SCHUBERT LIEDER with their accompaniments arranged for guitar by Napoléon Coste edited by Brian Jeffery TECLA 391SCHUBERT LIEDER with their accompaniments arranged for guitar by Napoléon Coste edited by Brian JefferyCopyright © 2011 by Brian Jeffery and Tecla Editions, This is a newly engraved and newly edited edition and it is copyright. Please do not make photocopies from it, which would be illegal. Instead, you can get from Tecla two copies of this book at a specially reduced price. one for the singer and one for the guitarist. Also no copying may be made to any electronic or any other form of storage and retrieval system without written permission from the publisher Tecla Editions. Copies of this book may be obtained easily worldwide from music shops and bookshops or shipped to you by Tecla directly worldwide at low cost by air mail, For more details and international prices please see the Tecla website www.tecla.com, First published in this form by Tecla Editions in 2011 Printed in Hungary by Interpress Ltd. Paperbound edition TECLA 0391 ISBN 9780948607837 Clothbound edition TECLA 0392 ISBN 9780948607844 TECLA EDITIONS, LONDON www.tecla.com10, ul 12, B. Is. Contents Introduction Schubert Schubert Shubert Schubert Schubert Schubert Schubert Schubert Schubert Schubert Schubert A. H. von Weyrauch. Adie Auf dem Wasser zu singen 2.2... Schubert. Schubert. Gretchen am Spinnrade Der Tod und das Midchen Stiindchen: Leise flehen meine Lieder Sei mir gegriisst ... . Das Fischermidchen . . , Schlummerlied .. Des Madchens Klage Das Wanders 22... Wiegenlied [Adu] Wiegenlied (G-dur] oe Stindchen: Horch, horch, die Lerch Ave Mi 10 3B 7 20 4 6 2 28 30 32 34INTRODUCTION ings with their piano accompaniments ar by Napoleon Coste were first published These Schubert ust made a sensation there, as the Revue et gazette musicale de Emest Legouvé wrote Paris on 1S January 18% que ses mélodies ont paru chez nous, 4e son nom is three et ce n'est guére que depuis quelques mois se répand hors du cercle de ceux qui 'aiment years now since his songs first appeared among us, but it Js only inthe last few months that his name has become known outside the circle of his admirers”), Enthusiastic, he writes: “Schubert est un homme de génie” and Schuber est un de ces heureux esprits qui attachent de nouvelles cordes ala Iyre du coeur” (Schubert a genius Schuben is one of those fortunate creators whe add new strings to the lyre of the heart"). He writes of “les swoixante mélodies qu’a publiées M. Richault” (“the sixty songs which M. Richault has published"). ‘The publisher Richault did indeed publish Schubert's songs in Paris in the 1430s, with new French words not German, mostly with their original piano accompaniments but also some of them with guitar accompaniment. It Appears that it was to the young Napoléon Coste that he ‘entrusted the task of arranging the piano accompaniments for guitar. a tro ‘This book ‘This present book includes all of the thirteen Schubert songs with guitar accompaniment published by Richault of which copies are so far known to have survived. It should be clearly understood that Coste wrote his guitar accompaniment to the French text and that inthis edition we have newly underlaid the German text to his guitar ‘accompaniment, for the convenience of those performers who may wish to sing these songs with the guitar with the original German text. Those who wish to sing them with French words can find them at the Tecla site wwwtecla.com. ‘They will be a good addition to the guitar repertory, not only for their quality but also because they come from ‘atime very close to Schubert's own, in which the romantic age in which they were composed had not yet come to an end and in which sensibility was still not far away from Schubert's. The opportunity has been taken also to publish separately the song “Adelaide” by Beethoven with its piano ‘accompaniment arranged by Coste for guitar. Napoléon Coste and his guitar accompaniments ‘All the thirteen known Schubert songs from the Richault guitar series except two bear the words "Accompagnement de guitare par Nap: Coste”. Coste atthe time was in his late twenties or early thirties, having been born in 1805. He had come to Paris in about 1830, where he studied ‘with Sor. Later he composed many works for guitar. The story of his early years in and near Amondans in the Doubs in France and of his career in general is told in the book Napoléon Coste Compositeur by Not Roncet, curé of ‘Amondans, written for the Coste bicentenary in 2005 and ‘now republished by Tecla both in French as Napoléon Coste Compositeur and also in English as Napoleon Coste Composer. If we look at his guitar accompaniments forthe Schubert songs, we can see that they are simple, limpid, perfectly suited to the instrument, 1 wonder whether perhaps the ‘young Coste showed them to his teacher Sor, and whether the teacher's influence is w be seen in them?‘The French words ‘Who wrote the French words? They ate often really quite 200d poems, sometimes close to the German originals and, sometimes less so, Most of the original copies of _2uitar editions of the Schubert songs, and also ‘many of his piano editions as well, say “Paroles frangaises de Mr. Bélanger”. but who was Bélanger? There is 00 obvious candidate. T wonder whether it was in fact the famous poct and songwriter Pierre-Jean de Béranger (1780-1857). writing for some reason under some kind of pseudonym? Certainly one of these songs, “Adieu”, does, appear in later editions with the words attributed 0 Béranger, but that is a special case because this song had French words in the first place, not German, At present it isa mystery ‘One song. “Sois toujours mes seuls amours”, has one of its two sets of French words attributed to “M.D.P.”, but, it has not been possible to identify this writer; and one song (“Le meunier Voyageur”) has no attribution for the French words, ‘The attributions of the guitar accompaniments The two guitar accompaniments which do not have an attribution to an arranger are those for “Le meunier * ("Das Wandern”) and “Sérénade de jorch, horch, die Lerch”). The guitar accompaniment for "Le meunier Voyageur” isin fact very similar to the guitar accompaniment for this song in an edition published in Vienna by Diabelli in 1832, and itis even possible that it may have been taken from that. The {guitar accompaniment for “Sérénade de Shakespeare” is uite well done and could also have been made by Coste, in which case the reason why Coste’s name does not appear could have been just a change in practice by the publisher. for some reason no longer to give the arranger’s name. ‘The date ‘The guitar accompaniments seem to have been made and published very early on, as soon as Richault’s series began, in 1834 or perhaps slightly earlier. It means that Richault did not consider his guitar editions as an afterthought, but rather that they came out as soon as possible, perhaps at the same moment as his piano editions. Richault’s editions of Schubert songs with piano had indeed begun some three years before Legouvé wrote his 1837 article: an advertisement in the Gazette Musicale in 1833 announced that an album containing twelve of ‘would be published on I January 1834. As wel} piano, Rica ls published many of hem a i Piano accompniment range for gu” ga St Maloguelisls 22 Schubert songs with guiay paniment, and of those 22 copies have so farbeen ary Seen. Bash he Richa piano and pir et had French words, not the original German, “The eatiest song, “Marguerite”, has Richault’s pe number 2371.8 which looks as though itis of the ea while the two with the latest plate numbers, “La jeune more” and "Sérénade de Shakespeare”, will not be nee than 1839 because they are included in Richault’s 1939 catalogue. ‘The Richault plate numbers are as follows: Marguerite BIR Sérénade 3113. Lajeune filleetlamort —3120.R. La fille du pécheur 3125. Berceuse 3145R. Ave Maria 3334.R (number not quite clear to read) Sois toujours mes seuls amours 3349. Les plaintes de la jeune fille 3350.R (number not quite clear to read) ‘Le meunier voyageur 3370.R La jeune mere 3383 Sérénade de Shakespeare 3859.R Adie = Barcarolle = Devrits & Lesure in their Dictionnaire des Ealiteursde Musique Frangais, I (de 1820 a 1914), Geneva, 18. make clear that Richault’s plate numbers were neither il consistent nor fully consecutive. However. by compart the plate numbers of the songs with the list in their book fone can say that the date of the early 1830s for Marguerite”, although not certain is quite probable. Later editions ‘The songs continued to be reissued at least uP ae 20th century. ‘The copy of “Ave Maria in the Rov" Libary Copenhagen mun dae fro 1862 rafter be ‘ofthe publisher's address 4 Boulevard des ltaiens 10M"? Richault moved in that year. Several copies which |" seen have title-pages of Costallat, Richauit’s sucee from 1898, which means that they must date fo" year or after ig“Ave Maria” is a special case, The copy in the Roy: Library Copenhagen has a pictorial title-page and has plate ‘number 3334.R (itisn’t easy to read in the photocopy, but that is what it appears to be), and bears the words “2c Edition” which means that itis either a later issue oF possibly even a newly engraved edition. Ifthe later, then the song would originally have been published earlier in the series, possibly with different engraving and possibly ‘ith an earlier plate number, but no copy of such an earlier edition has yet been located, It also bears the words but itis not clear in what series this song is no. 3. In two cases (“Adieu and “La jeune mére”), the music engraving in the original editions has a somewhat different appearance from the others. Perhaps these two are later re-engravings, Mr. Roger’ ‘Sérénade de Shakespeare”, has a dedication: ger. Aniste de I'Opéra comique”. Mr. Roger was no doubt Gustave-Hippolyte Roger (1815-79), a tenor who made his début at the Opéra Comique in Paris in 1838 (New Grove). The plate number of this song suggests a ddate of that very year 1838. This original edition has the word “Roméo” at the beginning as part of the title, but in fact “Hark, hark the lark” which is what this song is, comes, from Shakespeare's Cymbeline, not from Romeo and Juliet. Was ita mistake on someone’s part? Romeo and “Julien was much in the air in Paris at that moment, for the premiere of Berlioz’ “symphonic dramatique™ Roméo et Juliette ook place in Pars in September 1839, though not at the Opéra Comique. ‘The thirteen songs published by Richault ‘The thirteen songs published by Richault that have so far been found in guitar versions are as follows, first with their French titles as published in France, and then with their German equivalents. Marguerite Gretchen am Spinnrade La jeune fille et! mort Der Tod und das Miidchen Sérénade Stiindchen (Leise flehen) Sois toujours mes seuls amours Sei mir gegrisst La fille du pécheur Das Fischermiidchen Berceuse Schlummertied Les plaintes de la jeune fille Des Miidchens Klage Le meunier voyageur Das Wandern La jeune mére [in G & in A] Wiegenlied vii Sérénade de Shakespeare Stindchen (Horch, horch, die Lerch) Adieu Adieu Barearolle Auf dem Wasser zu singen Ave Maria ‘Ave Maria ‘The nine missing songs Richault’s catalogue, Le supplément of 1839, lists 22 Schubert songs with guitar, of which copies have been found of the above thirteen but not of the remaining nine. tmeans that nine ofthis series of Schubert songs published by Richault with guitar accompaniment are still mi Let us hope that they will tur up, and that then they may be put onto the Tecla site to be added to the ones in this present book. If any reader of this introduction owns or knows of any existing copies of any of these nine, I would be very pleased to hear from him or her (for example by email to the email address on the home page of wwwitecla.com). The nine missing songs listed in the 1839 Richault ccatalogue with their French tiles are: Amour et mystére (perhaps = Geist der Liebe) ‘Au bord dune fontaine probably = Der Lindenbaum, Am Brunnen vor dem Tore, Winterreise no, 5) Lacolombe (perhaps = Die Taubenpost, Schwanengesang no. 14) Le jeune aveugle (probably = Der blinde Knabe) La jeune religieuse (no doubt = Die junge Nonne) La poste (no doubt = Die Post, Winterreise no. 13) Le ruisseau (perhaps = Danksagung an den Bach, of Der Miller und der Bach, or Des Baches Wiegentied, all in Die schine Millerin) Salut du matin (probably = Morgengruss. Die schine Miillerin no. 8) Beethoven's “Adelaide” Coste also arranged the accompaniment of Beethoven's “Adelaide” for guitar, and the opportunity has been taken to make this arrangement also available separately from this book. For details please see the website wwvstecla.com.Some notes on the songs on is from the original editions; All fingering in this eat none has been added, “Sci mir gegriisst” ("Seis toujours mes seuls amours”) the French words in the copy found, attributed to "M.D.P° begin “Toi qui reguy ma for". However: eral tith page of Costallat it is listed as beginning "Prends mes saluts, prends mon baiser”, Were there two different French texts for this song? Schlummerlied” ("Berweuse)”: the fingering at bar 12 shows that the sixth string is intended to be tuned to F Loco at har 4 probably means: no longer at the seventh position, ‘Das Wandern” (“Le meunier voyageur”): Mario Carreira has pointed out that this guitar accompaniment is very similar to the guitar accompaniment for this song published by Diabelli in Vienna in 1832. This Richault accom puniment is not attributed to Coste, and it may indeed have heen taken from the Vienna Di on, lliedi 7e°)iy provided in the Richault guitar edition with two alternative guitar accompaniments, fone in A and one in G. The one in A is closerto the original piano accompaniment, but on the other hand the version in G has attractive harmonics and higher notes at the end which it might be said suit the guitar better, Both are here in this book. The original guitar edition at the end merely says “harm.”, so in this edition I have added suggestions. ‘on how the harmonics might be played. “Adieu”. although given Schubert's name in the original piano edition, was notin fact composed by Schubert, but by A.H. von Weyrauch, “Auf dem Wasser 2u singen” (“Barcarolle”) survives not in a Richault edition that has so far been found, but so far ‘only in the June 1908 issue of the journal of the Freie Vereinigung zur Forderung guter Guitaremusik of ‘Augsburg. A note says: "Stifter: A. Cottin”. meaning that the music was provided to them by A. Cottin, that isto say. by the guitarist Alfred Cottin of Paris (to whom Tarrega dedicated “Recuerdos de la Alhambra”). No doubt Coitin sent them a copy of a Richault edition of this song, from which they prepared their edition, but so far no Richault copy has yet been found. It looks, however, as though something went wrong in the transcribing, because at the end of this song inthe piano version, fom bar 2 «end, theresa fine and very Schubertan change fom mie to major whereas in the guitar version of the Fre doesn't happen, the necessen, Vereinigung. 1 cea Acknowledgements: 1 would like to express my thanks to Philippe Rayer, who published an article on these songs in Cahiers dela Guitare no. 18 in 1986: “Napoléon Coste transcrit des lieder de Franz Schubert” and who then provided additional materal for this edition which was of great assistance, Also to Jelma van Amersfoort and the late Ronald Grosswiler for copies and for Valuable Suggestion, and to the Royal Library in Copenhagen, the Statens Musi bibliotek in Stockholm, and the Royal Academy of Music ndon for copies. The engraving of his new ei ‘Trukhin is by Alexander V Brian Jeffery2 1. Gretchen am Spinnrade Marguerite Op.2 Frane Sehubet Napoléon Coste (are) Brian Jeffery (ed) ‘TECLA 0391. Copyright © 2011 by Tecla Editions. NO PHOTOCOPYING.Franz SCHUBERT. — Gretchen am Spinnrade 3 ——— ~~, — OES ers Se z a — Ors + poy fiijP s+ F gs Bees f TECLA 03914 Franz SCHUBERT, Gretchen am Spinnrade. Nach ihm SS = (fs oa as Seapets e ' pote = a 4 tee + dad fs 5 =n wai rm es ser i > OR ” =— ete td state 4 + poco TECLA 0391Franz SCHUBERT. Gretchen am Spinnrade. 5 nub, sein Hin = de = druck, und ach, mer = mehr. mer und nimhe “Be a SCHUBERT, Gretehen am Spinnrade TECLA 0391Franz SCHUBERT. Gretchen am Spinnrade —. . — E fey 1 6 if ey —————— = =< (feet ete eet state tata dears tates arate atate x - - . oO of vf Sf vf — —e a SS A poe = =—F oe - = hen sollt, an sei - + nen Ss Se OS stetstste sts mein wf eo TECLA 0391. 2. Der Tod und das Midehen ‘La Jeune fille ef In mort (Ballade) | | | fee $2 ¢ 9919 94 . zs @eg dpa gid dip pp egies Z reer [Etwas geschwinder] & = ps4 Tp z = won vine iS FEE a ’ He TP f TECLA 0391. Copyright © 2011 by Tecla Editions. NO PHOTOCOPYING.Franz SCHUBERT. — Der Tod und das Midehen, 9 Der Tod: [Das erste Zeitmab] SSS SS 8 pi tt TECLA 039110 ‘ 3. Stindchen Sérénade Lei felon meme Lieder «Schwanengesange». 00. 4 Lodiig Rellstah Ke Fang Schubert, Napokon Coste (arr) Brian Jeffery (ed [Manig} 3 5 =. : Gy ase . . fas Le = se fe + hen uch do Nacht ate Pitot de Nich = wi Se fens hen dich nt (£. + - es ok ; a othe oF + { = Lieb = chen, komm zu mie! H) fle hhen sie fir mich, ¥ | (Got et ot et Pr TECLA 0391, Copyright © 2011 by Tela Futons, NO PHOTOCOPYINGFranz SCHUBERT. — Stindchen: Leise flehen meine Lieder. = . a= iy se =k Wip = fel ay chen in des Mon = des Litt Sie ersten des Bu sens Sch = nen. ken = nen Lie - bes ~ schmers, in des Mon - des Licht: des Versa - ters feind - lich Law nen Lie - bes ~ schmerz, rh ren mit den Sil - ber-t - nen flirch - te, Hol - de, cht, flich - te, Hol = de, — nicht s je - des wei - che Herz, je + des wei - che Herz TECLA 0391" Franz SCHUBERT Standchen Feise lefien meine Lieder: Mp oppogap tp on tk ie Opt La aneh diy dic Brust he we = gen yo is > —— = - a + tf tei te tet e+ . — + ¥ # ¥ be = end hare” ich it ent=ge = gen! ve _————— — d BZ = ss = 1 = f= = komm, be-gldk = ke mich! omm, be glk - ke — mich, W472 & xo 84S 183 $988 ron, Eo Pe Ae! TECLA 0391B 4. Sei mir gegriipt ! ours! Sols toujours mes seul Friedrich Rickert Op. 20, no. 1 [Langsam. Mit erhobener Dimpfung] sei mir ge - Kit, sei mir ge ~ Kage! Geb it igteni ie? gl torre NO PHOTOCOPYING. TECLA 0391. Copyright © 2011 by Tecla Editions“ Franz SCHUBERT. — Sei mir gegriiBt! ft a eS see ic sem Mer = 200 Go. B) Do von der Hand der Lie = be - tetas Papas > r r os $ 3 zs fy gee —_ mnt r r r a & __= sem Tri-nen = gus - se sei i 2 > — esa Se mame = iieeeet Spesibeteis aes StS SSS [ay MMH sehen mich und dich ge se at igo = Rey ae a =e r rooF ip TECLA 0391in +X [a] aK Franz SCHUBERT. Sei mir gegriit! > |g) *GN> schon = os sten Lenz der 4 4 TECLA 039116 its tte (Ge) Fin Howch der Bex = z Franz SCHUBERT. — Sei mir gegriit! = til get Raum’ und Zei- = ten == (gitss B co ' ied gee a ve = r 5 i 7 ro ve SEE = Ling det asi — woe? sf TECLA 03915. Das Fischermadchen ins eid Pani Helin) ova i 1 1 i iy 4 foi x , roy ge - = 3 SSS é am TT es pe ei ree rp prog hort trei - be den Kahn ans Land; SSS = SS Z i 35 SS mir und set- ze dich nie - der, wir, ko. = sen, Hand in HHH ‘TECLA 0391, Copyright © 2011 by Tecla Editions, NO PHOTOCOPYING.S— : ro, Q¥e de hee ah tit fyi = 7S oe ae we Sp Sadie Pte = h N 4 : “ SS yo ? po FF Fg oO + den Meer! Barré re af ea 444 ae eer ; to TECLA O91Viane SCHUBERT, Das Hiscerdchen bie = | - eS SS : Stag ae one fp weeds PS LPR FF rroy or ’ ait & i D j D J t ra f * - ate pe papper "oP Pe repr Pb pr bp pf 6 ra Ty): PECL A 0391 Sea20 6. Schlummerlied La berceuse Op. 24, no. 2 Johann Maychofer Franz Schubert. — Napoléon Coste (arr) — Brian Jeffery (ed) Moderato @-F 2 1 Peele der Strom: “Du lie bes Wach = = = tel - schlag, mit ih = soren Far = ben ee sich ins lea + ber sich die ‘TECLA 0391. Copyright © 2011 by Tecla Editions. NO PHOTOCOPYING.Franz SCHUBERT. — Schlummerlied. a iG oe — a fot SS aw tans komm!" Der Kna = = == be kommt, und spielt der Tag, auf Bllm = = = chen rot, aut §) Wot - ken ziehn. An + one Mut = ter oe be h 1, - 16 Spas tS =| rote rrr say s+ end weil and itn ie dem lm => chen bla cr + glint des Him = mee ] an - = == ge schmiegt hat in der Traum ott Schmerz ge = het, und ist von je - = dem fa eh er Taw er - glint des Him - = mels cin 5 ge = wiegt, hat ihn —___ der Traum - ~~ gott TECLA 03917. Des Miidchens Klage Les plaintes de la jeune fille (Ballade) Friedrich von Schiller, iF and ®=D Fran Schubert. Napoléon Coste (FE) — Bran Ste [Sehr ama Gy a Bs u83ss yes = ie Crt a > ; = = bie f === ——| LoS fe gehl ster Kn he, 2. Schla - fe, schla - fe, sti = Ben Gra he, 3 Sila Seiko Flat = men Scho > Oe, ki - xe dich dei = ner Mut = ter Hand noch be = schiitza___—_ dich dei = ner Mut = ter Arm, noch um dich lau = ter Lie - bes - ton, sof - te Ru - he mil = de La - be bringt. dir schwe - bend al - te Win + sche, al = - ile -=Ha - be fat sie tie bend, ei = one Li = tie, ci = one Ro - se, nach dem Sehla ~ fe QBs 7 dieses Wie - gon - band H] alvle le = be - warm a werd sie dir zum Lohn. a TECLA 0391. Copyright © 2011 by Tecla Editions. NO PHOTOCOPYING.* 11. Stindehen “Horch, horch die Lerch..." aus Shakespeares «Cymbeline» Friedrich Rei Napoleon Coste arr. att.) — Brian eer (ag Allegretto Frama Schubert <1 tan, ell aK op fads fis 3 fe gr SSS = 1. Mow, horeh, dhe Lerch mA = ther = Blau! und Phi 2 Wow aston oe Ne ie er - Ntche or Str cco” Soe a eee rie Ros - se mit dir im Wech - sel Pac iN Sat e deck Der Rin = gel bln me Kos mer, dab auch din Ay = gen stern sie dich — Fen pe sehleubt__ die sie grit, Er - ster tieb, das Ai oe Sfp fae ‘TECLA 0391. Copyright © 2011 by Tecla Editions. NO PHOTOCOPYING.Franz SCHUBERT. — Stindchen: Horch, hoch die Lerch * ats SS ’ } the e 9% } oH =a aN aS gold ren Aug fein aut fl lem, was, rei = ; : steh doch gar so rei ~ zend_ bist; : Ls _— steh be dei - nen Sin - ger lied, du : seh = Be Maid, du si Be Maid, steh ji = Be Maid, steh auf. * ¥ steh aul _ le Maid, steh_ ull HB) aut Q le |= si - Be sich aut Ve Ge (er fez ae fe Ra ian e 4 z 4 SPH pt a pf gtx0 12, Adieu! Belanger. AcHI-von Weyrauch, — Napoléon Coste (arr) Brian Jeffery (eq) Andante Ix vu Inv Gitte = = pt * = bs = con espressione Barré 1. Voi = ci Fin stant me 2 A= dice! was . dre aby ¥ Gy eee z 16* Pa Set F== . > ae eee = * e is as Lin = sant de nos = dou! © toi! seul bien que Bien = it je dois par = tir Mon cur fi-d? = leet wv - — (ge edie st EF ip Sans moire = tourne aux Te gamle un_ sou - ve - Lamon est une A= dio jus-qua Ta oT web ad fie ah i oF OF cerese, | M right © 201 by Tecla Fuitions. NO PHOTOCOPYING, TECLA 0391. Copyoe TECLA 0391 soo WEYRALCH, 4 lak en qu read Qe Du fe wore owe ze Willi» z Hi] Ng} Age Aw 13. Auf dem Wasser zu singen Barcarolle Leopold Graf von Stllherg " ‘ OP. 72 an Schubert, — Napoléon Coste (art) — Brian Jeffery (ed) IManig geschwind] = = —————— EES FS 2 - =. ae = 1. Mit - ten im Schim-mer der spie = geln-den Wel - len lei - tet, wie Schwit-ne, der 2G = ber den Wip- feln des west- = chen Hai - nes Win ~ ket uns freund - lich der 3. Ach, es ent-schwin-det_ mit tau = i= gem Fla gel Mir auf den wie ~ gen den ea a Ks Bk eee ES Se wan = ten de Kab Ach auf der Frew + de sant schim-memn-den Wel = fen wore He che Soke Unt den Zwei pen des at : Wel - len die Zeit Mor = gen ent - schwin-de mit schim-mern-dem Fld - gel Ge = wt de le da = in wie der Kan, (Siu set der Kal - mus im St = Ui = chen Schein he de (Bl Wie der wie ge - sem und eve die Zee pee sa de sanfl - gen des de mit TECLA 0391, Copyright © 201 | by Tecla Editions. NO PHOTOCOPYING.Franz SCHUBERT Auf dem Wasser zu singen, 8 égcer - SSS 4 = ponerse TECLA 0391MM 14, Ave Maria die Jungfrau) aus Walter Scotts «Fraulein vom See» Op. $2, no. 6 Ellens dritter Gesang (Hymne Franz Schubert. — Napoléon Coste (arr) — Brian Jeffery (ed [Sehr langsam] a < = SS = S == area = ‘ Tate le: az — - - er re ei = ner Jung - frau Wenn wir auf_ die - sen Fels hin Der Ero - =~ de und der Luh Da > = sem Fel = sen starr und Fle =~ hen, aus die sin so hee zum Schl und uns dein Schutz be mo - - = nen, von dei - = = nes Au + ges Huld ver a {6 TECLA 0391. Copyright © 2011 by Tecla Editions. NO PHOTOCOPYING.Franz SCHUBERT. Ave Maria 35 — yar} = e Sf yy ~ oy 5 eG x . wt 1 nein ie tet 2] wird weich der har te Fely uns: (A jnet sie kin. = en ict nicht ei uns F a A | pe = Ss SS + re schla - ~~ fen si cher bis mum Mor - ge, Bow chet Ro = sen-dif, = te hen in voll ins” still dem Schick - sal ben - Be a = sehen noch so grau~ sam sind ° Ser dump - fen Fel - sen Kluft bs ler an ~ wehts dein hell ~ ger Trost TECLA 0391« at ws > . i = oe apo on te e = ore 4S - 7 COM ter, ho te Kin - des Fle - hen, ° Jung frau wol le dem hold dich nei hor cin bit - tend Kind! ine Jung - frau raft! fir den Va - ter fleht! z TECLA 0391OTHER PUBLICATIONS FROM TECLA etails, or more details, and for many more titles published by Tecla, see www.tecla.com under Authors/Composers. ‘TECLA 0121/0122 Napoleon Coste Composer OST i SARIN COST Acharming small book about Napoleon Coste. This book was first published in ae 2005 to accompany the celebrations which were held in Amondans, the village ee in France where Coste was born, to commemorate the 200th anniversary of his birth there in 1805, and is now republished in 2008 by Tecla. As far as I know it is the only book so far published about Coste. The authors the curé of Amondans. TECLA 0122 in English as Napoleon Coste Composer, ‘TECLA 0121 in French as Napoléon Coste Compositeur. ‘TECLA 0001 Fernando Sor: Seguidillas ‘Twelve songs in Spanish, eloquent and sometimes humorous, composed by Sor in about the 1790s and 1800s in Spain, for voice with guitar accompaniment (some with piano). They take a ant place in the history of Spanish song and of popular song in general. Newly discovered and published in 1976 for the first time in a modern edition. The guitar accompaniments are mostly not difficult. With an introduction by Brian JefferyNxe ort i} maroxuon coer: fe dvd tat a > oe anti ton eo aon ¥ RRS Bak TECLA 0021 Napoléon Coste: La Source du Lyson, op. 47 This is a re-engraved edition of Napoléon Coste’s La Source du Lyson op. 47 for solo guitar, a long and interesting piece which includes a “Rondeau ageois”. With an extensive preface by Brian Jeffery. TECLA 0152 Mozart/Sor: Three arias from Don Giovanni, arranged with guitar accompaniment by Fernando Sor ‘Thisis an exciting event: the first time that these three arrangements by Sor have been published since Sor’s own day. Newly engraved. There are three arias in all: ‘Batti, batti’, ‘Deb vieni alla finestra’, and ‘Vedrai carino’. Edited by Brian Jeffer Pre TECLA 0013 Franz Schubert: Sixteen Songs with guitar accompaniment ‘Thomas F. Heck has taken some of Schubert's best known songs and arranged them with guitar accompaniment, basing himself on the guitar accompaniments which were published in Vienna in Schubert’s lifetime. JES SEEEEEEEE 5 MAURO GIULIANE ¥ BEEEEEESEEEEES SEE EEE ESE EEEEEEE! SEEEEE—E—EEob5 Sechs Lieder, Sei Ariette, Sei(0044 Songs for Voice and Guitar TECLA’ ananthology of 33 songs from the 19th century with i original guitar accompaniments from their own tine in English, French, German, Spanish and Russian, arly all of them published here for the first time. Selected, edited and with an introduction by Brian Jeffery TECLA 0038 John Dowland: Latstion edited by Brian Jeffery. Twelve of the best: can s0nes of John Dowland, presented so that they With ae with either lute or r accompaniment. arrange ablature, and also with the accompaniment Song. 4 Buitar (in normal guitar tuning), for each Yery popular Tecla book. aoe TECLA 0041 English Romantic Songs and Ballads of the early 19th century for voice with original guitar accompaniments from the period, edited and with an introduction by Brian Jeffery. “Seventeen of the most delightful songs imaginable” (Soundboard, Summer 2001). Includes “Cherry Ripe” and “Home, sweet home”. FERNANDO SOR Seguidillas, Book 2 SSS ‘TECLA 0380 Fernando Sor: Seguidillas Book 2 ‘Sixteen songs by Sor in Spanish for two or three voices with guitar or piano accompaniment, all of them now published for the first time in our own age. With an introduction by Brian Jeffery.‘TECLA 0153 Fernando Sor: Appel des négres aux frangais, a song for bass voice with guitar With an introduction by Brian Jeffery A startling new discovery: a song by Sor against the slave trade. Never before even known to exist and now discovered, this is the first modern edition. The picture is from the original edition,TECLA 391 OMe rea Gretch Der T Stindcher Das Fischermadchen Schlummerlied Des Madchens Klage Das Wandern Wiegenlied (Schilafe, schlafe) 10. Stindchen (Horch, horch, die Lerch) 11. Adieu 12. Auf dem Wasser zu singen 13. Ave Maria LA EDITION ww.tecla.com