FRANZ SCHUBERT

SIXTEEN SONGS
with
Guitar Accompaniment
Containing a selection of Lieder published in
guitar transcription during the composer's lifetime
newly edited for performance, with historical notes,

by THOMAS E HECK

w w w

della
ina
TECLA EDITIONS
 8EBLIOTECA DEL CONSERVATORIO
DELLA SVIZZEBA ITALIANA

FRANZ SCHUBER T

SIXTEEN SONGS
with
Guitar Accompaniment
Containing a selection of Lieder published in
guitar transcription during the composer's lifetime,
newly edited for performance, with historical notes,

by THOMAS E HECK

TECLA EDITIONS
TBCLA EDITIONS 1980

The music in this book has been newly edited, contains new and original material, and is
strictly copyright. No reproduction or other use of any pat of the contents of this book may be
made without the express prior written consent of the publishers.
Photocopying, besides being illegal, is unfair to the editor and the publisher, both of whom
have invested considerable time, effort, and money to prepare this bookfor sale and performance.
Please think about this before breaking the very law which makes publishing music possible.
The purchaser of this edition is allowed to make a single copy of portions of the songs in
order to "cut and paste" the guitar part as necessary to avoid page turns in performance.

ACKNOWLEDGEMENTS
This edition would not have been possible without the patient support of my family and the
professional assistance of colleagues and friends such as Dr. Alexander Weinmann and Mr.
Frederic Chrislip. The Ohio State University Libraries provided financial support in the form of
release time for me to prepare the manuscript.
Willard Cobb and Rodney Stucky gave the first performance of a selection of these songs at
the Guitar Foundation of America's Second Annual Seminar in St. Louis on June 5th, 1980. Mr.
Stucky's assistance in reviewing the proofs of this edition was invaluable.
TFH

The publishers wish to thank the Gesellschaft der Musikfreunde, Vienna, for permission to
reproduce the picture used on the front cover. This etching. known as "Ballspiel in Atzenbrugg",
shows Schubert (seated, with a pipe) listening to a guitarist and a violinist at a convivial outdoor
celebration. t clearly evidences the everyday use of the guitar in Schubert's milieu.

TECLA EDITIONS
Soar Chapel
Penderyn
South Wales
GB-CF44 9JY

Reprinted 1990 by Editio Musica Budapest

 TABLE OF CONTENTS

Page
INTRODUCTION AND EDITORIAL POLICY . . ..v

TRANSLATiONS OF THE SONG TEXTS AND COMMENTARY ..... . .VI

Critical apparatus . X

Opus 3, no. 1 SCHÄFERS KLAGELIED, D. 121 (Goethe)... 2

"Da droben auf jenem Berge"

Opus 3, no. 2 MEERES STILLE, D. 216 (Goethe)....
Tiefe Stille herrscht im Wasser"
Opus 3, no. 3 HEIDENRÖSLEIN, D. 257 (Goethe)....
"Sah ein Knab ein Röslein steh'n"
Opus 3, no. 4 JÄGERS ABENDLIED, D. 368 (Goethe)... .
"Im Felde schleich ich still"
Opus 4, no. 1 DER WANDERER, D. 493 (Schmidt von Lübeck). . 8
"Ich komme vom Gebirge her"
Opus 4, no. 2 MORGENLIED, D. 685 (Werner).... 12
"Eh' die Sonne früh aufersteht"
Opus 12, no. 1 GESANG DES HARFNERS I, D. 478b (Goethe). 17
"Wer sich der Einsamkeit ergibt"
Opus 20, no. 1 SEI MIR GEGRUSST, D. 741 (Rückert).. 20
"O du Entriss'ne mir"
Opus 20, no. 2 FRÜHLINGSCLAUBE, D. 686b (Uhland)......
"Die linden Lüfte sind erwacht"
Opus 20, no. 3 HÄNFLINGS LIEBESWERBUNG, D. 552 (Kind) , 28
"Ahidi! Ich liebe!"
Opus 21, no. 2 DER SCHIFFER, D. 536 (Mayrhofer) ... 30
"Im Winde, im Sturme"
Opus 22, no. 2 WEHMUT, D. 772 (von Collin) . . . . . . . . 36
"Wenn ich durch Wald und Fluren geh"
Opus 36, no. 2 NACHTSTUCK, D. 672 (Mayrhofer).... 38
"Wenn über Berge sich der Nebel breitet"
Opus 43, no. 2 NACHT UND TR D. 827 (von Collin).... 44
"Heil'ge Nacht, du sinkest nieder"
Opus 60, no. 1 GREISENGESANG, D. 778 (Rückert) . 47
"Der Frost hat mir bereifet des Hauses Dach"
Opus 60, no. 2 DITHYRAMBE, D. 801 (Schiller) ... . . 52
"Nimmer, das glaubt mir, erscheinen die Götter"
IV
INTRODUCTION

of the Viennese claseie

of selected Lieder of Schubert, Beethoven, and other composers
eraThe
with classical performing
practice guitar accompaniment is nearly as old as the songs themselves. The guitar came to musical
1807,when Franz Schubert was stillaand child and Beethoven a successful
prominence in Vienna around the year guitar by Wenzel Matiegka a
and recognized composer. The latter's song Adelaide, transcribed for voice house of Artaria, as were
guitarist and Kapellmeister of high repute),
was publi_hed that year by the prestigious
and Ferdinand Carulli. And many hundreds of editions of
solo guitar works of Mauro Giuliani, Simon Molitor, in parallel staves, appeared in Vienna over the
píano accompaniment
guitar music. including songs with guitar
or

following two or three decades.

It was undoubtedly the current vogue of the guitar that attracted the young Schubert to the instrument. He set
to guitar accompaniment a "Cantata" which he wrote in honor of his tather's name day in October 1813 (D. 80
And early in 1814 he reworked, either for his own enjoyment or that of his guitar playing friends, Matiegka's
Notturno for flute, viola, and guitar, adding a cello part (D.96). Clearly, then, Schubert was familiar with the guitar.
even if he remained a pianist all his life.
Living in the shadow of Beethoven, Schubert had great difficulty in establishing an identity of his own. For
instance, he was not listed among the known composers of solo song in Vienna, as reported in the "Referirende
Uebersicht des Musikzustandes in Wien.. " published in the Intelligenzblatt zu den Vaterländischen Blättern
in March/April, 1818. The article does, however, include such names as Beethoven, von Dietrichstein, Fusz,
Giuliani, Henneberg, Kanne, and Salieri as composers of Lieder.
Finally in 1821. when Diabelli took the risk of buying, engraving, and publishing what were to be the first Lieder
of Schubert in print, Opus 1 through 7, he issued four songs from this group in versions for guitar accompaniment
Taken as a whole, these publications mark the beginning of Schubert's rise to public recognition as a composer of
Lieder. During the next few years Schubert sold still more songs to Diabelli and to rival firms. And the publishing
pattern repeated itself: certain Lieder would appear concurrently in guitar versions, almost as though there were
a conspiracy afoot!
Why did these early publishers bring out parallel editions of so many Lieder in guitar transcription? No doubt
to promote Schubert among the many guitarists as well as pianists in Vienna, thereby to increase their sales. There
were probably esthetic reasons as well: Schubert with guitar must have sounded pleasing to early 19th-century
ears.
The approximate number of these early versions of Schubert Lieder for guitar has not been determined until
quite recently. This is because the authoritative Deutsch thematic catalog of Schubert's works (published in 1951
and the more recent revision of the same by the editors of the Neue Schubert Ausgabe (Kassel: Bärenreiter, 1978
avoid systematic mention of these works on the grounds that no manuscript evidence exists that Schubert himselt
made them. It has only been through a detailed study of early music bibliographies and publishers' catalogs. and
through correspondence with experts such as Dr. Alexander Weinmann of Vienna, that this editor has been able
to ascertain that over two dozen songs (principally Lieder for solo voice, but also choral works) were published
with guitar accompaniment in Vienna during the years 1821-28, that is, during Schubert's heyday. And Schubert
would have lived to see still more in print, presumably with his approval, had he lived longer.2
The earliest guitar versions of Schubert Lieder usually appeared concurrently with, sometimes shortly after. and
in two cases apparently before the first editions with piano accompaniment.3 Five different publishers were involved
in this practice: Diabelli, Sauer & Leidesdorf, Pennauer, Cappi & Co., and J. Czerny. Their engraved plates were
reissued time and again during the first half of the 19th century. A number of these imprints still survive in libraries
in Vienna and elsewhere.

A WORD ABOUT THIS EDITION

The present selection of sixteen Schubert Lieder is drawn. on historical grounds, from works which were
print in Vienna during the composer's lifetime. Bibliographic evidence shows that thirteen of them were publishea
in versions for guitar more or less concurrently with their prototypes for piano. It might have been desirable to
1ssue a facsimile reprint edition of the early guitar Lieder, but this has been precluded for several reasons. First
only nineof the present selections are known to have survived in Viennese first editions. Second, the earliest
guitar transCriptions appear to have been done in haste; they reveal sometimes serious distortions of the sources
that Schubert left. While it would have been feel that
historically faithful to deal with them on their terms,ln uca ed
ownthem
it would ultimately have been a disservice to the repertoire for voice and guitar to have revived
form.
he editor's prerogatives have been exercised in three areas of this publication: selection of Lieder, establishment
of thesong texts, and establishment of the musical texts including fingerings. With respect to selection, the suo
norm of suitability to performance on the classic guitar has prevailed. The very first guitarists tø
r
showed transcri
sometimes extraordinary insensitivity to this matter, at least by modern standards. Perhaps it was late de to
the fact that no real performance tradition for these
songs existed in those early days. It is provocative to spo
 V

that Diabelli, for instance, might have conceived of

it could have been convincing in his Erlkönig (Schubert's Opus 1) as a piece of such delicacy that
meager transcription for voice and guitar. However, in the light of
dramatic, forceful interpretations of this work that have come down to numerous
us, we remain unconvinced.
have excluded such impassioned works as this, Der
Liedler,
Therefore
Der Zwerg, and Die junge Nonne, all of which are
we

cited in early music bibliographies as

having ben in print in guitar versions during Schubert's lifetime.
The song texts in Schubert's Lieder
usually run continuously, like prose (with frequent inner repetitions), from
beginning to end, without revealing the verse structure of the
beginning of each verse. The present edition restores the missing poems throughinthe
capitalization
use of a capital letter at
the hope that this might aid the
the
singer not fluent in German in correlating texts with translations, line by line. Where necessary, minor emendations
of the Urtext have been made in the
light of current German
usually been so insignificant as to be hardly worth footnoting?spelling
and syntax practice, but these changes have
The point of departure for the music of this edition has
been the original versions of the Lieder for voice and
piano. with special reference to the earliest guitar transcriptions. The choice of keys has been influenced
by the
traditionally favorable keys for the guitar, by historical precedent (well done Viennese first editions for guitar of
certain of the songs), and by the awareness that most of Schubert's
original
tenor). In six of these transcriptions the pitch has been lowered somewhat to
keys were for high voice (soprano or
accommodate the middle vocal range;
a capotasto may be used to raise any song to higher pitch if
desired, with the full support of historical precedent
a
dating to Schubert's time. Six of the remaining songs could be well transcribed at their original pitch. Three were
raised a half-step; only one (Der Wanderer) had to be raised as much as a minor third, and its highest note (G) is
still within the range of most tenors. In matters of musical
calligraphy, the notational details of the Urtext piano
versions have largely been retained, admitting minor adjustments for the single-staff guitar reduction.
Footnotes draw the guitarist's attention to any pedal instructions
designed to elicit a softening ("mit der Ver
schiebung") or a sostenuto effect (""mit erhobener Dämpfung") in the piano accompaniments. Comparable sound-
level or resonance adjustments in the guitar
accompaniment should be made. In two songs (Op. 3, no. 4 and Op.
36, no.2) the use of a seventh string in D is offered as a
parenthetical option for guitarists who have seven-string
instruments. All songs in this edition are designed to work well, however, on the
six-string guitar. Variant readings
of the vocal melodies are noted in the score where they occur; the original notation of the voice part is given in
the critical apparatus as required.
Conventional guitar notation symbols for fingerings and positions on the fingerboard appear throughout this
edition. The use of the right hand thumb stroke on two or more strings for emphasis is editorially suggested by an
arpeggiation symbol topped with an arrowhead; all arpeggiations without arrowheads are drawn directly from the
Urtext sources:

Editorial Original
Thomas F. Heck
Ohio State University Libraries
Columbus, Ohio
December 16, 1979

FOOTNOTES
A curious omission. since the thematic catalogs of Mozart (Köchl). Haydn (Hoboken) and Beethoven (Kinsky-Halm) all carry information on early
arrangements by others
hese findings. of these
including composers
a tabulated list works.
of the first editionsfor guitar. were presen ted atthe annual meting ofthe American Musicological Society
in Minneapolis on November 1. 1978. in my lecture/recital: Schubert Lieder with GuitaranInquiry Tenorrederic Chrislipwas the featured singer.
D.493 (Der Wanderer) hasthe plate numbers 678 for its guitarversion and 773 for its piano version(firsteditions) with Diabelli&Co The respective
plate numbers for D.685 (Morgenlied)are 679 and 773. A foureditions were published earlyin 182 1Amore completediscussionof thissubjectcan
befound inthis writer's "Schuberl Lieder with Guitar Permissible?" in the Soundboard. quarterly publication of the Guitar Foundation of America,
III/4[Nov 1976)-IV/2 (May 1977).
The three
3.no. songssongs
2-4). These appurently not published
lie so well in guitar
on the guitar. versions
that Iam at a during Schubert'
loss to explain liftime
Diabelli's are Meeres
oversight Stile.
in this Heidenróslein,
matter. andlagers
Diabelli published Abendlied
all four songs of(Op.
OD.
3 with piano accompaniment. but only Schafers Klagelied (Op. 3, no. 1) with guitar, according to Hofmeister's Handbuch der musikalischen Litteratur
of11822.
Schofers Klugelied. Der Wanderer. Sei mir gegrüsst. Frühlingsglaube. Nachtstück Greisengesang. Dithyumbe.Hanflings Liebeswerbung. and Nacht
und Traume. Thelatter two have appeared as featured facsimiles in Soundboard I2(May 1977 and
PHILOMELE/ eine Sammlung der beliebtesten/ Gesängel mit Begleitung der Guilare eingerichtet und
ab 1979) respectively.
herausgegeben von Anton Diabelli/ No. 106:
Erlkonig, Ballade von Gothe/ in Musik gesetzl von Franz Schubert/ Mit Begleitung dor Guitarre. Plate number G. et D. No 676. [Copy: Vienna, Nation
albiblioihek. Musiksummlung).
For instance, inthe third verse of Heidenróslein (Op. 3, no. 3) Schuber! writesHalfihr doch keinWeh und ath " Correct syntax suggests a reading
of "Half ihm doch.In the guilar version of Creisengesang Op 60. no.1 the texi bogins"Der Ernst sternness| hat mir beroifet des Hauses Dach,"
whereas "Der Frostsumtlicher
Neue Ausgabe Ifros" is Werke:
whal Schubert wroto. We
Franz Schubert. opted
Serie IV: for the(Kassel:
Lieder lext of the plano version
Bärenreiler. 1970-in).this
Alsocaso
consulted was the standard Friedländer edition,
Franz Schubert Gesange (Frankfurt: C.F. Pelers, s.d.) which bears no copyright notice.
VI

TRANSLATIONS AND COMMENTARY

SCHÄFERS KLAGELIED (Shepherd's Lament) was first published in versions for piano and for guitar by Cappi a& niat.
Vienna in 1821. The guitar version bears the plate number 680; the piano version had either no plate number. or chubert's
elli in
indicated infootnote 4 earlier. the remaining songs of opus 3 apparently were not issued in guitar transcription duringSchubets
lifetime.
From rain, storm, and thunder
There, on yonder hill, I hide 'neath this tree.
T'd stand, time and again.
Leaning on my shepherd's stajj.. And still the door remains closed.
And gazing down toward the valley. Alas, all is still a dream.

Then l'd follow my grazing flock, There is a rainbowv

My sheepdog would watch it for me. Above that house,
Now I have descended. But she has moved away,
But still don't know why. Far into the country.
There stands the whole meadow Into the country, and further,
Decked in flow'rs so fair. Maybe even overseas.
I pick them. without knowing Move on. you sheep, move on,
Whom to give them to. Your shepherd is very sad.

MEERES STILLE (Stillness of the Sea)

A deep stillness reigns in the water,

The sea is calm, without motion,
Uneasy. the boatman looks at
The surace, sm0oth allTound.
Not a breeze from anywhere!
Deadly silence-terrible!
In this enormous expanse
Not a wave moves.

HEIDENRÖSLEIN (Little Wild Rose)

A lad spied a wild rose Spoke the lad: I'll pluck you up.
Wild rose on the heath, Wild rose on the heath;
Twas so young and fresh Said the rose: I'll stick you,
That he ran to see it close, So that you'll remember me;
And gazed on it with pleasure; I'll not endure it.
Wild little rose so red, Wild little rose so red.
Wild rose on the heath. Wild rose on the heath.

And the naughty lad did pluck

The wild rose on the heath:
Sure enough, the lad got stuck,
Alas, his cries didn't help him,
He had to endure it.
Wild little rose so red,
Wild rose on the heath.

JÄGERS ABENDLIED (Hunter's Evening Song)

I am stalking in the field. quietly, intensely, gently.
My rifle at the reead Now you're strolling, quietly.
through meadow and vale,
When suddenly your image floats before me,
Your lovely face is there. Say, does my quickly fleeting picture
Ever appear to you?

Whenever I think of you, it's as if

were gazing at the moon;
A guiet peace envelops me,
Which I never understand.
 VII

DERWANDERER (The Wanderer) appeared in its first edition for guitar in 1821, bearing Diabelli & Co. plate number 678,
evidently prior to the first edition with piano accompaniment (Diabeli & Co. p.n. 773, first advertised 29 May 1821).

I have come from the mountains, Where are you, my beloved country?
The valley is steaming, the sea is roaring.
Sought ajter, dreamed of yet never found!
walk quietly, not joyfully.
Sighing I ask again: whither?
The land, the land so full of hope.
The land where all my roses bloom,
The sun seems so cold here,
Theflowers so faded. life so old, Where my companions are strolling.
Where my departed ones shall rise again,
What these tell me is empty sound The land that speaks my native tongue,
T'm a stranger everywhere. O land, where are you?

I wander quietly, not joyfully.

Sighing I ask again: whither
nereply comes in a ghostly voice:
"Where you are not: there is happiness!"

MORGENLIED (Song of the Dawn), like "Der Wanderer". was published in 1821. The guitar version has plate number 679.

Even before the rising of the sun, Then why do you, little birds, sit so still, so lowly.
When up from the misty
sed,
Back and forth, the rosy dawn appears,
Bythe roof, in your mossy nests

Heralding with Iuminous spear the day,

We oost because the sun no longer looks upon us;
The night has already sent her down to the very ocean.
Little birds will jlutter to.and fro, Only the moon remains, that lovely orb,
Singing joyously in all directions That beautiful reflection of the sun,
A song. a jubilant song. Which never leaves us in total darkness;
"Why are you so joyful, little birds, For this we are joyful, even in silence
So charming in the sun's warm rays?" youth You are the cool dawn of life.
"To rejoice to be alive. In you our
To be comrades of the lofty air; hearts opened wide,.
With Iively and awakened senses,
In time-honoured fashion Delighting in the freshnes of life.
We flutter merrily through the bushes,
Surrounded by lovely morning breezes;
Alas, you have departed
We old folks sit humbly
in
Likewise the sun is joyful. "

the nest.
Mecely a loving reflection of youth;
As we were joyful at dawn.
So in old age we never lose
A quiet. pensive joy.

GESANG DES HARFNERS I (Song of the Harpist, ) is from Goethe's Wilhelm Meister. Schubert set the text several times, the
first being in a manuscript dated 13 November 1815, not published during his lifetime. The present version is Deutsch no. 4788
(b). published by Diabelli & Co. in December 1822 as the first of three Gesänge des Harfners, Opus 12, nos. 1-3. The Hofmeister
Handbuch der musikalischen Litteratur of 1825 states that two of these
songs were
Leidesdorf of Vienna, presumably in the previous year, 1824. We can reasonably
published
assume
in guitar versions by Sauer &
that Op. 12, no. 1, would have been
one of those: none of the Sauer & Leidesdorf editions of
Op. 12 has yet come to light.
He who yields to solitude. Just as a lover tiptoes softly
Alas, soon will be lonely To see if his beloved is alone,
Others will live, others will love, So loneliness, day and night,
And leave him to his grief. Steals in to torment me.
Yes! Let me drink this cup!
And if just once I could Solitude is grief:
Oh. one day when I shall be
Truly be alone. Alone in my tomb,
Then I should not be alone. Then it will no longer trouble me.

SEI MIR GEGRÜSST(l send yougreetings) and its companion songs in Opus 20, Frkhlingsglaube and Hänflings Liebeswerbung,
were
brought out in simultaneous versions for guitar and for piano accompaniment, both versions being advertised for sale by
Sauer & Leidesdorf on 10 April 1823. The piano version has plate number 231, while the guitar transcription was
p.n.278. assigned

Even now, when you are snatched away from my embrace Despite the distance which cruelly separates us,
send you greetings, I sendyou kisses. Which has come between me
Attainable now only through my yearning. and thee,
send you greetings. I send you kisses. Defying the jealous
send you
powers of destiny,
greetings. I send you kisses.
You, whom the hand of love has bestowed ust as you, in the springtime of our love,
pon me: you, who from my breast
Have been snatched away! With tearful eyes
Came to meet me with kiss
and embracee,
send you greetings, I send you kisses.
So now, With ardent outpourings oj my soul,
I send you
greetings, I send you kisses.
The
breath of love dissolves time and space;
am with you, you are with me;
hold you encircled in my arms,
I send you greetings, I send you kisses.
VIII

FRÜHLINGSGLAUBE (Springtime's Promises)

Gentle spring The world grows more

andbreezes
weave have
They drift
awakened
through day and night, No one knows what yetlovely
each day.
may
They work towards one goal. Blooming will never cease; come,
O fresh wind, O new sound! Even the most distant,
Now, dear heart, be not afraid! Now, dear heart. forget deepest
thy painvalley Di0Ssoms;
blossome.
Now shall all things be transformed. Now shall all things be
tronsformed.

HÄNFLINGS LIEBESsWERBUNG (The Linnet's Love-Song)

Chiripee! I'm in love Chiripee! l'm in love!

Chiripee! l'm in love! Chiripee! I'm in love!
Mildly the sun shines. O see how the flowers
Gently the west wind blows, Lovingly embrace,
Softly the brook murmurs, Lovingly nap together!
How sweet the flowers smell! Oplease, return my love!
Chiripee. Chiripee...
Chiripee! I'm in love! Chiripee! I'm in love!
Chiripee! I'm in love! Chiripee! l'm in love!
love you. gentle Creature,
creature, O see how the Ivy,
With fluffy feoth rs, With loving arms,
With radiant eyes, Encircles the oak tree!
Fairest of the flock! Oplease, return my love!
Chiripee.. Chiripee...

DER SCHIFFER (The Skipper) is the second of three songs first published by Sauer & Leidesdorf in Vienna under thecollet
title "Drei Fischerlieder von Mayrhofer" (three fishermen's songs) as Schubert's Opus 21. The piano versions have platenumt
276 and, according to Alexander Weinmann, the guitar transcriptions have the next plate number, 277. Both were ader
for sale on 19 June 1823. A copy of the guitar version of Opus 21 has not yet come to light. The text suggests that the tisten
in these songs worked the Danube river.

In wind and storm I travel the river, This had to be, I wished it so,
My clothes soaked from the pouring rain; I hate the comfortable, orderedcreaking
lite skif.
whip the waves with powerful strokes, Even the wavesscuttle the
Hoping for a brighter day. Twould still prefer my self-chosen course
The waves pursue the creaking skiff. So let the raging
The tide threatens, as does the cliff.
waters ro aters pour,
more blessed waters pour.
rom the heart
oulders roll down from rocky heights, Steadying the nerves, O joy divine.
And fir trees creak like moaning ghosts. To weather the storm with manly resolve

dition for guitar

in lb.
WEHMUT (Melancholy), like its companion work in Opus 22, Der Zwerg. appeared in its first edtio plate
number 358. No copy has survived. The first edition for plano
probability, with Sauer &Leidesdorf plate
357 and was first advertised for sale in Vienna on 27 May 1823.

When I walk through forest and field,

Life seems both happy and sad
Within my troubled heart.
So happy, so sad, as the meadow
Unfolds its beauty to my eyes,
And the joy of spring is everywhere;
Because whatever sings in the waving wind,
Whatever stands tall in_the sky.
Even man, alas, so nobly united
To all the beauty that he beholds,
Must vanish, must perish.
 IX

NACHTSTUCK (Song of the Night) is a song within a song-one of a number of texts of this genre that attracted Schubert. The
first edition for guitar was published by Cappi & Co. of Vienna, presumably in January 1826, since it has plate number 82. The
original version for voice and piano, with p.n. 60, was issued by the same firm in February 1825.

As the mist extends over the hills, Then the green trees rustle
and the moon struggles to break through the clouds. "Rest in peace, you kindly old man."
The old man takes up his harp, walks forth, The grasses murmur with wavering voice:
And sings to the forest, in soft tones: "We shall cover his resting place."
"O holy night: And many loving birds call out:
Soon it will be finished.
Soon I shall sleep the long sleep
"May he rest well in his earthly bed."
The old man listens. then he is still,
That will deliver me from all grief." Death has gently embraced him.

NACHT UND TRÄUME (Night and Dreams) was first printed by Pennauer of Vienna in July 1825. as Schubert's Op. 43, no. 2.
in concurrent piano and guitar versions with plate numbers 136 and 169 respectively.

Holy night, you are falling: They listen with pleasure:

Dreams are also floating down, They call out, at daybreak:
As your moonlight fills this place, Come again, holy night!
Fills men's sleeping hearts. Gentle dreams, come back!

CREISENGESANG (Song of Old Age) forms, with Dithyrambe, Schubert's Opus 60. The original pi¡no versions of these songs
were published in Vienna by Cappi & Czerny inJune 1826 with plate number 192. Some two years later (circa June 1828) Josef
Czerny's firm issued the guitar transcriptions with plate number 701

Frost has whitened the roof of my house,
Yet my living room remains warm.
Winter has coated my head with white,
Yet within my heart the blood still runs red.
The youthful bloom of cheeks, the roses,
All are gone, gone one by one.
Where have they jled?-to my heart.
There they blossom at will, just as always.
Have all the world's wellsprings of joy gone dry?
Still a quiet stream flows through my breast.
Have all the nightingales in the meadow grown silent?
Still one is watching in the silence of my heart.
It sings: Master of the house, shut your door,
Do not let the harsh world rush inside.
Shut out the rude breath of reality,
And only give shelter to your dreams.

DITHYRAMBE (Dithyramb-Greek song of revelry)

Never, I swear it, will the gods appear,
Never alone.
Scarcely do we have Bacchus, the lusty fellow,
When on comes Cupid, smiling rascal,
Phoebus the maginficent also drops in.
They approach, they enter, the heavenly guests,
And soon the gods fill this earthly place.
Now what can I, son of a mortal, offer
This heavenly chorus?
Bestow on me your immortality,
You gods! What can a mortal do for you?
Lift me up to the heights of Olympus!
Joy 1s Jound only in the Hal of Jupiter.
Oh pour me some mead, oh hand me the cup!

Hand him the cup! Pour for the poet,

Young Hebe, just one.
Moisten his eyes with heavenly dew
So that he may never see the rueful Styx;
Let him think he is one of us.
It bubbles, it glistens, this heavenly liquid,
The heart now is quiet, the eye now is clear.

NOTE-Information in the above commentaries regarding bibliographic matters, first editions, dates, etc. is derived from the following publi-
cations:

Handbuch der Musikalischen Litteratur. by Corl Friedrich Whistling and Friedrich Hofmeister (Leipzig,
1817. )
Weinmonn, Alexander Beitrage zurCeschichte des AltWiener Musikverlagas. Reihe 2 Vienna.1951..Variquspublishers' catalogs in this series
Deutsch, Otto Erich. Schuber, Thematic Catalog of all his works... Cambridge, 1951) and the new German edition of the same by the editors of the Neue Schubert
Ausgabe (Kassel, 1978).
 CRITICAL APPARATUS

The original notation of the vocal melodies, transposed to correspond to the keys used in this edition, is cited below for
certain problematic passages signalled in the songs.

SCHÄFERS KLAGELIED, Op. 3, no. 1 DER WANDERER, 0p. 4, no. 1

u send mal bist du?

FRUHLINGSGLAUBE, Op. 20, no. 2

schlos sen

MEERES STILLE, Op. 3, no. 2 Her -

Herz,
Schif fer

Sei te 3
HANFLINGS LIEBESWERBUNG, Op. 20, no.

JÄCERS ABENDLIED, Op. 3, no.4

Blu men

e bes Bud, di

CREISENGESANG, Op. 60, no.1

Wirk lich . kolt,

SONGS
 Schäfers Klagelied
(Originally in C minor) Johann Wolfgang von Goethe Op. 3, No.
D. 121, first
version
Mäsig (120) (a)

Ber ge, Da steh ich tau send

Da dro ben auf nem

PP

mal, An mei nem Sta be hinn ge bo gen, Und schau e hin -ab das

Tal. Dann folg ich der wei - den-den Her de, Mein

Hünd-chen be - wah - ret mir sie. Ich bin her un -ter ge -kom men

Und weiss doch sel Da

ber nicht Wie.

TECLA EDITIONS 1980 pP PP

 ste het von Schö nen Blu Da
men, steht. die gan ze

BI

(b)

Wie se SO Voll. lch bre che sie, sen, Wem ich sie
-

oh- ne Zu wis

ge ben soll Und Re gen, Sturm und Ge

B III BI

Wil ter Ver pass ich un ter dem Baum.

IV

(c)

Die
Tü - re dort blei - bet ver - schlos-sen; Doch al les ist lei der ein
4
B III

b PP

Es ste het ein Re gen bo Ben Wohl

Traum.
 Sie a -ber ist fort B zO
gen, Und
ber je nem Haus!

weit in das Land hin aus Hin aus in das Land und

PP
cresc.

wei ter, Viel - leicht gar ber die See. Vor - ü -ber, ihr

mf

Scha fe! nur, Vor ber, Dem Schä fer ist gar SO

B III

PP
cresc.

weh; Vor ber, ihr Scha fe! nur. vor ber, Dem

cresc.

Schä fer ist gar so weh.

PP :
 Meeres Stille
Johann Wolfgang von Goethe
(Original key) Op. 3 no. 2
D. 216 second version
Sehr langsam, ängstlich (J =72)

Tie fe Stil le herrscht im Was ser, Oh ne Re gung

PP

(a)

ruht. das Meer, Und be küm mert sieht der Schif - fer
IV

Glat e Flä che rings um herI. Kei - ne Luft Von kei ner
I

(b)

Sei - te! To des stil -le fürch ter lich! In der

II

un ge heu - ern Wei te Re get kei - ne Wel le sich.

II

TECLA EDITIONS 1980

 Heidenröslein
Johann Wolfgang von Goethe
(Originally in G major)
Op. 3, no. 3
D. 257
Lieblich ( -69)

Sah ein Knab ein Rö's lein stehn, Ro'slein auf der Hei
Kna be sprach: lch bre che dich, Rös lein auf der Hei
den
Und s Rös ein
den.
der wil d e Kna be brach auf der Hei den;
IV

PP

War jung und mor gen-schön, Lief er schnell, es nah zu sehn,

Rös lein sprach: Ich ste che dich, Dass du wig denkst an mich,
Ros - lein wehr sich
te und stach, Half ihm doch kein Weh und Ach,

Sah's mit vie len Freu den.

Und ich
Rös lein, Rös - lein, Rös lein rot,
will's nicht lei den. Rös lein, Rös lein, Rös - lein rot,
Musst es ben lei den. Rös lein, Rös- lein, Rös - lein rot,

IV

cresc.
PP

Rös lein auf der Hei den.

Rös lein auf der Hei den.
Rös - lein auf der Hei den.

TECLA EDITIONS 1980

 1
Jägers Abendlied
(Originally in Db major) Johann Wolfgang von Goethe Op. 3, no. 4
D. 257
Sehr langsam, leise ( =63)

1. Im Fel de schleich ich still und

wan delst jetzt wohl still und
ist es, denk ich nur an

PP|

wild, Ge spannt mein Feu rohr. Da

mild Durch Feld und lie bes Und
Tal,
dich, Als in den Mond. zu sehn; Ein

Cresc.

(a)

schwebt so licht dein lie bes Bild

mein schnell
Dein süs ses
ach, ver rau schend Bild- Stellt sich . dir's
stil ler Frie de kommt auf mich- Weiss nicht,. wie

IV

dim.

12. 3.

Bild mir. dein süs ses Bildd mir Vor. Du

Vor,
nicht ein mal? stellt sich dir's nicht ein mal? Mir
mir
ge schehn, weiss nicht, wie mir. schehn.

O TECLA EDITIONS 1980

 Der Wanderer
Georg Philipp Schmidt p. 4, no. 1
(Originally in C$ minor) D. 493 (Third version)
Sehrlangsam (-63)

IV

cresc.

PP

Ich kom- me vom Ge-bir

her, Es dampft das Tal, es braust das Meer, S

I II

cresc. cresc.

braust das Meer.

III Ich wan dle

PP PP

still, bin we nig froh, mer

Und im

O TECLA EDITIONS 1980

fragt der Seuf zer wo? im .
mer wo? Die

PPP

Son ne dünkt mich hier 50SO kalt, Die Blü te welk, das

Le ben alt, Und was Sie den rer Schal; Ich

II

Etwas geschwinder

bin ein Fremd ling ber all. Wo bist du, WO

III| m

bist du, mein lieb tes Land? Ge sucht

III
10

ahnt und nie.

PP

Geschwind

kannt. Das Land, das Land, SO hoff- nungs-grün, SO

hoff- nungs-grün, Das Land, WO mei ne Ro sen blühn, Wo mei- ne Freun de

) cresc.

|
delnd gehn, Wo To auf stehn, Das
wan mei ne ten er

WO
Land, das mei ne Spra che spricht, Land
V.
III
 11
(a)
Wie anfangs; sehr langsam

bist du? Ich wan dle

BI1I

dim.

still, bin wve nig froh, Und im mer

111iiii

fragt der Seuf zer wo? im mer wo? m

PPP

Geis ter hauch tönt's mir zu - rück: "Dort, WO du nicht bist, dort

Ist das Glück."

12
Morgenlied
(Original key) Zacharias Werner
Op. 4, no.2
D. 685
Ziemlich langsam ( d -63)

Eh' die Son n e früh auf - er .

PP sempre

damp-fen-den MeerT Her - auf und her u n - ter das Mor gen-rot weht, Vor-
steht, Wenn aus demn

an fährt mit dem leuch ten-den, Speer: Flat tern Vög-lein da

PPP

Kreuz_ und die Quer Ein

hin und da - her,
Sin gen- fröh - lich die

beln-dess Lied, ein Lied,- ein. ju beln-des Lied.

Lied, ein.

TECLA EDITIONS 1980

 13

,,Was

freut ihr Vög - lein euch all zu-mal So her - zig im wär - men-den Son nen- strahl?**

PPP

,Wir freun uns, dass Wir le b e n und sind Und dass wir luft - ge Ge

Nach löb -li-chem Brauch Durch-flat

sel len sinnd. tern wir
fröh lich den Strauch, Um

weht Vom lieb li - chen Mor gen - wind, Er göt zet die Son ne sich
14

auch, er göt z e t die Son ne sich auch."

Was sitzt ihr Vög lein soo stumm und ge duckt Am

Dach im moo si-gen Nest?" Wir sit zen,weil uns die

PPP

Sonn' nicht be - guckt, Schon hat sie die Nacht Der

n die Wel len ge-duckt,

Mond al - lein, der- lieb l i - cheSchein, Der . lieb l i cher

Son ne