s
,bri ng v i v i dly before ou r eyes t h e
s u n bur n t h ea t h e n land fro m wh i c h , i n t h e y earI 1 90 ,
t h e c rusader Biterolf voices h i s long i ng fo rh i s T h u ri ngi an h ome . M r. Newm a n fi nds t h eheav y r h y th m i c t read o f th e song t h rough ou tvery exp ress i v e of th e fu n damen ta l s t re ng t h ofBiterolf
’
s sou l , i n sp i te o f its deep dep ress i o n .”
3 . Secrecy (Verborgenheit). I n V i ew of H ugoW o l f’ s p ro fou nd d i s l i k e o f t h e m us i c o f B ra hmsitm u s t h ave ga l l ed h i m if any o n e po i n ted ou t t h a tt h i s so ng
,w h i ch was o n e of h i s fi rs t to be su ng
f requ e n t l y , is s t ro ngl y sugges t i ve o f t h a t compose r. “ I t i s o f a k i n d , w i t h i t s regula r s t rop h i cm e l od y s ta nd i ng ou t above a n ‘ accom pan i m en tin t h e o rd i nary s e n se o f t h e word , t ha t W olf did
no t o f te n afi efi ,
” s ay s M r. Newman .4. Tramping (Furrreise). T he r h y t hm o f t h e
lef t h a nd i n t h e p i a n o par t, w h i c h ru n s t h rought h i s so ng f rom th e fi rs t m easu re to t h e l as t, seem sra t he r j e rky f or a rea l i s t i c s ugges t i o n o f t h e“ s tead y t ram p ” o f a cli m be r. B u t W o l f ’ s E ngli s h h igh p ri es t was in sp i red by i t to a d i squ i s i t i o non t h e fu n cti o n o f m u s i c to pa i n t." H e fi ndst ha t aga i n s t t h i s backgrou n d a re s h ow n u p t h evary i ng emo t i o n s o f t h e wa ndere r .” H e ad
m ires “ t h e l o ng- brea t h ed charaéter o f the m el od i cp h rases
,an d decla res t h a t “Fan reise can take its
p l ace co n fide n t l y amo ng t h e v e ry fi n es t ‘So ngso f t h e W o l f h im self was en th u s i as t i cove r i t. I n a le tte r dated M arc h 2 I , 1 888, h e s a i d“ I take back wha t I wrote y es te rday abou t E rsterL iebeslied eine: M o
'
delzens. I t i s n o t m y bes t so ng ;fo r w h at I w ro te t h i s m o rn i ng
,Fuu reise
,i s a m il
li o n t i mes bet te r . Ye t h e h ad s a i d o f t h e o t h ert h a t i t was “ so in te n s e t h a t i t wou l d l ace rate t h en e rvou s sy s tem of a marb l e b l ock . W h e n y ouhear t h i s, y ou ca n h ave o nly o n e des i re in y ou rsou l — to d i e .”
5. Song to Spr ing (E r ist’
s). T h i s i s o n e of t h em os t popu l a r of th e W o l f songs
,notwithstand
ing i ts l o ng pos t l u de fo r piano,which m igh t seemcalcu l a ted to h o l d back app l au se . I t owes i tsvogue to t h e tu nefu l efi'
eCt of th e voca l p ar t. T helef t h an d of t h e accom pa n i m en t is som ew h a t m ore
xxv i i
v ari ed t h a n in mos t o f th e W olf songs. T he songis “ mai nly o n e b ig cresce ndo of fee l i ng .
6.M orning (I nder F r iilze). I f the songs includedin t h i s vo l u me are
,as t h e ed i to rs be l i ev e
,t h e bes t
te n th a t W o l f composed , t h e n two of th em (E rist
’
: an d I n der F r ii lze) were w r i t te n o n t h e samed ay : M ay 5, 1 888. W olf had pe r i od s o f inspirat i o n d u r i ng w h i c h h e wo rked feve r i s h l y day a n dn ig h t, a l l ow i ng h i m se l f bare l y t i m e to ea t an ds l eep a l i t t l e ; a n d t h ese were fo l l owed by week so r mo n th s du r i n g w h i c h h i s m i n d was to rp i d .M r. N ewman adm i res t h e way i n wh i c h t h e samem u s i cal mot i v e i s emp l oy ed i n bo t h h alves of th esong : i n t h e fi rs t
,in m i no r
,to g i ve th e se n se of
a gl oom y a tmosp h e re,wh i l e t h e c l eare r m aj or h ar
mo n i es o f t h e seco n d a re i n a m ore h opefu l mood .7. W ey lo
’
: Song (Gerong W ey la’
y). Sc h u ber t h ada h ab i t o f com pos i ng in su ccess i o n a grou p ofsongs to v e rse s by th e sam e poet . T o t h e sam ehab it,and o n a m uch l a rge r sca l e,H ugoW o l f wasadd icted . M o r i ke
, Goe th e, E ichendorfl’
,su pp l i ed
h i m w i t h m ate r i a l fo r cy c l es . Of M o r i ke ’s poemsh e se t n o fewer t h a n fo rty - t h ree i n fou r m o n t h s ;h e m ade t h i s n egl ected poe t famou s
,for h i s M 6
r i k e songs are co n s i de red by h i s adm i re rs t h ebes t of all. E i gh tee n o f them a re i n t h e v o l ume o fF if ty Song: 5} HugoW olf edited by E rn es t N ewman
,wh i l e in t h e p rese n t se l ecti o n o f ten , fi ve are
from th e M o ri k e cy c l e . W ey la’
s Song i s t h e fi ftho f them
,and i t was o n e o f t h e fi rs t of W olf
’
s tobecom e popu l a r.8. From lzer balcony green (Auf dem grunen
Balcon). T he Spanirclze; L iederoncb ofGe i be l a n dH e i se
,wh i c h i n c l uded ve rses by t h e l ead i ng Spa n
i s h poe ts,i n s p i red W o l f
,as i t h ad Sc h uman n ,
B ra hm s,a n d J en sen , to m u s i ca l se t t i n gs . H e
s tarted ou t w i t h t h e i n te n t i o n o f mak ing t h e n u mber for ty—fou r
,a n d succeeded . T he bes t o f t h ese
a re F rom her baleonygr een an d th e fo l l ow ing so ng .9. Sad I come and oending lowly (M z
'
ilz’
voll
leomm’
ielz and beladen). T h i s, acco rd i ng to M r .
Newman,
“ i s a c ry from th e dep t h o f a s i n n er ’sh ear t . P ro bab l y t h ere is n o t h i ng i n m ode rn mu s i cto com pare w i t h i t fo r s h eer in te n s i ty excep t theterr ib l e l am en t o f t h e u n h appy Amfortas in t h efi rs t act of Porn’
f ol. I t wou ld be im poss i b l e
x x v i i i ON E H U N D R ED SO N G S BY TEN MASTER S
to pa i n t mo re fi ne l y t ha n i n t h i s so ng t h e to rtu re of t h e b rain by t h e awfu l obses s i o n of o nei d ea . "
I O. E'
en lit/[e thing: (fl ue/zHeineD inge).T he rei s a l so a n I t a l i a n L ieder burlx by H ugo \Volfse t t i ngs of no fewe r t ha n fo rt y - s i x poem s . I t i sneed less to say t h a t i n t h ese , as i n a l l h i s so ngs ,
W o l f i s as un- I ta l i a n as o ne cou l d poss i b l y be .I t does no t sugges t e i t he r Pa l es t ri na o r Ve rd i ;e i t h e r Ross i n i o r M ascagn i , bu t i s pu re l y H ugoW o l f, i n eve ry measu re . M r . Newman fi nds agood dea l o f deep fee l i ng i n E ’
m lit/[e things , andn o tes “ t h e ex t rem e s i m p l i c i t y of t h e mu s i ca lm ea n s em p l oy ed .
"
RICHARD
con se rva t i ve adm i re rs o f B ra hm s t h es i c o f R ic h a rd S t rau ss i s a n abom i n a t i o n ,
fo r i t rep res en ts t h e oppos i te ex t rem es to t h oseo f t h e o l de r m as te r . Yet S t rau ss bega n h i s ca ree ras a fo l l owe r o f B ra hm s
,h i s ea r l y com pos i t i o n s
be i ng s t ro ngl y i nfl ue nced by him . Bu t i n 1 885(h e was bo rn a t M u n i c h i n 1 864) h e cam e i n toi n t i m a te assoc i a t i o n
,a t M e i n i ngen , w i t h A l ex
a nde r R i t te r,a nep h ew
,by marr i age , o f R i c h a rd
W agn er,a nd a n a rde n t c h am p io n o f t h e m u s i c
o f t h e fu tu re " as rep rese n ted b y W agne r a n dL i sz t ; a n d t h u s i t cam e abou t t h a t S t rau ss gradually cam e fo rward as t h e leade r o f t h e u l t ram ode rn s c hoo l i n two b ran c h es o f m u s i c— t h eo rc h es t ra l to n e—poem a nd t h e opera , i n bo t h ofw h i c h h e t ravell ed away from t he p r i n c i p l es o fBra hm s as fa r as i t was poss i b l e to depar t fromt h em .
Adop t i ng,i n p l ace o f t h e c l ass i ca l s ym ph o n y ,
L i sz t ’ s pa t ter n of sym p h o n i c poem s,S t rau s s
composed a ser i e s of long an d e l a bo ra te works,t h e t i t l es o f w h i c h — su c h as Till E nlenrpiegel
’
s
M erry P ranks, Don 71 mmDon Quix ote, a n d AHer o
’
s L if e, i n d i ca te t h a t t h e y be l o ng to t h egenreof p rogramm e m u s i c w h i c h t ri es to sugges t defin i te sce nes o r h appen i ngs w i t h o rc h es t ra l to n ecom bi n a t i o n s . I n t h i s d i recti o n h e wen t bey o ndan y p rev i ou s com pose r i n bo l d rea l i sm
,wh i l e h i s
d i sso nan ces a nd cacop ho n i es j a rred o n m an yea rs . T h a t h e w i e l d ed t h e o rch es t ra l fo rces w i t ht h e s k i l l o f a su p reme m as te r was adm i t ted eve nb y h i s oppo ne n ts ; bu t w h e n h e w ro te 3. Domestic
Symphony , i n w h i c h h e t r i ed to i l l u s t ra te a d ay int h e l i fe o f h i s w i fe
,h i m se l f
,a n d child
,with a mon
s te r o rc h es t ra a n d tonal c l i m axes sugges t i ng aE u ropea n wa r ra t h e r t h a n a dom es t i c scene
,som e
of h i s adm i re rs bega n to dou b t h i s s i n ce r i t y,an d
bega n to wonde r i f h e was no t po k i ng fu n a t t h emi n a ra t h er h eavy
,o rc h es t ra l way . N eve r t h e l ess ,
t h e co n ductors co n t i n u ed to favo r h i s to n e poem s,
wh i c h se rve so adm i rably to d i sp l ay t h e v i r tuos i tyof t h e i r o rc h es t ras .A s a n ope ra compose r
,a l so
,S t rau ss h as ar
t racted more a t te n t i o n t h a n an y other liv ing m u s i
STRAUSS
e i a n . E ac h o f h i s operas i n success i o n , from Fez/ersnot t h rough Salome an d E lektra to t h e R osen
leavalier, crea t ed a sen sa t io n , par tly becau se o f its
s u bj eét , pa r t l y becau se of t h e revo l u t i o n a ry m u s icalme t h ods em p l oy ed ; an d w h i l e t h e exc i temen tl as ted t h e operas we re su ng everyw he re
,a n d
S t rau ss p rospered as n o se ri ou s com pose r befo reh i m h ad eve r p rospe red . Bu t t h e se n s at i o n u sua l l y d i d n o t l as t l o ng
,a nd i t i s n o t l i k e l y t hat any
of t h e S trau ss ope ras,ex cep t pe r h ap s t h e Rosen
lea’
valier,w i l l s u rv i ve h i m .
I t i s qu i te o t h erw i se w i t h h i s songs . Amongt h ese — t he i r n u m be r i s l a rge a n d s tead i l y growi ng— t he re are gem s t h a t a re o f las t i ng v a l u e . I nv i ew o f t h e c h a racte r o f h i s operas
,it i s odd t h a t
S t rauss s h ou l d h av e com posed a ny songs a t a l l ;fo r i n t h ese ope ras h e deliberately ma l t rea ts t h eh um an vo i ce i n t h e m os t am az i n g fas h i o n
,w r i t
i ng fo r i t i n te rv a l s t h a t a re we l l- n ig h u n s i ngab l ea n d d row n i ng i t i n t i d a l w aves o f o rc h es t ra l d i n .I t i s re l a ted t h a t o n ce
,a t a re h ea rsal of oue of h i s
operas i n M u n i c h,h e s h ou ted to t h e o rch es t ra l
p l ay e rs : Loude r ! Loude r ! I ca n s t ill h ea r t h evo i ces !T h i s m ay be m erely ajoke i n ven ted by a w i t t yj ou rn a l i s t
,bu t i t i s u nde n i ab l e t h a t i n h i s ope ras
S t rau ss goes to t h e oppos i te ex trem e o f Ross i n i ,Don i z e t t i
,an d Be l l i n i
,wh ose ope ras we re w r i t te n
c h i efl y to e nab l e p r im a d o n n as to s h ow o f? t h e i rvo i ces and t h e i r vocal a r t . T he bel canto esse n t i a lto t h e i r wo rks wou l d be was ted i n aStrau ss opera
,
i n w h i c h dec l am a t i o n an d aéting are t h e p rim erequ i s i tes o f t h e a rt i s t s perfo rm i ng t h em .
I n m an y o f h i s so ngs,a l so
,t h e i n s t rum en t a l
p a r t i s o f more mu s i cal s ign i fi can ce t h a n t h evo i ce
,w h i c h , as i n H ugo W o l f ’ s L ieder , spec i a l
i zes i n dec l am at i o n t h a t i s fa i t h fu l to t h e poem .
Bu t i n o t h ers o f t h e S t rau ss songs t h e vo ice asse r ts itself ,soaring a l oft i n t ru e m elody . Co ncer ni ng t h e S t rau ss so ngs i n ge n eral I w ro te i n Songsand Song
—W r iter s
T he fi rs t t h i ng t h a t s t r i kes o n e abou t theseso ngs i s t h e i r d i ffi cu l ty , a nd t h e compose r ’s p red i l ecti o n fo r u nu su a l k ey s . T he V i e n n a pu b l i s h
x x x
ers who u sed to objeét to Sc h u be r t's p i a nofo rte
pa r ts a nd beg h i m to use easy key s w i t h n o mo ret h a n t h ree fla ts or s h a rp s, wou l d s ta nd agh as t a tR i c h a rd S t rau ss ,w hose p ages som e t i m es l ook l i kea w i l de rness of fl a t s a nd s h a rps , w i t h t h e head ofa no te t i m i d l y peep i ng ou t h e re a nd t here . Fam i liarity , h oweve r, soo n b reeds co n tem p t fo r t heseacc id e n t a l s ; wh i l e t he so ngs grow m ore a nd mo reb eau t i fu l . T he a r t o f to na l co l o r i ng wh i c h i s sono t i ceab l e i n t he o rc hes t ra l wo rks o f S t rau ss , i sa l so app l i ed
,as far as pos s i b l e
,to h i s p i a nofor te
pa rts . H e i s fo nd of su rgi ng a rpeggios sweep i ngt h e key board u p a nd down
,a nd p rod u c i ng h a r
mon i es so ri c h a nd g l ow i ng th a t o n e ofte n fee l stem p ted to keep t he ped a l dow n l o nge r t ha nneces sary , a nd l i nge r o n t he resu l t i ng chordjustto e nj oy i t s eu p ho n y . Sc h u be r t was t h e fi rs t toi ndu lge i n c ho rd s a l l u r i ng by t h e i r eup ho n yco l o r fo r co l o r ’ s sak e —bu t h e n eve r d reamed ofsuc h o rc h es t ra l g l o ri e s i n t he p i a n ofo rte
,of su c h
a rpeggi os,a nd comm i ng l i ng of we i rd ha rm on i es .
H e re a re h a rmo n i es no t a n t i c i pa ted by Bach ,Chop i n , a nd W agne r ; h arm on i es bey o nd t h eda ri ng of eve n L i sz t a nd Grieg.
“ Some o f t h e h a rm on i es— or d i scard s— arefra n k l y ugl y , bu t t h e y a re c h a racte ri s t i c , a nd wesoo n ge t to l ove t h em as we do faces t h a t h avemore c ha racte r t h a n beau t y . W e l oo k fo r somet h i ng more t h an beau ty i n a m an 's face— w h yno t a l so i n a man ’ s m u s i c ? Y e t beau t y t h e re i s ,too,
in t hes e songs— some t i m es i n a l l u r i ng abu ndance ,
as jus t s ta t ed ; no r i s it confi ned to t h e p i a n opa rt . E l a bo ra t e as t h e p i a no pa r t i s , i t doe s n o tswam p t h e v o i ce
,wh i c h s t a nd s ou t a s bo l d l y as
i n W agn e r's m u s i c- d ramas,when they ar eproperly
J ung andplay ed. T h ese so ngs a re no t m uc h eas i e rfo r t h e s i nge r t h a n fo r t h e pianis t ,and t h ey a re no tfo r bu ng l i ng am a teu rs . Se riou s m u s i c- lo ve rs m ayas we l l begin w i t h som e of t h e eas i e r o ne s— su c has Morgen, Ach, Lieb
'
,ieh mutt nun J cheiden, Breit
fiber mein Haupt dein trhwar z et l/aar , D ie Nacht,
Naehtgang,Ach
,weh mir
,:zng/iiehhaf tentAf anne
wh i c h a l so h appe n to be among t h e bes t . T heappe t i t e w i l l soo n grow f o r wh a t i t feed s on , a ndt hose w ho a re n o t a fra i d o f tec h n i ca l d i ffi cu l t i esw i l l h ave a ri c h m e n u to c h oose from . As regards
ON E H U N DRED SON G S BY TEN MASTERS
th e poem s , i t i s se l f- ev i d e n t t h a t t h e w r i te r o ft h e Zarathustra p rog ram me m akes som e n ove lex pe rim en t s i n t h e Lied too . Among t he so ngsi n t h e com i c ve i n I m ay m e n t ion Her r Lenz andF ii r f t
’
tnf z ehn Pf ennige.
i . Devotion (Zueignung). W he n h e com posedt h i s so ng , R i c h a rd S t rauss was a u n i ve rs i ty s t ude n t a nd o n l y e ig h tee n y ea rs o l d — t h e age a tw h i c h Sc h u be r t w ro te The Er lking . H e h ad prev iously com posed son a t as fo r p i a no , fo r v i o l o nce l l o , a nd fo r v i o l i n , bes i des a se re n ade fo r w i ndi n s t rum e n ts . W i t h t h e excep t i o n o f Schubert
,and
ofM e nd e l s so h n , w ho w ro te t h e marvellous fl l idsummer N ight
’
s D r eam over tu re a t t he age o fseve n tee n
,t here i s n o i n s ta n ce of r i pen ess i n t h e
wo rks o f a m u s i ca l y ou t h equ a l to t h ose wo rks,
i n c l u d i ng Devotion,w h i c h s h ows a rem a rk ab l e
m as te ry o f p i a no s t y l e a nd a t rea tm e n t o f t h ev o i ce more voca l a n d me l od i ou s t h a n i s to befou nd i n t h e l a te r so ngs a nd theope ra s o f Strauss.
a. N ight (D ie Narli t). T he p reced i ng remarksapp l y as we l l to t h i s so ng
,w h i c h a l so (as we l l as
t h e fo l l ow i ng , All Soult '
Day ) be l o ng to S t rau ss 'fi rs t grou p o f so ngs , p r i n t ed as opu s to . T he
poems a re by H e rm a n n v o n Gilm ,and t he so ngs
we re d ed i ca t ed to t h e famous te n o r of t h e I\ I un i c h Ope ra , H e i n ri c h Vog l .3 . /Il/Sou/f Day (Aller seelen).
-V i t h t h e ex cept i o n o f th e Ser enade
,n o S t rau ss so ng i s s u ng more
freq u e n t l y t h a n t h i s ; M adame Sem bri c h , i n pa rticu lar
,h as had i t oft e n on n e r p rogram mes . I t
h e l ps to bea r ou t t he op i n i o n h e l d by m a n y t h a th i s ea r l i e r so ngs a re m u s ic a l l y a nd voca l l y mo rev a l u ab l e t h a n t h e l a t e r o n es , i n w h i c h too o ft ent he s i nge r i s su bo rd i na t ed u ndu l y n o t o n l y to t h ep i a n i s t bu t to t h e poe t.4 . E
’
er J inee thine ey e; retur ned my glance: (Seit
dem dein Aug'
inweinei Jehaute). E rnes t N ewman ,who does n o t grea t l y adm i re t h e S t rau ss so ngs ,a nd i s co n v i nced t h a t o n l y a few o f them w i l l l i v e ,t h i n k s t ha t t h e com pose r 's em o t i o n , w h i c h i nAller i eelen a nd Zueignung was s t i l l “ a l i t t l e s o l i da nd beefy ," grows mo re refi n ed i n t h e songs ofopu s 1 7, w h i c h i nc l ud e s Seitdem dein Aug
' as we l la s t h e m os t popu l a r o f all t h e S t ra u ss songs , t h eSer enade. In t h ese , h e dec l a res , “ h i s fee l i ng is a t
ONE H U N D RED SO N G S B Y TEN MASTE R S
i t s pu res t and h i s tech n iqu e a t its bes t, t h e so ngsbe i ng mos t l y cas t in o n e piece t h roughou t .” H e
had gradu a l l y learn ed to “ pare down h i s ex pans i ve s ty l e to t h e l im i t s o f t h e l y ri c .” E '
er since
thine ey es i s a l ov e so ng l ead i ng to o n e of t h osee ff ecti ve c l i m axes t h a t a re so dea r to s i ngers a ndt h e pu bli c too .5. Serenade (Standehen). A s Beet hove n was annoy ed by t h e t remen dou s popu lari t y o f h i s Adelaide an d h i s sep te t (bot h o f which h e wou l d h av eg l ad l y des troy ed i n h i s l a te r y ears) a n d W agnerby t h e excessiv e vogu e o f his Tannha'aser marc ha nd t h e b r i d alc h o ru s from Lohengr in A re t h o sethe only things I h ave com posed h e o n ce angri l ys h ou ted to a ba ndmas te r), so S t rau ss h as m a n ya t i m e t h ough t b i t te r l y abou t h i s Serenade, w h i c h“ to hu n d reds i s t h e w ho l e o f R i c h a rd S t rau s s,as h i s b i ograp he r
,M ax Steinitz er, rem arks .T h ere
i s t h i s d i f f ere nce,h owever
,t h a t in h i s case popu
larity h as s i ng l ed ou t w h a t actua l ly i s t h e bes t o fh i s l y r ic s . Steinitz er ca l l s it a h y b r i d o f t h e o ld e rand t h e mode rn s ty l es o f so ng ; bu t t h e pu b l i ch ears i n i t simplya sp l e n d i d l ove so ng— a l ove r’ si n v i ta t i o n to h i s swee th ea rt to com e i n to t h e garde n a nd li s te n to t h e n igh t i nga l e be twee n k i sses— se t to spon tan eou s a n d sple n d i d l y e f f ecti v em u s i c— a lway s su re to b r i ng dow n t h e h ou sewh e n de l i ve red b y a s i nge r o f th e d ramat i c ty p ea nd p l ay ed b y a n i m b l e a nd i n te l l i gen t p i a n i s t.I t was a wa r—ho rse o f L i lli a n N o rd i ca . W ho caresfo r t h e audac i t y w i t h w h i c h t h e com pose r i gn o rest h e poe t i c acce n t s a nd other “ fiaws to w h i c hSteinitz er (p . 1 59) devo tes a w h o l e pa ragraph .Su ch poet i c li ce n se i n du l ged in by a com poseru nw i l l i n g to m a r t h e n atu ra l flow o f t h e mu s i ci s i n fi n i te l y be t te r t h an t h e s l avis h su bord i n a t i o no f t h e com pose r to th e poe t w h i c h i s n o t i ceab l ei n so m a n y o f t h e la te r an d less i n sp i red so ngs ofS t rau ss, as well as in t hose o f H ugo W o l fand i nm a n y o t h e r ly rics .6. Thy wonderf ul ey es my hear t inspir e (B reit
te’
ber meinHaupt dein schwar zer Haar ). I t i s n owge nera l ly agreed t h a t t h e mos t i n sp i red o f Strauss ’o rc h es tral wo rk s i s Donyuan, wh i c h appeared asopu s 2 0 . I t i s t h e re fo re not su rp r i s i n g t h a t t h egrou p of l y r i cs i mm ed i ate l y pr eced i ng t h at tone h
poem ,settings of six poem s by A . F . vo n Sc h ack
,
opu s I 9, i n cludes o ne of h i s bes t so ngs :B reit u'bermein Haupt. T h ose w h o have h eard S t rau ss
'
operas
,par ti cu l a r l y Salome a nd E lehtra, in w h i c h t h e
vo i ce par t i s n o t o n l y u n voca l , bu t i s u su a l ly l os ti n t h e o rc h es tra l d i n
,mu s t m a rvel a t a so ng li k e
t h i s by t h e sam e com pose r — a s im ple so ng, inw h i c h t h e vocal m e l ody i s as i m po r ta n t a nd asbeau t i ful as t h e p i an o pa rt
,w h i c h
,be i t n o t ov er
looked, h a s in t h e l as t fou r meas u res a l ov ely epil ogu e, ech o i ng t h e ope n i ng p h rase .7. W hy should we keep our love a seeret ? (W
'
ie
solltenwir geheim t ie halten). T h i s love s ong alsoi s i n c l u ded i n opu s I 9, and , l i ke t h e p reced i ng,i t i s n o t o n l y beau t i fu l i n i ts e l f b u t h as a s i ngab l em e l ody , w h i c h ca n no t be sa i d o f mos t o f t h e l a te rso ngs , t h e dec l am ato ry s ty l e o f which redu ces th es i nge r to t h e s ta tu s of li t tle m ore t h a n a rec i te ro f t h e poems . T h ere are excep t i o n s
,opu s 2 7, fo r
i n s tan ce, i n c l u d i n g t h ree popu l a r S t rau ss so ngs,Cdeilie
,Heimliche Anf orderung, a n d M orgen,
wh i c h m ig h t h av e bee n i n cluded i n t h i s volumeh ad i t n o t bee n fo r co n s i de ra t i o n s o f copy r ig h t .I n t h i s grou p (op us 2 7) Steinitz er fi nds th anSt rau ss “ p rese n t s him self in full matu r i t y as th ecrea to r o f a n ew epoc h of l y r i c son g ”— a j u dgm en t w h i c h m ay be take n tum grano Jalir ; for,w h i l e S t rau ss m ade fu t i l e at tem p t s to se t to m u s i cpoem s u tter l y u n su i ted for a se t t i ng
,h e d i d no t,
i n es sen t i a l po i n t s, go beyo nd h i s i do l , Lisz t, i nm u s i ca l rea l i s m .
8. All of the thought: in my hear t and my mind
(All’
mein Gedanken,mein Her z undmein Sinn). I t
i s wo rt h n o t i n g t h a t w h i l e two of t h e bes t te nS t rau ss so ngs inclu ded in t h i s vo l u m e a re f romopu s I 9, direétly p reced i ng h i s m as te r- work ,Don
7uan, t h ree m ore o f t h em are from opu s 2 1 , fo ll ow i ng t h a t sple n d i d to n e- poem . E v i de n tly t h ey ears 1 887- 88, wh e n S t rau ss com ple ted th e fi rs tquar te r ce n tu ry of h i s l i fe
,were sp ec i a l l y co n
ducive to creat i v e acf tiv ity . N o one can fa il to bep l eased w i t h All’ mein Gedanken
,opu s 2 1
,No . 1 ;
o r w i t h9. Thou of my heart the diadem (Du meine: Her r
z en: opu s 2 1 , No . a— ano t h e r l ovesong by Fe l i x Dahn ; or wi th
ONE H U N DR ED SO N G S BY TEN MASTERS
lo . [ now mutt leave thee ( f /Cll L ieb , S t ra u ss a l way s ado red M o za r t and M ozar t i a nich mm : m mJeheiden), opu s 2 1 , No 3 . T he t i t l e s i mp l i c i t y , a nd occas i o n a l l y pa i d i t a t r i bu te l i k esugges t s a fo l k song , a nd t h e m u s ic — s t ra nge l y t h i s .un- S trauss ian i n t h a t respect— sou nd s l i k e o n e .
M Y QU E E N(W I E B I ST DU ME I NE KON I GI N)
(Com pos ed in 1864 )
(Or ig inal Key;
G - 1875 > JOHAN NE S BRAHM S ,Op.32,N0 9
Translated by A r thur W es tbrook (18334 897 )
A d agio
VOI CE
P IA NO
col P erl.
du r ch sanf te te won n e
Copy r i ght MGM] by Ol iv er D itson Company M L - SO- 4
my q u ee n , my q u e e n .
no vol] . H t’ 0 0 11 !
F r is ch (“if go f or R 0 s e n
van g le ich ic h den de f u i
'
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gm i ? Ach ,u be r
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won voll .
tend g r ii Sokat ten br e i ten
Fra granc e and sweet r e f re s h - ing s hadeob f iir ch ter li che Schwu - lo dor t
my quee n ,n o v oll,
NI L
my q u e e n .
ne v0”.
Las s m ic/i v e r g eh'
n i n de i o n c m A r n" E s i s ! in ihm ja s e lbs t de r
oh aneh d ie s i r To ale s q u a ] din B r i t s ! du r ch . n'u the .
my q u e e n , my q u e e n .
n r mm : no
“I 4 1 0 - 5
To j ulius S tockhausen
S L U M B E R S ONG(RU HE ,
SES SL I E B CHE N )
f rom the Magelone Cy c lu s(Pub l i sh ed in 1 868 )
JOHANN LUDW IG TI E CK ( 1 773 - 185 3 )
Trans lated by J ohn S . Dwigh tJOHANNES B RAHM S
’ OP 33,
A dagio (Langsam )
VOICE
P IA NO
g rove ;_ S o f t s igh eth th e g ras ses s au s elt das Gr as
Copy r igh t MCM I I I b y Ol iv er Ditson Com pany M L 2 60 3
Tho n'
r t fa n n ed and ar t c oo le d i n th e shad ow,
And watc h ed b y fa i t h f u l
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S c hla s c hlaf'
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S us p e nd th e i r b e
e s r u he n d in
( le r ing . c h oh n Ge s e
'
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'
Ch e n , de i n A u
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m elt f or t, i hr Me
M L 2 60 - 8
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M L - ZGO- fi
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M L - 2 60 — 8
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M L 2 6 0 - 8
1 3ToR F in Vienna
CRADLE SONG
(VVI EGENL I ED)(Pub l is h ed in 1 868 )(Or igin/llKey, E b)
KA RL S I M ROCK ( 1802 - 1 876) JOHANNE S BRAHMS , Op . 49, NO 4
T f fl ltS/tt f ed by Arthur IVes/broolr
W ith gentle motion
VOICE
P IA NO
piI low thy I f God W i ll,
a n ter die hf or g en f r iih,
Co py r igh t MCM I b y Ol iv e r D itson Company M L —266 - 8
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thou s halt
"l am -3
1 6
MY HEART I S IN BLOOM
(M E I N E L I E BE IS T G RUN )( Pu b l is h e d In u m )
(Or ig i nal Key )
t ERD SC II L'
MANNi O'
N O 0
Tran lated by F r eder i c F i r /d B it/lardJ “A” 8 5 “RAHMS , p ( “vb 5
V\ i th an imat io n (Lebhaf l )
VOICE
P IANO
l i k e the l iw t
‘
e de r F i f e
m e in
( o py t ( h t l r ll l ll b y O l i v e r lnt son Com pany M L 2 01: 6
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M L - 2 68 - 5
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sta sy s i ng di n g lay,z e t a nd s in be r au s ch t
M L - 2 68 5
H. B OLT Y 1“
1 8 2 8 - 1 8 87 )
Translated by Ar thu r "f ay/br ook
L OV E S O N G
(M I N N E L IED)(Com pos ed in 1 N77 )
OOrhginu
W ith much tende r ness but not too s low l y
VOICE
P IA NO
doch nicht z u la
Cop y r igh t XCMI by Ol iver Di tso r.Comp any
2 1
JOHANNE S( 1 3 3 3-1 na7 )
Swe e t or
ML- Zi —2
22
v
b r ight mu ss f a
Blu l ’ “m l Kra udo'd .
f o r ;
In n Thai a nd A u'
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r d de r R a
do th gath
e n b/u m e n__
all joy w e r e de ad ,
is ! a ! [ es
o f e v e - fl ingHug s
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wol les t
m og’ i n
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THE D I SAP P O I NTE D SERENADER(V E RGE B L I CH E S STANDCH E N)
lPuplish c d an 1882 )
(Or ig t'
nal Key)
LOW " “hm " “ h m“! JOHANNES BRAHMS .Op .H-1 ,NO 4
Trans lated by fi '
r r den c f'
IGId E ll/lard
\V i th animationand good humo r (Lebhaf ! und g'
u! gelaun!)
VO I CE
‘Hc‘ l Ah, good e v e ning. fa i r0 14 f e n A b e nd
, m e i n
P l A ND
S c hal z , g u be nd , m e in K in d ,
(‘ V P - n ing , my dea r ! Low b r ings m e h e re tu_ the e ;A b r nd . m r f n Kind ! I c h ko m m '
au s L ieb,
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Copyrigh t i f "! b y Olin r DllsonComv 5
(She ) Mym ach’ m i r auf _ di e Thu r !
can ’t le t y ou My m oth - e r said , y ou s ee ,
las s ' di ch n i cht Mu t ter , di e wi th m ir k lug ,
ML- 278- 5
2 63
(E N
Id 3
wou ld"z i t
ha l l is !
r u e__
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P ! n (I f ?
ti er
\ I I.“ 273 5
H 67 2 fri er t, m ein ’ L i eb
c r u e l mai d
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c r u e l maid,
Now i f
2 7
wi rd,
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M L - 273 - 5
2 8
man ; S o , good n ight ,
g u ( 0 Nach f .
go
g “
l ong e r_ s tay ,B e l l , z u r_ R u h
’
,
t ( ) b e d )
10 Na ch t ,
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le t it
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P l easa nt d r eam s,y oung
g u te Nach t, m e in
p l e as - ant d r eams,young
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N L-2 78 - 6
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Gr il Ion r ings um -schwt
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M L 275 - 8
3 1
ra diant_ s ions , L ik e pu res f z
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'
I feel the W h ile as tho’
I long werem i r i st, als ob i ch lf
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7
And b orne loft to fie lds E ly sian ,And
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ML - 275 3
a: S A P P H I C ODE(SA P PH I SCHE ODE )
‘Pu b l l s h c d m lM U
HA NS S CHM I DT0 I A
,
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'
c s lb r 1 A”g um 02V»
Ranth e r \ lo (Z ie'ml ich Iangsmn)
VOI L Es e s cu l l ed at n ight
s e n brach i ch Ayachls
P I A NO
S u s s e r hu n ch - ( e n s ic , als je
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F o lt y r i t h l ”f l“ h,(N iv ar"I N OD Company
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from th e da rk -'
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ML- 277 - 2
3 4
A THOUGHT L I K E MU S IC
(VVI E M E LOD IE N Z I E HT ES M I R )(Compo sed in lSS 9)
(Or ig inal Key , A)KLAUS GROT”1 1 8 1 9 JOHANN ES
I t be ll“ ln'. l ’arAr r . “8 3 8 - 1 8 9”
nder b' (z aru
VOICE
A thought , l ik ell
'
ie Al e lo
P I A NO
s/‘hwnb l m l
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Copy r i gmu r s mhy ouv n Di lm n Compony M I 3 2 g
eth th rough my s ou l .
wile n f t da hin .
Doch kom m t das W ort__ u n d es and fuhrt es 0 0 7
blas s t
a way ,
’Tw i l le in Hau ch ,
ML - 3 2 - 4
L IGHTE R FA R IS NOW MY SLUMBE R( IM M E R L E I S E R W I R D M E I N S CH LU M M E R )
( Pu b l i sh e d i n M189 )
Or rg 'na/Key f ;
"ERMA ?s h “M I G ouw x s s BR A HM S o . 105‘
n o
Tran Irv/r d 6, fi l l/0 rdJ I’ .5
S low and so f t ( Langsam and le is c')
VOICE
m e r 5 0 r w i t 'd m e i n S C I: [ 14m m e r,
PIANO
A nd my s o r rows w ith ou t num a s had ow y
m ar w ie S c h/P i P r l ing ! m m'
n Ku m le r ud ii f u r
ve il
Co pyrig h t “Cl l l l by Ollt‘t r Oth on ( om pany“It
3 9
th e door is c los ed to th ee
m an d wach t u n d of f n et di r,
and we ep f or b it ter pain,
u 'nd wei n e bi t ter li ch ,
ter, b it ter pain .
n e bi t ter li ch .
M L - 2 8 5 - 4
40
s hall pe r
be u m ii 8
w i r s t
and co ld.
u nd ha l l ,
the May w ind wn rm s the
(1 f r Ma i e n Inf In
$0 73 ,
HP to ]:
wo ld,
rr eh'
u,
“In 2 h 5 n 6
soon !
soon ,
Wou ldst thouW i l ls t du
4 1
M L 285 4
I‘
German f rom aRu s s ian t en uon
o f a poom by'
HLlNt H Hl s < 1m PET ER I LY ITCH TCHA I KOV SKY, Op.6 ,N9 5
Tm ndated by Arthur ”I s /b ro : k
\'
OlC Ii
Te l l m e why are the ro s e s s o pal e ?W a r u m s t
'
nd de n n die Rn s e n s o b las s ?
PIANO
“e ar - 9 s t l ove , how the ir pu re b lo s ~ s om s fai l ! W hy so heav y w ith
5 14 s s e s L ie b, kan ns l (1 1 4 s a g e n m f r da s ? W a r u m s l
'
nd de n n de n
Bo th th e V in lo t in C l ine h e r swe e t h ead?
hm {m Gras a i r r m : Th ra u m d ie A ' u p r [ f i n mas s ?
The re t e nt ion o f He i ne's or ig inal t e x t no not poss ib le as th e com poser us ed a Ru ss ian t rans lat ion in a d l llP N ‘D I m e t ro
Con nn u"f l ! ”by 0 10m Du oon (An-pun y M L 2 | OU
4 3
W hy are ac cents o f sor row and w rong Th r i l l - ing loud in th e
W a r um f on t m i t s o trau r i g en Klang au s den Leaf ten der
W hy th e w ind th ro ’th e green b ran - che s s igh s
M r um rau s ch t in den B du m en der W ind,
L ik e a vo ice that de spai r ing ly c r ies ? W hy so co ld sh ines th e
als ob kla g en de S tim m en es s in d? I'VE; r um bli ckt denn di e
l ife -
giv ingwarm th from on
dr os - s en her ab
M L - 2 IUU 4
44
till'
d
de n n
w ith fears ,.w u r h 7
Te l lUnd
“ihy
W a
m e why
Iva r u m
the
r u m
W o r ldA l
”1, - 2 100 0
4 6
NONE BUT THE LONE LY H EART‘N UR W E R DI E S E H N SUCHT K E N NT )
jOIIANN u m c l‘
N B - l fl fl'
z
Tm n s lated by A rMu r Ni'd bl ‘uu k
Andante non tanto
P IANO
tCOfl lpOs o-d m tfl s tfl
(Orig i nal M y , 0 b)
PETER ILY ITCH TCHA I KOV S KY, ( lp i i ,N96
None
0 un i t !" ”P M" by C l in t Dttm n Com pany ”1, - 2 lfl l 4
H E S S .
S eh’ i ch an’s
Spread out a
n ach je n er
and henn t
ML - 2 101 4
4 8
Can k now
weis s,was
myi ch
A
A I
lone,
lei n
and
and
HL -Z l0 1
wei
F rom joy and
von al lergladF r eu
sad ne s s .
None
Nn r
b ut
wer
the
di e
4 9
My sens e s
E s s chwin—delt
ly heart Can
su cht kenn t,wei s s
,
ML - z loi L
J
Ge rman by Ferd inand( lumb e r t
f rom t he Ru~~tan o f
Tran slah d by b u i lt s Ft th y " .l/anm y
Andant ino
P I ANO
b a
CRADLE SONG
PETER I LYITCH T CHA IKOV S KY. Op . 1 6,N9 1
b y m ine , s l e ep and d ream ,ha b y m ine !
Copv vu h t w v x n by 0m " Du oan t umm ynL - zmz - s
b ree z e so m i ld,
z um m ei n e'm Ki nd
S oon the ea gle home -ward “ f lew,Ad ler flog n ach Hau se ab
,
drei Nach te vor ii ber s i n d,
ML - 2 IO2 5
(‘
e ao’
s ave s I n d r ive ? "
hast
t‘er
The n
s tay’
d s o
s chwa n~ d t s t
l o ng fromda
V I
80
2 102 5
THE CA NA RY
(DE R KA NA R I E NVOGE L)(Com po s ed i n 1 5 75 )
Germ an b y Ferd inand Gumb er t
f rom th e Ru s s ian o f ME Y
Trans la fed by Charles F nu f cg/n m m eg/
PETE R I LY ITCH TCHA I KOV S KY,op. 2 5
,N9 4
P IA NO
S poke Zu ~ le i k a thus to h e r ca na r y :
Sprach di e S td - ta. n in z wm Ka n a r i en 00 g el
Co pyrigh t MCMXI I b y O l iver D i t s on Com pany M L —6
me,b i rd l ing ,
ge) n le i",
( i f the se
s i n ge
l L- 2 IO7 - 5
M L ‘ 2 1 07 - 5
in dom P y'
aeli t-ge wan
l\ ud th e h int th adeDuel: das Vu
'
g l e i n
o f
n ach
"en 0 da li s he n
tliat
an
sang als
f ar_
in h is so r
A nt - wort l r u
land o f fre e du m,
je n em__ f er n en Lan do,
s te h en !
M L- QlO‘
I - S
M L 2 107 5
“0SOME ONE SA ID UNTo THE FOOL
(E I NST ZUM NA R R E N J E M A ND SPR ICHT)German by Ferd inand (lumbert c d s 5
f rom the Ru s s lan ou ter“m p“ P ET ER I LY ITCH TCHAIKOVSKY, Op . 25
,N9 6
Tram-In le t! b y I n d ra .llar f m e (Orig ina l Key ,0 m inor)
P IANO
I n die S ch en - ke sol ls t da n i ch t! S e i t dem lm - ren ’s al Ie
Dr ink b ut wa - te r a ll the_time l
the b r cm k le t go tn_\ c hn o ll
l 'n l 'fl “X" 5 ) 0 “e I’l l -o n ( u m gm n s M I. ‘ 2 l0 l1 - Z4
Dear- e s t b ro ok —le t,wh is -
pe r low,
L ie bes Bach l e in,sag
’
ge s c lu id,
But -‘e t
, fi rs t o f_al |,
Le ft the li m l the
How my g r ie f canW ) t
‘t‘
ar - l r i vth'
ic ll
tav e r n ha l l ? “
”1 . 2ms - 8
To S LE E P
(A N DEN S CH LA F )4 d
”
1875Germ an b y Ferd i nand Gum b ert
Compos e m
f rom the Ru s s ian of OGAR E V ‘ PETER ILY ITCH TCHA IKOV S KY,Op . 27
,N91
Tran s lated by I s idora Illar l z'u cz
m ister ioso
VOI CE
Now dark- some night the am -
ple earth doth cov e r,
The f or est trees areDie du n - kle Nacht n u n deckt di e wei te E r de
,des W al - des B du - m e
P I A NO
ca l l to Thee,O God
,hear my im
r uf’
z u di r,
o Gott,
er - hbr ’ m ein
F r i e den u n s
Copyri gh t MCMXI I by Ol iv er D i t s on Com pany M L - 2 109 4
s e e nd
ver. s chwieg ’n es L eidl
Tho u heat from W o und- ed
Du hor s l des wan den
hearts
He r
the c ry a
z ens n b cht lich
l L- 2 l09 - C
6 6
im Tra u m e g l it ch l ich
M L - z ifl g - t
DON J HAN’
S SERENADE
(STANDCHEN DES DON(Composed in 1 878)
Germ an b y Ferd inand Gum b er t(Orig inal Key, B mm“
f rom the Ru s s ian o f A . TOLSTOI PETE R ILYITCH TCHA I KOV S KY ,Op . 38
,N9 1
Trans lated by I sabella 0 . ParkerA l legro non tanto
P IA NO
Copyri gh t MCM I by O l iver D i t son Com pany M L
ms
i n: Tm u m e gl i4 Ch l ic'h
M L - z i0 9 - 0
8 6
Le t them find thu’
b u t in
laaa’
s ie {m Tran m e g lad - l ick
ML - 2 109
6 7
DON J UAN’
S SE RE NADE
(STANDCHEN DES DON(Com posed in 1 878 )
German b y Ferd inand Gum b er t(Orig inal Key, B m inm
f r om the Ru s s ian o f A . TOL STOI PETER ILYITCH TCHA IKOV SKY,Op. 38
,N9 1
Trandaf ed by I sabella ParkerA l legro non tanto
P IA NO
Copyri gh t MCM I by O l iver D i t s on Com pany M L —2n 7 - 7
I n thys c hzv i
'
n don
s ong de
s chc i 1 u3
.f n p r’
pna rar e
b a l
ba ld
thy lov
dem R uf
l igh t th ine
s ch b n r r
rde r
e a r !
S lvr n l
watchMan
is
N ] - 7
f fi Tmnpo I
llm 'v I
n arm 14nd
soughtdu n
thyk r l
My0
hear t it is
kom m e,N i
'
s
g lows e l
m u t in tzi i i i s
b i s Gm
s chn 01l
M L- 2H 7- 1
7 1
p lead ing 10V
z ar te S tand
Man - n ewt ge bracht .
M L—2H 7 - 7
s tm in
s ii
1 pm
3 5 03 In :
Tem po I
l u ng ,
Lohn,
M L - 2 H 7 - 7
W H E THE R DAY DAVVNS
(OB H E LLE R TAG)German 1 ) \ rm ' l (n n pow d i n lw l )
f t m I ! » R a f A A PLCHT I Nr
P ET ER I LYITCH TCHA IKOVSKY,
N9 6
T u m l: b y ( An u'
r s f'
i f f y .V i newA y )
Andant ino
PIA NO
.lL ll d lu
Cc pyn t h t “CN N” "Mn -r Dth n n (‘
nm mm v q l. 7
ML “ 2 1 2 1 - 7
s lr ls ri u r
s te l s
an d i ck !
U r “
N L
all is from i llOv , a ll is from0 1 1 1 8 du rch d ick
,0 ! IF S du rch
m m'
g e au ch km'
f e r,
ob l r u
c u dr,rrr da r b i nd ar lbal m ick
,
M L ' 2 l Z l - 7
p
r a m ie r 7
M L ~ 2 13 L $
wn m a tin
ber oer
de _ flam m e
l’a m e qu e f at
at
PO deu r des bois et *
Va f lu - tilt,sozgf - f le d’au
s on
des m ou s
M L - 2 13 4 i
512
\ l l e nt
My l o ve I'
ll m e e t
S N "
W o n de r,
l 0 11 0 m in,
ro Ve th rough5 0 ten
'
e t I1 0 r e
B e low the nod- ding b ee ch t re e y on de r,
je la r e tron 0 0
thick e ts dis
dra vers s a
s e e k the e,my love
,
gar de pa r tou t,
Ya !
Ou r
et
sans dou te,
hands eu —twined in
nou s nou s r e m et
l L - 2 1 85 - 3
sk y and
Whi le my0 m on
da dan s l’
ou
p lain, Dead and seat ter’d
0 163 f an vr es
heart’s to death l W - ly b leed- ing,
pau ore‘
a m owr, qu el dom m a ge
bli !
leaves are c on
boi s san s r a
That thyS 1
t rea- son
v i te
M L - 2 1 3 5 - 3
I LOV E TH E E( ICH L I E B E D ICH )
ICOm POS c d i n i n t“
i i
mi s s CHR I S T I AN AN D I-‘ RS LN m gof 'g m l fi
’
y
fi'
ng ln h u rn : n by A ubc r fi u s lu r E D VAR D GR I EG,0p. 5
,N9 3
Ge r l aan u r n n by E u n [ d o i n
Andante
VOICE1 .My thought O f
1 . Du m e in Ge
P IA NO
I b r ing to the e !
Copyrig h t NCN V I I b) Ol iver "Hu m Com pany l l, 1 505 - 2
9 0
A MI'
NCII m t i s .“
Eng lish r erswn by Nathan [lash /I
German u n ion by f a’mund Lobaian:
VOICE
PIA NO
Cu l l
CRADLE SONG
moltO doloroso
my s on ,
my son,
e r thythou fe e l
Cop y ri rm PM NV I I I by "l i ve r "th a n
E D VAR D GR I EG,Op. 9
,N92
oh,
s lum b e r W e ll!
s le e p pla C id ly lswe et mo rn ing
- joythy m oth e r dea rand s chlam m
'
r e sas s,
Chen,tr aiim
'
von ( hr,
na s chwe re B ras !
n e M il t lev s i ch
Ro ck s
di ck
m a ls so l l
N I.' 1 58 7 C
9 1
n un
ro se W ilL not catch thy fi rst smile start:
ing m id_ Sor row ’s heav —
y W eight and acheFa th er now has
On ly thy frail hand_ in- deed
sah * dein er s i es La cheln n i cbt,
der S or gen du n k lo Last
Va ter hat n u r di ch_ a l lein
u nd_ nu r dei n e kle‘i n e Hand
th ro’ thee felt Death’
'
_ k een
must car ryv en so
,ah !
h im in th is hou rder Tod das bri cht .
cken ihn z u B o den
Rei ch thwm
i bn eon des
ML - 1 567 - 4
o h,
s luma nd s c h lu nim
'
a l th e g rm'
e
d ie d i r da s Le
HENR I K I BQEN h es - 1905
E ng/1M r e rswn by A rMar u3sl lr
German n m N by "f l/( nu n
OCH Andante
PIA NO
SOLV E J G’
S SONG
The
De r
(SOLV E J GS L I ED)( Compo se d i 0 1 8 ?”
(Orig ina l Key )
w in te r may wane and the
IVin (e r m ag s chei de n , der
ED VA R D GR I EG,Op . 23 , N
9 1
sp r ing - t ime go b y , the_
F r ill! - l |°
ng r e r -
g eh’
n,d0r_
sum - me r to o may van is h,the
Bu t
Co pyrig h t V ! ‘ H I I ! M n l tvn "H u m Co m pany
o ne ( lay y ou’
ll re - tu rn ,that in
M lr ’5 79 v i
9 5
Al leg retto con moto
M 1,
9 6
MayGo“
Go d gu ide y ou r fe e t ,he! f r J i r , u 'c’ u n
i f
da
o n
d ie
b l e s s - ed peace b e you rs,i f
ea r th s t ill y ou rov e ,
S o n n e noch s ieh s l ,
[ I I/N ) (m ime/o
o n
d i e
in
Fa ith - f u I - ly I ’l l h ide ti ll a
HENR I K I BS EN i s t s - n us
F ug/u h u n ion by F retted c F i e ld BallardGer-tan r r rx ion by II .
’ I/fl ur n
A ndante b en tenuto
VOICE
PIANO
A S W A Ni E I N SCHW A N ’
( Com posed i n 1 678 .
tOr fgi'
nal A'
cy i
swan,
my treas - u re ,
S chwan,m e i n s ti l ter
,
(‘
o vn ccm fi r st"by O l i v er m im n Comm ]
ED VAR D GR I EG. Op 25 , x 92
"
S hy ly fear ing the
Angs t l ich sor gcnd des
fl L - tSM - l
99
y et, w hen death came And
And,w ith its r ing ing,
H i s spi r it pas s’d on,then
,He died_ wh i le
Du s chlo- s s es t s in -
gen d di e { r di'
s che Bahn dock , du s tarbs t e er
Lento
swan,
th en?
S ch-wan dock ?
M L 1 5 8 1 2
1 0" THE F IR ST P R IMROS E(M I T E I N E R PR IMULA V ER IS)
Com pose d i n 1 6 1 8 )
J PAULS I‘ N I NS !
E ng/1M r c r swu by fi'
t'
a rdr r ED VA R D GR I EG.Op 26 .N9 4
Germ ”: r r rs t n by ll'
Henn a
Al l egre tto do lc is' s imo
VOICE
0 tak e . thou lov e ly ch i ld o f S p r ing. Th is S pr ings fir s t te n de r
Mag d i'
r, da t a r tes F r u h J i ng s
- k i nd , d ies e r 3 18 B I iim - che n
P IA NO
it no t that lat e r
es gem ,ve r s chwab
’
es
s um m e r has
ko'
s t I ich is t
e n cha rm,
In tum" b t ’ fl f “ "N “
Oltw r Hi l t on 1 om pun ) M L - 1 5 8 2 2
21°
S P R INGT IDE(DE R F R
'
UHL I NG)tCom pou
-d In lusmA . O. V I NJ E i s ts - i sm ) (Or ig ina l A’ry )
Eng/cab by .e l mn lim b ItDo!» E D VAR D GR I EG, Op.33.N92
Ge rman t o I won by Edmund l f bcda u :
Andante e s‘p ress ivo
VOIC E
ve r the h i l l s o f the
fl ock of " m al bon n t’
den
ze rn de S trah len "och
PIANO
sp r ing I co u ld s e e. The sun b eams a dan c ing ; B irds ’m id the b loom s all a
IV i'
n te r ich s eh’
u dem F r ii h l in ge wet Chen , “b ibs - darn e r bl ii h te m i t
n’
u m n l ich sah a uf Le n : h it -
g el” gau - keh i . S chm et- te r - l i ng ‘
sah ich auf
s ou th - w ind “ e re f ann'
d. The ir h lo s soms all f ra grant .
ou l y e r w ith g l e e g le am ing and glan r ing .
Da l d ! n . so whe n . s o g n u : eh m Gle r'
chm .
Btu nu n a ll (In , s o I n s t fg s td : s cha u b eln .
Co pyri gh t Mt‘ V V ll l by Ol i ver Dttuon Com pany M L - l b fl 5
1 03
ic e from the land,
The
sp r ing_ l i fe so gay Wh ichE i s f la
' chen s chan’
n dem
n eu em i ch s ah , di e
Run ne l s w e redis heart en
’d
S chn ee sah i ch s chm el z en
Dock jetz t , z ioll S chwer m a th,
s chon
and I say : Can
m e, vol l Gr an
’
n,
s i ck
i ch m i r n ak’
di e
Green grew the grass once more We reY
e l l,
let it b e ! um to ld Of
Mat ten , d i e g r n'
i ch s eh’
n ,m i t
M L ' 1 5 87 5
1 04
Che .
do
so sc li o n ,
be s chert,
Loud IyMo re has
c i
'
n mat
m elt r als
a gain
b ee n mine
nuch sangve r d i
'
ent
chant ed
than b y
m f r d ie
ma rd m f r
V L- IMfl - b
1 0 6
Thus to mine ear in th is
On r um ich hé’
r le auf
The re - f ore the no te s o f the
Lau - 1e, auf F i fi (en, die
ing s e em shak - e u .
z e r o r “in -
gen .
b irch - haunt- ed g lade. Doe s s ingSeli m? ! u nd auf Tn ? !
p ipe that I madeof t {ch m i
'
r s chni l l ,
ea’
n r a'
Yh
\Vith wee pw {e S euf
V L - IMW - I
ON THE J OURNEY HOME(AUF DER R E I S E ZUR HE IMATH )
A .O.V I N J E ( 18 18- 1870) (Com pu s ed in ISM !)
E ng/2191; versi on by [ VaMan Hash /l (Or ig inal KGerman vers ion by Edmund l oécdanz
llamente
VOI C E
1 . The vales and moun2 . Ay ! l ife s treams o
’
er
I . Nun s ek’
i ch heh
2 . J a, L e - ben s tr é’
m t
P IANO
107
EDVARD GR I EG,Op. 33
,N99
tains am I now sur
me as it once came
r e B erg ’and Thd
'
[ er
auf m i clz , wie IVel len
in my long pas t youth I used to’neath the dr ifts green grass b e gan to
de n en , die i ch in der Ki nd - hei t
wi e der u n ter ’m S chn ee i ch Gr ii n es
the old days I
wek t k iik ler W in d
s o konn t’der Kn a
Copyrigh t MCMV I I I by O l iver D i t son Com pany M L - 1 5 93 - 2
lUH
li le nd e d
My c h ild- hood Spee ch I hearAnd as Iic h ho
'
r'
de r
DP S Ta 530 8
u
wr n n . So n
S e e the s un
K ind -hei t Sprach'
S i re it c r s la r b
b r r ma n nl m ir,/r. dam
d 14. P l " s ich '
l igh t go ld s t i l l l ie sthe b lue sk y to
de n g ld’
n z l de r S c h ncc
Chen B e rg or sah
a - h o ut me say ingM ) b r ight- ly b eam ings o f r i s c/i , s o b ie der .
in d ie s e n R ii u men,
(t his fiaum ka n n an ge n .
r m; [ h im w i l l.“ x v i ge n .
ll i b”"2
1 10
a go ;
d id no t b reathe a w i l l ing y e s? No r
b it ( e n ic h l. s i c s ag ! n ic li f : ja . doc/i
N L - tM‘fl
1 1 1
What o f wo rds b l iss to p rov e,
u n s
Young Zeph -
y r woos the b ud - ding rose,Nor ask s if him she
Das Luff - cken m i t der R o s e spielt, es f r ag t n icht : has t m i ck
M L - 15 99- 4
H 2
N i b ? Rt s S ic/L . Than - e b ub/I . ¢ s_ sag ! n ic k! Ia n g o ;
ne i the r s ays Ye s .
lee i nes s ag ] : ic h
lo ’ ‘5 99 0
“4
“1° heard the dis tant I n ev -
’
ry look our
fi r n a ns dom Dar - fi w i r u 'a r e n ga n t e r
rap tu re glow ij , Ou r hear ts we re he ld in b l iss“in : n e vol] . ve r s u n ken ganz i n S e
That go ld —en was no t so fair
A s wak - ing joys im par t A - gnin we s tood
br gab r s g ir l; i n IVi r b es wa r am g r n'
n.a’
1 1 5
in f or e st glade , Where spring had spread her ver_dant shade ;n en Wil l des es war z u r war m en F r iik - li ng s -zei t,
th e wood b ird sang, A sound of b e l l s th e
deer W’ald back s ckwoll, di e Kn os pe sprang, Ge ldu t’ er _s chol l own
I he ld thee fast,I ch h i e lt di ck jes t,
I he ld thee long,i ch hi elt di ck lung ~
M L— 1 602 - 4
l lti
F f f' f '
fi t
Thro' l ife thon‘
r t e v e r
! i n le'b s l i n m i r dare/1
lN L t‘
U lnt‘ a dream ,
l ie/i k : i! c u m Tra u m .
He re dreams li e -came
do r l wa rd de r Tra u m
‘I I
N ’
c u r
- 1
Ne’e r comes the pas t at you r0 s iin m et n icht. eu r en
fes t
y earn- i ngKran z eu ch
m e in
re tu rn- ing ,
an bin den ,
\1 l. - 0
1 1 9
o f l ife ’s deepder Kraft der
M I .
- 161 0 4
1 220
i s the g reat V naught e lse c an com pare ! V
is t das gras s V nein , m ch r nuck als das ! V
p iil f e be” f en .
M L M IO
[ 22
m m Mach le l c u dem Glanz der
m’
f /i more intense e xp ress ion
por tal . ln dream s a par t From
N I, 1 701 - 2
B I TEROLF1 2 3
IN THE CAM P OF A KKON,1 190
( IM LAGE R VON AKKON,1190)
(Composed at V ienna,Dec emb er
I V . von SCHEFFEL (1 826- 1 886) HUGO W OLFTrans lated by Cbar les Fonleg/n Man ney
(Orig inalKey) S ix Songs by S ch e f f el etc .
,N93
Rather sustained
PIANO
Copyri gh t MCM I X b y O l iver D i t s on Com pany M L—1 702 - 2
12 4
F e i n - den van [er -wa rts t r ot: m e i ner “bf - fi n: E r e,
Thoug‘
h ho ld myD oc/i w ie das
”L ' U OZ 2
1 2 0
L’
n k nown grie f fil lsli b s i ch trau r e
,
my days,
S o r row from my search ing
ic h es i s t n u be ha rm tes
F loods my eye s w ith tears u n de n ‘Vll t ‘ ll th e
im m ar da r du r cb Trix n e n h e i c h dr r
1 2 7
with increasing pass ion and animation
(nach und nach belebter und leidenschaf tlicher)
Of t when dream - ing
Of t bin i ch m ir
Th ro’ the s'
had - ows of my sad - ness,_ L ights the gloom w ith- in my
du r ch di e S chwe r e,
so m i ck dr ii cket,
won n ig li ck in m ei - n er
ML - 1 7 1 5 - 4
1 2 H
0 wo rld,
a ga in
las s m i ch s e in .’
tu re and its pa in!n e s e i - n e Pe i"!
I
- 4
I t!“
a b ird s inging g l ad ly W'
he re g re en l eav e s e n
w i e‘
s Vog- le in i
'
m Lo u b e s in g et u nd s ick_
ing mad lyne Tra n be
“L ' 1 7 1 7 - 6
1 3 1
m ei n Herbs t u n d
M L - i 7l7 ‘ 6
1 332
p in l ranym'
I/o
du_ n ic k ! s o s ch l im m,
o
s t ren g e n r e r_ s a g e n ;
a juy O i l 's h y m n
nu r doe/i,
a nd [ W e i - sex ! i m
M L ' t'
I H - fl
SONG TO S P R I NG”5
(E R I S T ’S )
(Com posed at Perc h to lds dor f , May 5 , 1 8 88)
EDUA RD MOR I K E ( 18 04 - 1 875 ) (Or ig inal lf ey )HUGO \VOLE
Trans lated by Ar t/tar ”E's/b r ook Mor ik e S ong s ,N9 6
Mo lto V ivace ,joyous lykaf f ,ju belnd)
VOI C E
F r u k l ing la'
Ss t s ei n
P IANO
Copyri gh t MC M I X b y O l iver D i t son Com pany M L 1 72 1 - 4
l tlli
Hark !
le ts in th e
ch : in ( r ii u nu n
MORNING “9
(I N DER F REH E‘
)
EDUARD MOR IKE (1 804 - 1 875) (Composed at P e r ch toldsdo-r f , May 5,1 888 )
Trans lated by Ckar lesFontey n Manney (Orig inal A’cy ) HUGO W OLFVery su stained ; heav i ly and dark ly M b
'
r ik e Songs ,N9 24
g etragen u nd sckwer)
VOICE
No s leep has cool’d my ~
b u rn ing eyes,
Kein S chlaf n ock kii klt das Au, g e m i r,
PIANO
dor t ge ket sckon der Tag .
m ei n em Kam m er ster .
My tor tured sou l i s a b out By waves o f
E s wilk let m ein ver ter S inn n ock zwi - scken
Copyrigh t MCM I X by Ol iver D i t son Com pany M L - 1 7 22 2
1 4 0
m’
tlx deep ,lender f ee/mg
no nu ne,iny mn d
,and cmas e to so r road
le dick n ick! l ii n -
g e r , nu i - n e S ee lei
Hea rk
peaceuu c k
fi L - l 7 2 2 - 2
l
Be - fo re thine
Vo r dei n er
a l
Gol f
ta r
h ei t
b end
be“
FROM HER BALCONY GREEN
(AUF DEM GRUNEN B ALCON )Tran s lated f rom an
(Com posed at Perc h to ldsdorf , D e c em b er 1 2 , 1 889)”W r e n
y 1 83 0 HUGO W OLFE ng l z
’
s/z vers i on by Ckar les-F ontey nManney Span i sh S ong s (S e c u lar,)N95
W ith sw if t and de l icate m otion ; gracef u l ly
VOI CE
F rom her b al—c on y green my fai r one Sends her glanc e to
Auf dem g r ii -n en B al c on m e in Mad - Chen s ckau t nack m i r du rcks
PIAN O
eye s c on v ey lov ing greet ing,_
Au gen b lin - zelt s i e.
freu nd - li ck,_
S till her f in to m e No !
m i t dem F in s i e m i r : N ein !
n)Pedal w ith each change of harm ony .
(nae/zjede'
mHarmon ienweeks el: P edal.)Copyrigh t M CM I X by O l iver D i tson Com pany M L—1 737 5
1 44
"OVV e s tran - g ing , F rom he r W in dow
de r Zn n k e n l mm m’i c h a n ik r
— J
\
g re e t m y s igh
Fen s lr r [dd
M L l 7l 7 5
1 4 6
'
il l (0, m e i - ne Glu th ? “i f ! in i
'
li r__m e in Him nu l r um,
dass n ock n ie die s u s s e Kle i r e A r s cklang u m m e i
For no ne ardock s ir bo lt
1 73 7 5
1 4 7
Th o ’ h er eyes c on - vey lov
m i t den Au g en b l in - z e1t
m i t dem F in
M I . - 1 7 3 7 - 5
1 4 8
SAD I COME AND B ENDING LOVVLY(MUH
'
VOLL KOMM ’
ICH UND B ELADEN)Trans lat ed ran“ the S I “lu s h f
H om powd at l’lr rc h lolds do r f . J anu ary IO. l ti l
Don Manue l d o ] R IO HUGOb \ l' MANL’ I L GE I BPL i sm i sm (Or ig i na l Key ) Span ish Songs (Sacred ) N9 7E t a/M b u r n n b y . lnl b m ”i sh /I 0 4 I f
Ve r y s low l y and s u s tained(S : li r la ng s am nm lg e l ragt n )
I f
I com e and b e nd - ingro l l bom m ’ i ck u nd be
l’ IANt )
n i n i m m ic k an
w ith s cald- int,r te ars \Ve ight- ed my de e p c o n
In ! Aro n r u m S ta u b de r E r (i f
H
Co pyrig h t “1 V I ! h r "l iv e r "t h an Com pany M L
1 30
L e t m e k nee l b e fore Thy fe e t ,Lass mick fl t ll end r o r d i r hn ie’n
,
ato r ing ! Lo rd,who to ld the rob - b e r dy
Dc r don S c kn elu r dn
- 6
1 3 1
zaitk abandonment
Tak e m e to
0 n i m/m m i ck
M L 1 738 - 4
1 5 ? BE N L ITTLE TH INGS
Tra ns la t ed f rom .t l upu ln r song:(AUCH KLE INE D INGE )
( i n Tum um ae u'
s f Tu s can Songs ] (F or! pom-ti at ll'
ob lm g , Dc Cc m b r r 9,1 8 8 1 )
1 ) PAU L ll L l \ l‘. n s so{Or ig ina l A’
cy ;TI u nlawf u l b y ( kn I o s i U J ] ! m ey HUGO
P,0
S low lv and ve r y tende r l y (o as.)I talian Song s
,is , 1
Lu ng s u m u m i s c h r t art)
Auch kle i - ne D in g e hon - non n ns en t z u
anchH : i no D in gr li o n-n on ( li eu er s : in . B e den kt,
u ‘iege r n wir
are tin-pe ar l s we tre as -u re ; Tho’
g re at the ir wo rth,how sma l l do they ap p e ar .
nns m i t 1 2r lan schm it c k: n ; s ic n r r d: n s elm ‘
er be z ab ll n nd s ind n u r kle in .
n u n tfl fl V ' MIX In on" : Dlh o n Com pany n us- 2
1 3 1 To He inrich I 'Og l
D E V OT I O N
(ZU E IGN U NG )( Com posed t o 1 8 8 2 - 1 85 3)
( Or i g inal M y )HPRRMAN ) “I L .“
Trans lated by ( War/m Fan/ey nR ICHARD S T RAL‘S S ' OP- 10.N9 1
odc rato
VOIC E
P IANO
da we t
'
s s l es,
fl u 'u r e S ee ich t on
b e ma c h ! d iv He r z r n krank,
‘f a air-fi n {434m éif: “f a iif : 633
Co pyrig h t l ! 1 ! by Ol lw r ni l-on Co m pany l l. 1 90 5 - 8
Thank s,dear heart !
ha be Dank .
eie “f ab . ééé‘fizb .
‘Eeb .$363)
a'.00 0
fi’
éci eb
NI L 3
1 3 6
be - schwan t da d iv B s e n , wa s
Thank s , de a r he ar t !ha b e Da nk .
‘
Neath he r
A l
ve i ln f mm l
u n d s l iehll die Gar b f ” tu g
u'
as n u r ho ld,
n im m t von Kn}, -fi r . dach de s Dam s
r am F: M
P lum de r 'd now
Au s g e fl an
M L Hm “ J
1 39
That the Night may snatch0 die Nacht
,m ir bang t
M I l — i gofi 3
To Hz m r xc h l'
oglI t “)
7ALL S OU L S DA Y
(A LLE R S E E LE N )( Com pos e
-d m I N 5 2 - 1 N b a)
HERRMAS N \ ou “IL .“( 0 ,
f rmw/alcd by I m bel/a (1'
l ’ar h r
“am ” ( V) R ICHARD STRAUS S , “II
T ranq u il lo
P IANO
P lac e o n the h oard swe e t mi- gnn ne tte h e
S le ll’
a uf den T t
'
s c lt ri f e duf Inn ! I n : Re
und lass 14n s
- 3r oP’ N C'“ e v b ? ONVO I DHOOn a 'uny
“I, l fl"
163
E ’ER S INCE TH INE EY E S RETURNED MY GLANCE S
(SE I TDEM DE IN AUG’IN ME INES SCHAUTE )
(Com pos ed in 1 8 8 6)
Orig i nal Key )ADOLF FR IEDR ICH von SCHACK ( 1 8 1 5 1894 )
Tr anslated by Cbar les F ontey n Mamm y R ICHARD STRAUSS ) 09 1 7 ) N9 1
Larghetto
VOI C E
E’
er s ince th ine eye s r e tu rn’
d my g lan - c e s And lov e,as if from
S e i t dem dein A -
ug’ in m e i n es s cbau te and L i e be, w i e
‘
vom
P IANO
Him -m e! her au s i hm auf m i ck n i e - der than te, was bo te m i r
molto esy ress .
earthB e
N .B . H igh tenors are recomm ended to transpos e th is song to E b .
9 7 - 2COpy n gh t MCMX by O l i ver D i t son Com pany M L l 1
1 6 4
(“
N SC
Fu ll f i lH my hear t w ith b l is s_ d i v ine ;
a nd van dc s He r z c n s s l t'
l [ em Gl z’
ic k wa r d
be r vo/l m e in ga r:
th ine e ye s gm’
e mm v.
n r n A u g e n - b i te}.
2
1 66
h )’ I ts s o“
a n d e n B t’
i
b re ath is s hak - e u .
lic h e n a nd He - c kr n . Dru m
M l l ‘s l ti b
1 67
lent - Iy, dear - e st, that none a L i ft gen - tly the
s e, m ein Mad- Chen ,clas s n i chts s i ck reg t, n u/r lei s e di e
lest fair s l um - b e rs y ou b reak . Withauf di e Klin he ge leg t .
si x - 1 91 3 - 8
16 ‘s
F l ieg ’ le t°
ch l_ h t'
n a u s
in de n Ca r 2 14 s c h/ii - pf e n .
by th e b ro o k-s ide in s l um - h e r s o de e p ,M i r " d l
'
r B lai th e " a m r t
'
e s a l ts - d c " Bach
H L- l 'fl h b
the r os
wenn
tulle le. eom’e
with de l ight,Mar gen er wa cht
,
M L- i S l S - S
g l u h n
s cha u
P O7!
c m de r
de n
Nac h l .
W 0 n "C
”In 1 9 16 - 8
Nae/t !
b e n d e r S on
V N "d
P r a ch l,
d c t
'
n e r B l i
V Or
Vm ach
the
de r
s tarS h r
lit
"C
glo ry o f
I c u ch f en - den
M L
TO Fn'
iu lein E milie HerzogW HY SHOULD W E KEEP OUR LOV E A SECRET?
(W I E SOLLTEN W I R GEHE IM S I E HAL TEN )(Com pos ed i n 1 887)
1 7 5
ADOLF FR I EDR ICH von SCHACK (18 1 5 - 1 894 )”N ew“Key )
Tr ans lated by A . M van B lomberg R I CHARD STRAUSS;0 9 19
;N9 4
Al legro V ivace
VOICE
ten w i r
PIANO
[ en u n s er
hiillt! W’en n zwei L i e be s i ck ge- f wn den geh t
Copyrigh t MCM X by O l iv er D i ts on Com pany M L - IQL'G- f i
J u b c l h i n
"v“, Tha t
J u r ch !I i i Na f u r ,
I‘
/
q n iv o-r g lad
g r r n u 'on n e m l lc n
l‘
u l v ii:
1 79To my dear sister
ALL OF THE THOUGHTS IN MY HEART AND MY MIND(ALL’ ME IN GEDANKEN, MEIN HERZ UND ME IN S INN)
( Com posed in 1888)
FELIX DAHNTranslated by Charles F onteyn Manney
R ICHARD STRAUSS,Op .21
,N91
VOICE
PIAN
wo di e L i eb wan
Copyr igh t MCM X by Ol iver D i t son Com pany ML 1 929—3
1 3 0
(an lu r am hi"? f t n
b ranch cn
a nd
k t’ in
dd s
7'
u
B ru ck en
S tadt
aus
zm pace
no” x
To my dear S I S /( 7
THOU OF MY HEART THE D IADEM
l DAHN
(DU ME INES HERZENS KRON ELE IN )
Tram /ale I b y .laMan Mu l e/l Ila/e
VOIC E
P IANO
b it ! 11 14
R ICHARD S T RAUS S,Op.2 l , N9 2
Andante
Thou o f my hear t_ the d i a dem , Thou ar t o f go ld .
Du m c i - n es Her zens K ro no lo in , d a b is ! van Ia n
wenn an ( 10 r e (10 n e ben s e t
'
n .
noch v ial de rn ( b u n s o g em g r
Co pyrig h t l x by ("H o t Dtlao n tnm pm yM L . 1 9 1 0 l
1 8 3
sweet and un
I s giv’
n thee
ales Herz s i ck dein er dein Glic’
ch i s ls,
pe et - ed .
D i e an - dern s u - chen L i eb and s s t m i l tau
M L - 1 930- 3
1 8 4
and s k i l l , A r t c rown'
d w ith a ll me n’
s p ra isg u n - b u n s ! b i s t u'r r lh an a l [ e n Or
t he w i ld m s e b l oom ing lo ne ,He r own love li- ne s s tln
als w i e d i e R os'
i
'
m IVa Id,
s i e we is s n ich ts r un ih rrr
b y mu s t own He r
ii b e r tea l/l . or
all e ls e o x
s i r 441 5 Gr
1 8 6
wan dern z u sam - m en an Ba - ches Rand,
das E i n e ohn ’ den A n
The al de rs and .the w il ows
D i e E r - len u n d di e W ei - den
A re weep ing o’e r our woe
vor S chm erz i n Thrd - n en s tehn,
n u n den hel,wi e u n s bei den
m u s s
ML -Bzi t - Z
18 6
m m da r n sa m - m en a n Ba - c h es Ra nd,
da s E i n e oh n’
dc n
The al de rs and .the w il
D i e E r le n u nd d i e W e i
A re we e p int:r o
’
e r ou r wo e.
r a r S chm erz i n Th r ii - nen s h 'b u,
n u n den hc l , w i c u n s be t.
den
n - l o ne mm k now ,
"I u“
“L ‘l‘u" 2
1 8 6
thy hand in m ine
wa n dern z u sam - m en an B a - c hes Ra
g eht ii ber ihx
W r en Veer - stand .
A re wee p ing o’e r our woe
vo r S chm erz i n Thr ii - n en s tehn,
m u s s
