LOHENGRIN Opera in Three Acts by Richard Wagner English Version by STEWART ROBB Bd, 2564 G. SCHIRMER New York/London© MCMLXIII, by G. Schirmer, Inc. International Copyright Secured Printed in U.S.A. Note All rights of any kind with respect to the English translation and any part thereof, including but not limited to stage, radio, television, performance, motion picture, mechanical, printing, and selling, are strictly reserved. License to perform this work in this translation in whole or in part must be secured in writing from the Publishers, Terms will be quoted upon request. G. SCHIRMER, INC.LOHENGRIN ‘What single first appearance is the most impressive in all opera? Many an- swers will come to mind: the forbidding apparition of Princess Turandot in the great square at Peking; the storm-swept onrush of Otello as he proclaims “Esul- tate!”; the majestic entry of Norma in the procession of Druids that precedes her “Casta Diva” . . . but great and impelling as these are, surely none among them can compare to that moment in Lohengrin when the Swan Knight in full armor, heralded by the cries of the spectators gathered on the banks of the river Scheldt and guided into port by his own shining triplet theme in the orchestra, appears on the wave of an incomparable crescendo of volume and intensity. So irresistible is the force of this appearance that one imagines it must have always been there, like primordial rocks and waters. When one faces facts, however, one learns that the Swan Knight found no easy way into the world. The creator of Lohengrin had to fight for his hero. It was with this opera that Richard Wagner drew nourishment for the last time from conventional roots and leapt toward that uncharted soil from which he was to produce the Ring, Tristan and Parsifal. By the time he reached, Lohengrin (1848), the problems posed by the earlier Flying Dutchman (1843) and Tannhéuser (1845) — their new harmonic and orchestral lan- guage, their bold use of musical imagery — had already been solved and the results added to the composer's craft. Lohengrin, in effect, stood at the end of a coastal road in Wagner's life that was to turn sharp left and up steeply toward the heights, Wagner must have been a trial to his contemporaries, One of the leading conductors at the Royal Saxon Opera House in Dresden, he directed there not only a widely ranging repertoire of classics but also the first three of his works — Rienzi, Flying Dutchman and Tannhiuser — to win European fame. They had all been given their premiere in this theater, and it was supposed by the Saxon authorities that a certain gratitude was accruing from the composer. They had miscalculated. Aside from writing controversial new operas of his own, Wagner was imbued with the idea of reforming the theater’s administration. This was disturbing to the powers in charge and they refused, in 1848, to produce Wag- ner’s Lohengrin, recently completed. To add fuel to the fire, so that it became a roaring blaze, the composer had aligned himself with the political forces who took part in the chain of revolutions breaking out all over Europe. He was pro- scribed by the Saxon government and, in May, 1849, escaped from Dresden. One of the great Romantics in music who had thade contact with Wagner earlier in his career and who from the time of Lohengrin was to’ exercise an important sway was Franz Liszt. This remarkable man, idolized excessively while he lived and denigrated with an equal lack of perception after his death, not only scaled the heights as a master pianist; he was also a composer of strongoriginality (for his influence on Wagner’s Tristan, examine the opening pages of the Faust. Symphony) and an impresario of enormous idealism, introducing at the Court theater in Weimar — where he held forth as conductor — symphonic and operatic works by many of the gifted men of his time. ‘To complete his as- sociation with Wagner, Liszt became, later in life, the Saxon composer's father-in- law through his celebrated daughter, Cosima, The thread of this story — Wagner and Liset — takes us back now to April 21, 1850 when the political exile wrote despairingly from Paris to the celebrity at Weimar pleading that Lohengrin, which had gone unheard for two years since its completion, be produced at Liszt’s Court theater. The answer came at once: the opera was to be given in August of the same year, From the standpoint of size and equipment, the house at Weimar could not have been an ideal place for so large-scale an opera; but the work was presented and had a success. Wagner himself, for political reasons, was unable to attend a performance of Lohengrin anywhere until nine years later; and then, after hearing his work for the first time, is said to have remarked, “Too much brass!” ‘The opera was not long in winning popularity. By 1858 it had reached Munich and Vienna; in 1859, Berlin and Dresden. From the 1870's date its first impor- tant performances outside Germany, notably in Bologna, London and New York. ‘The lyricism of much of its music, combined with an over-all feeling for theatrical spectacle and grand ensembles in the tradition of Meyerbeer (much as Wagner hated and denounced that unfortunate composer) sold it at once to audiences who bought the Wedding March and ignored the opera’s thornier aspects, Lohen- grin, when approached in depth, comes off as not an easy work. The second-act night scene between Ortrud and Telramund is full of the dramatic turbulence that marks the later Wagner: darting interplay between voice and orchestra, radical key shifts and still stranger instrumental coloring, with emphasis on the darkling resources of English horn and bass clarinet. Thus, this score brought problems to the opera-goer of the 1880’s who solved them by listening to what he wanted to hear, turning away from the more unsettling moments . . . while it troubles, for obverse reasons, the fan of today who hails the vitality of Ortrud’s music and closes his ears to some mildewed other pages. Great Lohengrins of the past have included Jean de Reszke, Lauiritz Melchior, René Maison; great Ortruds — Emestine Schumann-Heink, Karin Branzell, Maria Olezewska, Gertrude Kappel} great Elsas — Lillian Nordica, Elisabeth Rethberg and Lotte Lehmann. The literary background of Lohengrin is bound up in medieval sources which gave rise not only to this opera but also to Tannhauser and Parsifal. Wagner, in reading a German epic poem, “Der Wartburgkrieg” (“The Contest of Song at the Wartburg”) that was to furnish much of the background material for Tannhduser, came upon the figure of Wolfram von Eschenbach, the famous minstrel poet, embroidered as a character into the story. Direct research into the ivreal-life writings of von Eschenbach brought Wagner under the spell of that writer and of his epic, “Parzival”. The legends of King Arthur’s Court link Parzival for us with Perceval, whose deeds of valor were performed in company with the brave Gawain (reference is made to Gawain in Act I of Wagner's Parsifal, when the knight — summoned by the ailing Amfortas — fails to appear). Filling out Arthurean legend and the poem of Wolfram von Eschenbach is the epic by Chrétien de Troyes, “Li Conte del Graal”, marked — according to modern scholarship — by Persian influences. Further points of origin include the Grail legend, common to many lands; the Germanic myth of the Swan Knight, sent by Heaven to rescue the innocent in distress; and, for the plot of Lohengrin, a slice of history: the third decade of the tenth century A. D., with King Henry I of Saxony (Henry the Fowler), one of the principals in the drama, set to lead his forces against the invading Hungarian foe. ‘Out of these intermingled sources, plus Wagner’s own powers of invention, were to arise Lohengrin and, later, Parsifal. The two works have much in their story line that is obviously shared: the all-pervading atmosphere of the Grail; the father-son relationship of Parsifal and Lohengrin (whose mother — according to legend — was a princess named Kondwiramur); the swan, shot in its flight by Parsifal shortly before his first entrance, and the other — more famous — bird which guides Lohengrin down the river Scheldt to Antwerp (both swans are identified by the same musical theme) ; the divulging of the hero's name quite late in the day (we never know the guileless fool as Parsifal until the second act of the opera, nor the Swan Knight as Lohengrin until shortly before the final curtain falls); the almost total silence of the volcanic Ortrud in the first act of Lohengrin and of the amazing Kundry in the last portion of Parsi- fal; and, underlying all else, the urgency of the struggle between good and evil. With Parsifal, at the end of Wagner's career, came compassion and an under standing of the self-induced wound suffered by those who sin, Amfortas and Kundry, in conflict and in concert, are the centers of this morality play. In Lohengrin, an earlier and more primitive work, the battle lines are drawn with greater harshness, with a surprising victory (no doubt an involuntary concession by Wagner at this point in his career) by the forces of evil. The musical interest stays, for the most part, on a high plane. Thematic de- velopment in the orchestra — begun so distinctively in The Flying Dutchman and Tannhéuser — is here carried to the climax of its early use in the scores of Wagner. The Ring is still a giant step away . . . but the materials with which to bridge this step are already at hand. PERFORMING NOTES ‘There are few standard cuts in Lohengrin: none at all in the first act; a brief omission in the second act of a slow-moving ensemble (from page 228,change of key to three flats, in the Schirmer piano-vocal score, to page 244, penultimate measure) ; and, in the final scene, a considerable cut for Lohengrin with chorus from Page 316, measure 10, to page 330, measure 2, In Act I, Ortrud’s great monologue, “Entweihte Gétter!” (page 142, Molto Allegro, to page 145, measure 9) is taken down a semitone when sung by mezzo-soprano. The transposition to F major begins one measure before Ortrud’s vocal entry; and the old tonality is regained in the measure of Elsa’s entry, with the orchestra suddenly returning to F-sharp major. When the réle is taken by a dramatic soprano, Wagner's original notation is strictly followed. For best effect in performance, the stage band should be retained, in addition to the large wind and brass section in the pit — with, needless to say, a sufficient body of compensating strings. Any opera company lacking the material re- sources with which to undertake Lohengrin would do best to let it alone. Had this frame of mind prevailed in 1850, there would, it is true, have been no world premiere in Liszt’s modest theater at Weimar. Times, however, have changed and the greatest stages of the world are now available to Wagner. Full strength is indicated. Rosert LAWRENCE viTHE STORY ACT I, King Henry the Fowler, visiting tenth-century Antwerp to raise an army, holds court under an oak tree on the banks fo the river Scheldt, He calls on the regent, Frederick of Telramund, to explain why the duchy of Brabant is torn by strife and disorder. Telramund accuses his ward, Elsa, sister to the vanished heir of Brabant, of murdering her brother; convinced of her guilt, he gave up his right to Elsa’s hand and married Ortrud instead. Elsa is summoned to defend herself and describes the vision in which she has beheld a knight in shining armor, who will champion her cause and whom she will wed. Twice the herald calls on him to step forward, but only after Elsa has added her prayer does Lohengrin appear, drawa up the river in a boat by a swan, to which he bids a sad farewell. The knight, greeted by Elsa as her champion, betroths himself to her on condition that she shall never ask his name or whence he comes. If she does so, he must leave. On her assent, King Henry invokes divine guidance, whereupon Lohengrin procceds to defeat Telramund in single combat and thus to establish Elsa’s innocence, She falls joyously into her savior’s arms and the pair are borne off in triumph. ACT I. Huddling before dawn in the castle courtyard, the ambitious Ortrud spurs Telramund on to assail Lohengrin’s power while she herself works on Elsa’s curiosity. No sooner has Elsa appeared on the balcony and voiced her serenity to the breezes than Ortrud, appealing to pagan gods for help, attempts to sow distrust in the mind of the bride, In reply Elsa urges the unhappy woman to have faith and proffers friendship, which Ortrud resolves to turn to her own use. The two enter the castle as dawn breaks and the nobles assemble, eagerly anticipating the day’s events, Telra- mund, banned as a traitor, furtively persuades four of his henchmen to side with him against Lohengrin, whom the herald proclaims Guardian of Brabant. The courtiers welcome Elsa as she and her bridal retinue enter in stately procession, At the steps of the cathedral, first Ortrud and then Telramund attempt to break up the wedding, she by suggesting that the unknown knight is an impostor and he by accusing Lohengrin of sorcery. The crowd stirs uneasily. Although Elsa assures her champion that she believes in him, the poison of doubt begins to work. King Henry leads the couple into church, ACT III. After a brilliant orchestral introduction, the curtain rises on the bridal chamber, to which Elsa is escorted by her maidens in the well-known Wedding Chorus. The King leads in Lohengrin, gives his blessing to the pair and retires with the company. As their voices die away, the knight draws Elsa to him and joins her in a rapturous duet, which gives way to growing anxiety on the part of the bride, when in hysterical despair, she begs to know his name and whence he comes. Sud denly Telramund and the four treacherous nobles burst upon the scene. With a cry Elsa hands Lohengrin his sword, with which the knight strikes his enemy lifeless Ordering the nobles to bear Telramund’s body to the King, he sadly tells Elsa that he will meet her there and answer her questions. Again on the banks of the Scheldt, King Henry holds assembly in preparation for marching against the foe. Telramund’s bier is brought in, followed by Elsa, scarcely able to walk, and Lohengrin, who declares that he ‘cannot lead them, reveals that he has slain the traitor in self-defense, and explains his parentage and the distant country to which he now must return, His home is the temple of the Holy Grail at Monsalvat; Parsifal is his father and Lohengrin his name, Prophesying victory for the King’s forces, the knight sorrowfully bids Elsa farewell and turn to his faithful swan, which has meanwhile neared the shore. Ortrud rushes in, exulting in Elsa’s betrayal of the one man who could have broken the evil spell that trans- formed into a swan her lost brother Gottfried. But as Lohengrin prays, a dove descends and hovers over the swan, which vanishes; Gottfried steps forth in its place. ‘The dove draws the boat away with Lohengrin as Elsa expires in her brother’s arms. Courtesy of Opera NewsCAST OF CHARACTERS LOHENGRIN, Knight of the Holy Grail . a : ‘Tenor HENRY L,, King of Germany : . . . «Bass FREDERICK TELRAMUND, a Noble of Brabant . . Baritone THE ROYAL HERALD. . . ce . «Bass GOTTFRIED, Elsa’s brother. . ce Mute FOUR NOBLES OF BRABANT ‘Tenors and Basses ELSA OF BRABANT . . ce - Soprano ORTRUD, wife of Telramund ce : Mezzo-Soprano FOUR PAGES Le + + 5. + + Sopranos and Altos Chorus of Saxon and Brabantian Nobles, Ladies, Pages, etc. Antwerp, First Half of the 10th Century. SYNOPSIS OF SCENES Page Act I A plain on the banks of the Scheldt. . : an) Act II The citadel of Antwerp : . ett) Acr IIT Scene 1 The bridal chamber . . . Boo 260 Scene 2 The plain on the Scheldt : 294PRELUDE Scene I Scene II . Scene IIL INTRODUCTION Scene I . Scene II. Scene IIT Scene IV Scene V . INDEX ACTI + The appeal to arms The accusation . Elsa The vision: Einsam in triben Tagen The challenge The coming of Lohengrin Chorus: Gegriisst, du gottgesandter Mann! Lohengrin’s Song: Nun sei bedankt, mein lieber Schwan Chorus: Wie fasst uns selig siisses Grauen The promise The ordeal Prayer Chorus of victory, and Elsa's song: O fiind? ich Jubelweisen ACT II Ortrud and Frederick: Ente dich, Genossin meiner Schmach! Duet: Der Rache Werk . Elsa: Euch Liiften, die mein Klagen Elsa and Ortrud Ortrud’s warning The Reveille Chorus: In Frih’n versammelt uns der Ruf - Proclaiming the ban Frederick’s appearance . Bridal procession and chorus . Ortrud’s defiance: Zuriick, Elsa! . Lohengrin and the King . Frederick’s accusation Ensemble: In wildem Briiten Chorus: Wir steh’n zu dir ACT IIL Inrropvetion (Grand March) Scene I . Scene II. Scene III Bridal Chorus «Elsa and Lohengrin: Das sisse Lied verhallt Athmest du nicht mit mir ‘March: The assembling of the vassals Lohengrin’s declaration In fernem Land . The parting = 228 . 316 Page uw a1 24 42 36 57 60 67 7 92 115, 116 134 136 138 149 157 159 173 189 193 201 = 213 216 246 - 256 + 260 - 270 276 - 294 - 305 3ilLohengrin. English Version by PRELUDE. inglish Version STEWART ROBB RICHARD WAGNER. & Flutes, 2 Oboes, 1 Corno inglese, 2 Clarinets in. A, 1 Bass Clarinet, 3 Bassuons, Horns in B&D. 3 Trumpets in D, 3 Trombones, Tuba, Kettle-Drums in Ad B, Cymbals, # Solo Violins, & Strings. Adagio. & Fi. Fl. pp<~ <= ‘Sempre plano. ——_ © MCMLXIUI, by G. Schirmer, Inc. a56ti0x International Copyright Secured Printed in U.S.A.Tnr, ‘Cello, Hns., Bssn.@ D. Bass. ah hb DTS 4 ! Wd lig{ ” Tutti _| ff Ga eeancaata #80) VY v v v 48010 Fis] a Floonly. Fawta.e Ro. & 45611‘ Act I. First Scene. 2 Flutes, 2 Oboes, 2 Clarinets in Bs, Bassoons, Horns in B&D, 8 Trumpets in Bt Trombones, Ta- ba, Kettle-Drums in €, & Strings. Rather fast. Piano. P pire pt Pee Te (Here the curtain rises. A meadow on the panks of the Scheldt near Antwerp. King Henry under the Oak of Justice, surrounded by the Counts and Nobles of the Saxon arriére- bar.) cm] an ax r F 5|4 * Poa. Opposite to them the Counts and Nobles of Bras pant, headed by Frederick of Telramund, with Orérud by his side, The Herald advances from the party of the King to the centre of the stage; on a sign from him, four royal Trumpéters blow a summons.) 4 Tpts.on the stage. + 2 |I— > == lf a Gra-fen, Ed-le, Frei-e von Bra- Princ-es, no-bles, free-men of Bra~ * fs ———— |¢ so ie 45611Hein - rich, der Deut-schen Ko- Hen - ry,\ our Ger- man sov- Hus. Pp \f Fa. Andante. . Statt, mit euch zu din-gennach des Rei - ches Recht. Gebt ihr nun rived’ To hold a parley on our _king- dom's rights, Are you at S. f und Fol- ge dem Ge - bot? and read-y too. ~_bey? Tempo I. The Brabantians. Tempo I. P, ge dem Ge-bott Will-kom y to o-bey! Be wel Fol - ge dem Ge-bot! Will-kom read - y to 0-bey! Be wel it Pe sei(clashing their arms.) kom - =men, [K6-nig, in wel - -come, Sov-reign, to Ko-nig, in Bra- bant! Sov-reign, to Bra -bant. 4 Tyts.on the stage. * (The King rises.) King Henry. 2 A A Gott griiss’ euch, God__greet_ you, lie - be loy - al oP OF Freely dectaimed) (emphatically) ‘Min-ner von Bra-bant! Nicht miissig that Zu euch ich die - se Fahrt; der Noth des liege-men of Bra-bant! The jour-ney I have made was not for naught; I come to = ‘Sir. Ip — Fae ee * (AIL listen with grave attention) Rei - ches seid von mir ge - mahnt! warn of | dan- ger to the realm! Maestoso. 3 456u1ich euch erst der Drangsal Kun-de sa-gen, die deut-sches Land so I re-late to you the dire dis - as~ters | Which of - ten from the = P aus 0 - sten traf? Infern- ster Mark hiesst Weib und Kind ihr have swept our land? How on our fron - tiers pray our wives and SS ee a Herr Gott, be - wahr uns yor der Un-garn Wuth!“ Doch “Lord God, pro - tect us from Hun-gar- ian rage!” Yet IP Wind. tt yn =—— ‘mir, des Reiches Haupt, musst’ es ge-zie-men,solch wil-der Schmach ein, En-de zu er- I, as kingdom’s head, knew it my du-ty To put an end to shame so wild and Pp sin-nen; als Kam - pfes Preis ge-wann ich rie-den auf neun woe-ful; prize of war I won the peace For full nine Alle; 45611in time. ihn niitzt? ich zu des Rei - ches Wehr; be -schirm - te and used the time to arm the Jand. I for - ti ts. 2. und Bur-gen Hess ich bawn, den Heer-bann iib - te ich zum fied the towns and raised up tow's, And now I sum -monyou to s i ‘Wi - derstand. Zu End ist nun die Frist, der Zins ver- take up arms. The term-is at an end, our trib - ute S p23, 3 rf? o sagt, mit wil-dem Drohen rus-tet sich der Feind. too. Our foe pre-pares with wild and rumbling threat y Fz [poresot Allegro. (with much warmth.) ‘Nun ist es Zeit, s Rei - ches Ebr’ Now it is time to guard = our na ~ 45641ob West? Das gel-te Al-len from West, need do we have of ‘Was deutsches Land heisst, stel - le Kam-pfes- Rouse up the war-ri through-out the meur Vis Prone oueeout all ~e sohaa- ren, schmaht wohl Nie - ~ mand mehr das deut - sche coun - try, Then = noone ev = - er-more will shame our pS The Saxons (clashing their arms.) onl | auf tir leut- = schenRei Chorus. With God well guard our Ger - Mit Gott. Weill guard molto crese. 4564110 (Phe King has resumed his seat.) Fal The King (slower, treely declaimed) Komnt ich zu euch nun, Manner von Brabant, zur Hee-res-folg’ nach Mainz euch zuent- Sir, Men of Bra-bant, I've come to you this day To summon you to Mentz, with all your P, P bie-ten, wie muss mit Schmerz und Kla-gen ich er - sel, dass oh- ne fore-es. Great are my pain and woe to see you thus, Dwell-ing _in > Fiir-sten ihr in Zwie-tracht —_lebt! Vér-wir-rung, wil - de dis - cord since you lack a lord. Con - fu ~ sion, fu_~ rious Feh-de wird mir kund;drum rufich dich, Friedrich von Tel -ra-mund! Ich feud-ing mect me here. So let me hear, Fred-rick of | Tel-ra-mund! Pa Ken-we dioh als al- ler Tu-gend Preis, jetzt re - de, dassder Drangsal Grund ich know you as a man of might-y worth, Now tell me what it is thatbrought this Dank, Konig, dir, dass du zu rich-ten kamst! - i vi 10. judge! Maestoso. ping Thal R- ble king, for having come to. judge we. P 4 > = gy, # ta——_ _ _—— # > ie Wahr-helt kind ich, Un-trew ist mir frend! The truth is 0 = pen, falsehood is my foe! Ke = pe Gum Ster-ben kam der Her - 20g von Bra. baut, und miei-nem When death ap- proached our great duke of Bra - bant, He chose to ow eo —_—— b, = a ‘Schutz empfahl er sei-ne Kin-der, El-sa, die Jungfrau, und Gotffried, den make me guardian, of his chil-dren, Bl-sa, the maid-en, and Gott-fried, her 45611abs Ju-gend, sein pflag ich sef—ner gro-ssen con-science, His Kuaben; mit Treu - e grow-ing youth with steadfast broth-er. 1 nursed his s Le-ben war das Klein-od mei-ner Eh-re. ‘Er-miss hun, hon- or. Conceive now, life was as the jew-el of my . . With spirit. 2 LLP meinen grimmen Schmerz, als mei-ner Eh- re Kleinod of my griev-ous pain, When of this self-same jew - el iP fs Lustavandelud fuhr-te EI sa den Knaben einst zum El - sa one day with Gottfried went ram-bling'In the “Wald, doch oh-ne ihn kehr-te sie zu-riick, mit fal- scher Sor- ge frug sie nach dem woods, and yet she came back with out the boy. She feigned a sor- row, asked a-bout her 45611Bru-der, da sie, von un-ge-fahr von ihm ver-irrt, bald sei-ne Spur, bo broth- er, Whom she by some strange ac-ci- dent had lost, And nev-er more —so sprach sie, nicht mehr fand. said she— found his trace. —_Agitato. t Ras = Tos war all’ Be - mili aim den Ver lor- nen; = ess was all our la- -bor for the lost one. Sf als ich mit Dro-hen nun in EJ- sa drang, da liess in bleichem Zagen und Br When I ac- cused the girl and utteredthreats/Her sudden pal-lor, coupled with her be-ben der grasslichen Schuld Bekenntniss sie uns sel. trembling,Were proof of the hor ~ rid mis-deed she had done. Fast. Sip Sf senae (Very animated) Es fasste mich En-set-zen vor der ‘A hor-ror of the maid-en seized my dem Recht auf ih - re Hand, vom Va- ter mir ver- ‘The right to have her —_ hand, aright -her fa ~ ther ip be: fel, ent-sag? ich wil-lig da und gern, und nahmein gave, now most will- ing- ly re-nounced, And took a P bf My Ghe prespts Orirad, who inlins Herel before the King) mei - nem Sinn ge - fiek: Or - trud, Radbod’s, des Frie-sen-fiirsten pleased my mind and heart, Or - trud, daugh-ter_ of Rad-bod, Frisian ih Trom. Pp Ral * Rather slowly. (he advances a few paces with measured step) ‘Spross. ‘Nun fihr ich Prince. 4 And so I Fess. ff be asenKia - ge wi-der raise complaint of EI - sa von El - sa of 3ra - bai Bra- bant: Sp Troubs. Sf Str. If Has. ‘Bru - der-mor-des slew her broth-er: bo zeil” this ich I sie. charge. Sf His. Lp Trombs.|SF Str, Land doch sprech’ ich fiir mich now claim that this land an mit Recht, is mine by right, IS= Nachste von des Her-zogs Blut, mein Weib da-zu aus dem Ge- next the no-ble count by blood. My wife, be-sides, is of the tf. es —— £ # eS Se == eS] schlecht, das einst auch die - sen Landen sei- ne Fiir- sten gab. race that once Brought forth the might-y lords who ruled our realm. | + ' oe = He : Bs. Fiz rom ik D Bass. F | Bat = allel d16 horst die Kla- ge, Ko- nig! Rich- te hear this _mat-ter, sovereign! , Judge a~ fF Wind. | dim. p Sir + cae Not dragging. recht! right! TENOR I. it His TENOR It. Chorus. Al] the Men (awe-struck,) BASS I. Wa, schwe - rer Sehuld ——zeikt — = fa [mind Mie Ha, Tel - ra-mund charg - es - iI Hi P = Palen, "BASS II] Not dragging. ‘poco erese. -a7 ‘The King. Welchifiitch-ter-li-che Kla - ge sprichst fu aust ‘A frightful ac-cu - sa- tion you have brought! Frederick. (becoming more vehement) Wie wa- remég-lich sol-che gro-sse Schuld? © 0 Herr, Is guilt so wick-ed e- ven pos- si - ble? © Kip, traum-se-lig ist die eit- le Maga, die mei- ne Hand voll dream-fud-dled is that fool- ish maid, Who proud-ly drew ae te —__ 4561118 Hochmuth von sichstiess. Ge-hei- mer Buhl-schaft klag’ ich drumsie an: way her hand from mine. I now ac-cyse her, too, of se~cret love. re bgt bg ip —SS | —| ly pocoming more and more excited.) win -te wohl, wennsie des Bru-ders le- dig, dann kinn-te sie als dreamed, per-haps, if she re-moved her brother,” Then she could rule as S Lite Her-rin von Bra-bant mit Recht demLehnsmannth - re Hand ver - mistress of Bra-bant And there - fore right-ly cast a-side her SS—p bo (The King, with a grave gesture, > >. ~~ ,reproves Fréderiaés vehemence,) weh-ren, und of-fen des ge - hei-men Buh - len pfle-gen. liegeman, To o-pen-ly en ~ joy her se 9- cret lovee, io SS The King. * (with at solemnity.) i ie Be-Klag - te her! Call the ac-cused one here! ii. 45611Slower. ‘soll nun dag a je - Fiohtt oft Tass mich wei - se’ sein] straight-way shall be in, God keep me tru = ly wise! 4 Tpts.onthe stage. Sf b ritard. _time rather slowers a, a (The Herald steys into the centre with solemnity.) Herald. Soll hier nach Recht und Shall judg-ment here _be Ge - richt ge-hal-ten sein? by law of right and might? _— slowly. eee > > > P ehr soll ber- genmich der Schild, bis ich ge - rich - tet streng und nev - er - more shall bear my shield. Till right _pye - gis through gen - tle S Trombs. din. mild! (All the men bare their swords; the Saxons strike theirs before them in- might! Chorus. ‘othe earth, the Brabantians lay theirs flaf on thegrounq.) Nicht eh'r zur Schei-de kehr’ das All the Men. No sword shall re - turned to Sf, - bs) bd or seu.20 Herald. Wo ihr des f — Where you be - = See Schwert, bis ihm durch] Ur - theil Recht ge- scab + bard, Till a | right-eous judg-ment — > > E _ Schwert, is ihm seinRecht ge- scab - ~bard,Till a right-eous judg-ment KG - nigs Schild ge - wahrt, dort Rechtdurch Ur-theil nun er - hold the roy - al shield, __—y———__ There _right-eous judgement must pre a t Drum ruf’ ich la - gend laut und And so I gal hgh, _'oyd__and_ er - schei-ne hier zur Stell! 5 e this place! ap - pear up- on this place! a ¥ Str. pice. 456.24 Scene II, Elsa enters; she remains awhile at back, then very slowly and timidly advances to the fronticentre) The ladies of her train remain during the first part of the scone in the extreme backgrcund, onthe outer edge of the judgment-circle. 9 Flutes, 2 Oboes, 1 Corno Inglese, 2 Cls. tn By Bass 0,8 Bassoons, Horns in F and Bflat, $Trum- pets in B flat, 3 Prombones, Tuba, Kettle-Drums, Strings and Harp. Andante moderato. Chorus. All the Men. ?| Tenors Seht fhin! Be-hold! P Basses. Andante moderato. ,_ ___——__ Piano. £ beak. Cor. Ing. Sie |naht, die hart Be J klag-fet She | comes, the hap = less | maid-en! doleiss, PP. Ha! wie er Ha! how she Tard Cello} 4561PP beheint sie jicht_und__| rein! shines forth ure and —| bright! PP ~~ p = Der sic so |schwer zu zei-hen | wag - te, He who so__|harsh - ly dare ac -|cuse her si - cher muss der |Schuld be — most sure her | guilt si - cher muss er Sure her guilt is a 4561 The King. Bist dues, El-savonBra- ‘Are you she, Elsa of Bra-23 (Blsa bows her head in assent.) vant? Er-kennst du mich als dei - nen bant? Do you al - low that I should —_— Wout. TF. (Bisa turns her head towards the King, gazes into his eyes,and then makes an affir- mative gesture of her complete trust.) Rich-ter an? So fra-ge ich be your judge? Task you then PP be wei-ter; ist die Kla-ge dir be - kannt, die schwerhier wi -der dich er - fur-ther: do you know the heav-y charge Which here _has been_al - leged a - eo ree P Str. (Elsa looks at Frederick and Ortrud, shudders, and sadly inclines her head in assent.) ho-ben? ‘Was ent - gegnest duderKlage? inst you? Can you meet the ac-cu-sa-tion? gainst y« a a a tp i sh animatih (flsa,sadly gazing before her.) (Bisa, by a gestures ean say nothing”) C72 animatinn. amie . So be-kennst du dei-ne Schuld? oe Then you do con-fess your guilt? “yds Wood, Pap I 45641R4 Elsa. (dreamily, to herself) Mein ar- mer Bru-der! ! My poor, poor broth-er! All the Men. (whispering) Pp Wie |fun-der-bar! Welch’ How| won-der=ful! How PP *® Tur. & Cello. The King. (reatiy moved.) g> Sag} El-sa! > Speak, El-sa! What is it you would im ~ was hast duo mir zu ver - selt - sa-mes Ge-/bah - ren! strange ‘is her de-mean - or! = 2 = ————— Elsa. (gazing tranquilly before her), Andante. (expectant silence.) trau'n? Ein-sam in trii - ben part? Of-ten when sad and 4561125 —— Ta-gen hab? ich zu Gott lone- ly I un-to God ge - fleht, des Her- zens tief-stes have prayed. ‘My heart's most deep- felt t Kla - gen fF - goss’ ich im Ge - bet: da drang aus mei long- ings Im - plored _ce-les_- tial aid. A - mong my loud la - > pp Str: cel, —$<$——<—<—— stoh - nbn cin Laut so kla - ge-voll, der zu ge -wal’ - gem ment - ings Was fone whose woe so rare On-ward and up -_ ward Sop. LE Té-nen weit in die Liif - te_ schwoll:_ bore it, Far —_in-to heav - en’s— air. ritard, din. P. hor? ihnfernhin hallen, bis kaummeinOhr er traf; mein Aug’ ist zu ge -fal-len, ich long I heard it ech-o, Un- til it died a- way. My eyes be-came quite heav-y, And pM. pit p pp | Sir. gf Surd. 4561126 SMowly. sank in sii-ssen Schlaf. then sweet sleep held sway. TENORS et HOt Jgt Chorus. Trifimt sie? Ist sie entriickt? OL Aa ‘Cusrious! Is she ensranced? Wie son-der-bar! Stowly. How sin-gu-lar! Pp— —— Ra. Se ‘The King. (as though he would rouse Ela from a dream) TH - sa, ver-theid2ge dich vor dem Ge - richt! El - sa, de-fend yourself against the charge! Qe 6p GH poco erese. Tn lich- ter Waf- fen Schei T_ saw. a knight ap - proach animating the tinea little Rit - ter nah te da, ar__-_ mor gleam. ing 8 P HOLDS Rass asea7 tu-gend-li - cer Rei - ne ich kei - _nén noch puri=ty was dar > dling, Tsp nev er viewed its a La, 1-dén Horn air Hiften, e- Ich = - net auf sein ‘A gold-en horn be-side him, He leaned. up- on his 50 trat_er aus den Lif- ten Thus, sud-den=ly I saw him, Teir,Cello, Hp. 45611(raising her voice.) des__ Rit - tefswill ich__ I now await _his Crapturously) wah - ren, er soll mein Strei - com - ing, He is my knight tf aut. soll mein Strei-ter sein! is my knight to ‘be! All the Men. (much moved) May heav'n = Wind & Up. 45611wer jer stands in The King. (more animatedly) Fried-rich, du ch-ren-wer-ther Mann, be - den - ke wohl, wen klagst du Fredrick, most hon-or-wor-thy man, __Be-think you well whom you ac - Schuldl silt, Mich ir - ret nicht triiu -me - ri-scher Her dream- y — mood not mis-lead_my gradually animating the tine, Muth; ihr hirt, sie schwarmt, von ei-nem Buh -Jen! Wes? ich sie mind You hear, she raves a-bouta lov - er! My change is asezeih’, des’ hab ich si - chern Grund: glaub-wiir-dig ward ihr Frevel mir be - true: I stand on sol - id ground, Wit - ness most wor-thy has revealed her ——— 27 —— p> - ———— |[paiw. B be Doch eu - rem Zwei-fel durch ein Zeug - niss weh-ren, das__ Yet to de-fend my words by such a_wit~ness_ Would _ __stiinde wahr-lich ii- bel mei-nem Stoltz! —— on-ly be ab-hor-rent to my —_ prid 8 DP stel’ ich, hier mein Schwert! ‘Wer wagt von euch zu streifen stand I, here my sword! Who here will dare con-tend a- ef hae 45611at Fast, wi-der meiner Eh- re Preis? gainst the honor of my word? f . Kei-ner von| uns! Wir streiten nur flir The Brabantians.(muchlexcited) None of us | here! We just contend for Keiner von uns! Wir streiten nur fir None of us here! We just con-tend for Fast, a9 Und,Ké - nig, du! Gedenkst du meiner Dienste, wie ich im ‘And you, my King! Remember how I served you, __Re-mem-ber The King. (with animation) Kampf den wil-den Da-nen schlug? Wie schlimm! lies’ ich von dir dar-an mich how I fought the fu - rious Danes? How ill, were there a need that you re - Str. = 4611Gern ged? ich dir der —héch-sten Tu-gend You are es = teemed as ir ~ tue’s fair- est 3 P ———— | JP Hus. Preis; in kei-ner an-dern Huth, als in der dei-nen, mécht? ich die Lan - de flower. My wish would on-ly be to see this country Sole- lyin your pro- Andante, (with solemn determination.) Gott al - lein soll God _a_- lone shall ——— f= jetzt_in die-ser Sa-che noch ent - schei-den! con - sum-mate right now thi great de - ci - sion, All the Men. Tromb. & Tpts. D. bass. 4561133 td Zum | Got - — tes- fe | richt! The | judg - ment of | God! The King. (The King draws his sword and strikes it before him into the earth.) Dich frag? ich, 4 Task you, greed! Tramb.c Tb. ———,: Fried - rich, Graf von Tel - ra-mund! Willst du durch Kampf auf Fred - rick, Count of Tel - ra-mund! Will you en gage in LP Le - ben und auf Tod im tes- ge - richt life and death en - coun - ter and en - trust P CFS, 45641