FRANZ SCHUBERT SIXTEEN SONGS CTE PP ee CO ene Ce Tc Bn guitar transcription during the composer’s lifetime, newly edited for performance, with historical notes, by THOMAS F. HECK TECLA EDITIONSFRANZ SCHUBERT SIXTEEN SCINGS it 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 F. HECK TECLA EDITIONS(© TRCLA EDTONS 1900 ‘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 part of the contents ofthis 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 book forsale 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 ‘onder to "cut and poste” 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 os 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 Sth, 1980. Mr Stucky’s assistance in reviewing the proofs of this edition was invaluable. TH The publishers wish to thonk the Geselischaft der Musikfreunde, Vienna, for permission ‘reproduce the picture used on the front cover. This etching. known as "Ballspiel in Atzenbrugs” shows Schubert (seated, with a pipe) listening to a guitarist and a violinist ata convivial outdoor Celebration. It clearly evidences the everyday use ofthe guitar in Schubert's miliew TECLA EDITIONS Soar Chapel Penderyn South Wales GB-CF44 9] Reprinted 1990 by Editio Musica Budapest‘TABLE OF CONTENTS: INTRODUCTION AND EDITORIAL POLICY TRANSLATIONS OF THE SONG TEXTS AND COMMENTARY .......- < Critical apparatus Opus 3, no. 1 SCHAFERS KLAGELIED, D. 121 (Goethe) . “Da droben auf jenem Berge” Opus 3, no. 2 MEERES STILLE, D. 216 (Goethe) 5 “Tiefe Stille herrscht im Wasser” Opus 3, no. 3 HEIDENROSLEIN, D. 257 (Goethe) 6 “Sah ein Knab ein Réslein steh’n” Opus 3, no. 4 JAGERS ABENDLIED, D. 368 (Goethe) ... “Im Felde schleich ich still” Opus 4, no. 1 DER WANDERER, D. 493 (Schmidt von Libeck} ...... se 8 “Ich komme vom Gebirge her” Opus 4, no. 2 MORGENLIED, D. 685 (Wemer) -.........+ 2 “Eh’ die Sonne frih aufersteht” Opus 12, no. 1 GESANG DES HARFNERS I, D. 4786 (Goethe) ........0.066:0...17 “Wer sich der Einsamkeit ergibt” Opus 20, no. 1 SEI MIR GEGRUSST, D. 741 (Rackert) ......2...65 “0 du Entriss’ne mir” Opus 20, no. 2 FRUHLINGSGLAUBE, D. 686b (Uhland) ......... “Die linden Lafte sind erwacht” Opus 20, no. 3 HANFLINGS LIEBESWERBUNG, D. 552 (Kind) .... “‘Ahidi! Ich liebe!” Opus 21, no. 2 DER SCHIFFER, D. 536 (Maythofer) .......-.+ + 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 NACHTSTOCK, D. 672 (Mayrhofer) ... 2.38 “Wenn aber Berge sich der Nebel breitet Opus 43, no. 2 NACHT UND TRAUME, D. 827 (von Collin) .........06.0000006 44 “Heil’ge Nacht, du sinkest nieder”” Opus 60, no. 1 GREISENGESANG, D. 778 (Rucker!) . “Der Frost hat mir bereifet des Hauses Dach’ Opus 60, no. 2 DITHYRAMBE, D. 801 (Schiller) 52 “Nimmer, das glaubt mir, erscheinen die Gottev INTRODUCTION selected Lioder of Schubert, Bosthoven, and other composers of the Viennese classic las itr acrompaniment is nearly as old as the songs themselves. The guitar came to musi cn winner capone No ee, ae eho er inognized compose. The latter's song. Adelaide, transcribed for voice and guitar by Wenzel Matiegka (a aiitarist and Kapellmeister of high repute), was published that year by the prestigious house of Artaria as were airy guitar works of Mauro Giuliani, Simon Molitor, and Ferdinand Carulli; And many hundreds of editions of stat music. including songs with guitar or piano accompaniment in porallel staves, appeared in Vienna over the fo two or three decades. Following 00 ae he carrot vogue of th guitar that attracted the young Schubert to the instrument. He set to guitar accompaniment a “Cantata” which he wrote in honor of his father's name day in October 1813 (D. 80). Reitman iy 1814 he reworked, either for his own enjoyment or that of his guitar playing friends. Matiegka’s Antu 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 Tivinn 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 Vaterlandischen Blattern 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 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-contury 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: Barenzeiter, 1978) avoid systematic mention of these works on the grounds that no manuscript evidence exists that Schubert himself 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 int Vienna during the years 1821-26, 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* __ 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. Five different publishers were involved 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. The practice of performing A WORD ABOUT THIS EDITION ‘The present selection of sixteen Schubert Lieder is drawn, on historical grounds, from works which were it print in Vienna during the composer's lifetime. Bibliographic evidence shows that thirteen of them were published versions for guitar more or less concurrently with their prototypes for piano.‘ It might have been desirable to issue a facsimile reprint edition of the early guitar Lieder, but this has been precluded for several reasons. First. only nine of 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. WI it would have been historically faithful to deal with them on their own terms, I feel that fewould ultimately have been a disservice to the repertoire for voice and guitar to have revived them in unedited ‘The editor's prerogatives have been exercised in three areas of this publicatior Lieder, establishment of the Song texts, and establishment of the musical texts including Angee With eae lee the subjective some of Suitability to performance on the classic guitar has prevailed. The very first guitarists to transcribe Schuber the fact that guines extraordinary insensitivity to this matter, at least by modern standards. Perhaps it was du ‘at no real performance tradition for these songs existed in those early days. It is provocative to speculat’v that Diabelli, for instance, might have conceived of Erlkénig (Schubert's Opus 1) as a piece of such delicacy that it could have been convincing in his meager transcription for voice and guitar.’ However, in the light of numerous dramatic, forceful interpretations of this work that have come down to us, we remain unconvinced. Therefore we have excluded such impassioned works as this, Der Liedler, Der Zwerg, and Die junge Nonne, all of which are Cited in early music bibliographies as having beon 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 inning to end, without revealing the verse structure of the poems through the use of a capital letter at the beginning of each verse. The present odition restores the missing capitalization in the hope that this might aid the singer not fluent in German in correlating texts with translations, line by line. Where necossary, minor emendations of the Urtext have been made in the light of current German spelling and syntax practice, but these changes have usually been so insignificant as to be hardly worth footnoting?” The point of departure for the music of this e¢ 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 cortain of the songs). and by the awareness that most of Schubert's original keys were for high voice (soprano or tenor). In six of these transcriptions the pitch has been lowered somewhat to accommodate the middle vocal range: a capotasto may be used to raise any song to a higher pitch if desired, with the full support of historical precedent 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 (C) 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 reduti 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 Dampfung’) 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 inal versions of the Lieder for voice and ‘Thomas F. Heck Ghio State University Libraries Galumbus. Ohio December 16,1979 FOOTNOTES ‘A carius omisnon since the thematic catalogs of Maza (Kochel. Hay (Hobokon) and Beethoven (Kinga leary infor ted ion on eaty ih nm meing of he Amoran Muscle Society inden a te ta 2 perce aealed SISA Ain ion we pated ary 80° 4 nee Conv daratn a oh Hee en ee der cui Gula—Parmlsbe® i the Soundboard, suaery publican of he Cala Fosndatan of Ames, fee SOMES Daa PT. Schubert’s lifetime are Meeres Stille. Heidenréslein, and Jagers Abendlied (Op. Ri he ee te rt ae chlo ah me Sel fckiod Bat nage 3.03 2A Te a on Fae piel Wp nf wth gute acolo o Hatbaters Herds er ete Ecote rig ede, cc Grngrang, Done lig iter en oct wo aeie Malad, anes, rar rmre re cataer n ir ase Reel pe oa Pa a Ae Te ea a al Tien a a tb, Pa Frane Schubedt Cesare (Fuunklurt. CF. Peters. 841j which bears no copyright netic, saa nT a ae SakTRANSLATIONS AND COMMENTARY indicated in footnote 4 earlier the remaining songs of opus 3 apparently were not Issued in guitar transcription during Schubert a Foret ase ye: Froga"seadta ace mer ‘eal gS en tard th ely. ‘Ala sc dosene Batata ee hy ae Rare Eee renttien ome mek tiene rane tea MEERES STILLE (Stillness of the Sea) A deep stillness reigns in the woter. ‘The seo is calm, without motion. Uneasy the boatman looks at ‘The surface, smooth all round. Not o breeze from anywhere! Deadly silence—terrible In this enormous expanse Not a wave moves. HEIDENROSLEIN (Little Wild Rose) ‘A lod spied o wild rose, Spoke the lad: ll pluck you up, Sul ose onthe hen Wild rote on the Neth: was so young ond fresl id the rose’ I'l stick you, ‘Thot he ran to see it close, 80 that you'll remember me: ‘And gozed on it with pleasure: Fil not endure te Wilalte rose s0 red Wild tle rose so red, Wild rose on the heath Wild rose on the heath ‘And the naughty lad did pluck fhe do oh the eat ure enough, the lad go stucl ‘Aoshi ice didnt Relp him fe had to endure Witd Tite rose 0 ed, Wild rose on the heath JAGERS ABENDLIED (Hunter's Evening Song) {am stalking in the field, quietly, intensely, ow you stling, uit. ge Bayle tthe ready, nese. too neadom até Yate Suddenly your image lots before me. Say dows my quickly fletng picture Your lovely fates there Ever appear to your’ Whenever! think of you ee sci atthe mai: hich never understand.” ‘sas ifvat DER WANDERER (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 (Diabelli & Co., p.n. 773, first advertised 29 May 1821). "have came fom the mountain Lora qutety. not fyfally. =" Siphing Task again, whither? Wher are you, my beloved country? Thellond he land so eli’ tapes and where all my roses bisom, Where my ompnions are stroling Se etn, Gland where ore your? "one Sf ie gti Peer ly comes in @ “Where you are na sty voice: i hoppiness™ MORGENLIED (Song of the Dawn), like “Der Wanderer”, was published in 1621. The guitar version has plate number 679. nf en. ie aofents ws Heralding ith luminous spas te day. Ear nore see easels Sagal vpematee So cherming inthe um’ mare roy?” "Te rejoice t be alive. ‘To’be comrades ofthe lofty ar: In Umeshonoured fashion We flutter merrily through the bushes, Surrounded by lovely morning beeses: Likewise the aun te Joyfal GESANG DES HARFNERS 1 (Song of the Harpist, I) is from Goethe's Wilhelm Mei mosey nes a se the sun no longer looks upon us: ‘The night has alveody sent her down lo the Very ocean, nite meen ranans thot ovly ob, Which never leoves usin total darkness, For this we are joyful. even in silence” youth! You are Hastie ond eveigted tie ‘lat pos have Sopaneat” We dela at hay in then ‘As we were joyful at dawns.” Se In old ope we never fone A quiet. pensive joy Schubert set the xt several times, the first being in a manuscript dated 19 November 1815, not published during his lifetime. The present version is Deutsch no, 478 (0), published by Diabelli & Co. in December 1822 as the first of three Handbuch der musikalischen Litteratur of 1825 states t He who yield fo solitude. ‘Ags soon wil be Tonel Gthers will ive, ethers mil love ‘And Teave bie to hs gre Yes! Let me drink this cup! And ifust once I could ‘Truly be alone. ‘Then I should not be alone Gesdnge des Harfners. Opus 12, nos. 1-3. The Hofmeister two of these songs were published in guitar versions by Sauer & ly in the previous year, 1824. We can reasonably assume that Op. 12. no. 1. would have been '& Leldesdor! editions of Op. 12 has yet come to light ust 05a lover ti ly {occ i hs beloved i deve, Sp lelinete ey ond nigh Solitude is srief ‘Gh ome dey when shall be ‘Alone in my Yor, ‘Then i wll ao Toniger trouble me, SEI MIR GEGRUSST (I send you greetings) and its companion songs in Opus 20, Frahlingsglaube and Hanflings Liebeswerbung. ‘were brought out in simultaneous versions for guitar and for plano accomy , Sauer & Loidesdorf on 10 April 1823. The piano version has plate number 231, while pn276. fen pw hen ov sth aay fom my emir rates tee peccect Ne i ing Mei ee fe Ya whon eh ren ered ear baste tee tte Hecate Mbt ee HEeiia pag Tana oe ‘both versions being advertised for sale by ‘the guitar transcription was assigned Dh de hich uty peo Rae reese, Ss seeing ane (Bed ape fas item nmagrgtny es Secueatae mane apie feat Meet ay ‘The breath of love dissolves time and space: {om with you, you are with me: held'you'enciteled in my arm {send Fou groetings. sand you kisses‘ vi FROHLINGSGLAUBE (Springtime's Promises) The world grows mote ovel ‘Novone knows what yet ney, Blooming wll never ease: ven the most distant, deepest voleyb Now. dear heart fort thy point? 00m, Now shall all things be transformed, seach day Gentle spring breezes hove awakened. Feey ahh ad ears rough ey end ight They work towards one goat Ofeech wind" O ner socal Now: dear her be not Nose things be ensormed HANFLINGS LIEBESWERBUNG (The Linnet’s Love-Song) Ghirpet tm in lover Mildly the sun shines, ly Gised how the towers Lovingly embrace ey the ent i bows, Lovin . fly the brook murat. ‘ingly nap together! How sweet the flowers small! OS pletse returtmy Tove! Chiripee Chripee Chiripee! Im in lover Chiripee! I'm in lovet O see how the ivy, With loving arms Encircis the ook tres ‘please, return my Tovet Chiripee ub re lice pac wa tay Fore en DER SCHIFFER (The Skipper) is the second of three songs first published by Sauer & Leidesdorf in Vienna under he cl title “Drei Fischerlieder von Mayrhofer” (three fishermen's songs) as Schubert's Opus 21. The piano versions have ae 276 and, according to Alexander Weinmann, the guitar transcriptions have the next plate number, 277. Both wot a for sale on 19 June 1823. A copy of the guitar version of Opus 21 has not yel come to light. The text suggests that he in these songs worked the Danube river. Ipsnd and sr J tov the ver ‘clothes soaked from the pouring rain Tivip the waver ith poweful srskoe Hoping for @ brighter day The waves pursue the creaking skif, The tide thfootens, as dows the cli This had to be, {wished it so, hate 'the comfortable. ordered life: van f the waves sue te creaking T would still prefer my self-chosen course So let the raging waters roar. From the heart more blessed waters Po Steadying the nerves, O joy divine ‘To weather the storm with manly resol Boulders roll dow from rocky heights, ‘and firtces creak his moaning gest yan 1 WEHMUT (Melancholy), like its companion work in Opus 22, Der Zwerg, appeared in is first edition fo" RUM He probability, with Sauer & Leidesdorf plate number 358. No copy has survived. The first edition for pie” 357 and was first advertised for sale in Vienna on 27 May 1823. When 1 walk though forest and field, Upson both hoppy and sad" is eed ar lo happy 20 sal te meadow Unfolds its beauty to my eyes, ‘And the joy of spring is everywhere Because ehctoekr ots inthe waving wiod, Whatever stands tall inthe sky, Even man, alas, so nobly united Toll the Beauly that he beholds, Must vanish, must perishIx NACHTSTUCK (Song of the Night) is @ 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 1626, 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 hill ‘Then the groen tres rustle: and the moon struggles to brook through the clos, "Rest in poaen, you Kindly old man.” ‘The old man takes Up his harp walk forth, ‘The grantee mistmar with wavering voice: ‘And sings to the fea, sft ines: je thall cover his eating place ® 20 holy night ‘And mony loving bird callout ‘Soon it will be finished. “May he rest wel Soon I shal sleep the long sleep, The oid man fi st ‘That will deliver me fom all ie.” Death has gently embraced him, NACHT UND TRAUME (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 ore falling They listen with pleasure; DretsarsSae octing own, ‘They call out at Goybre: ‘As your moonlight fils this place. Come again, kay might ‘IS men's sleeping hearts. Gentle dreains, come back! GREISENGESANG (Song of Old Age) forms, with Dithyrambe, Schubert's Opus 60. The original were published in Vienna by Cappi & Czerny in June 1826 with plat Czerny’s firm issued the guitar transcriptions with plate number 701 sno versions of these songs ‘number 192. Some two years later (circa June 1828) Josef whi bf fy sgl aan ey ee? sie at sl ater fr SE aa Safeg ies hea raja ry eae se ata ered Tage eae peoreiartia te BE eel ts nan Faster ae There they blossom at will. fst as always. ‘And only give shelter to your dreams DFT RAMBEDiyrand-Crk sng oo ier i he te She pn of me seocaee evllteoes sepa anafe rom te I hm cg ty. ey eet iri at eee eee merece IPee armamaaeer ey wa perce es a oe Tn a ETc Hand him the cup! Pour forthe poet, Young Hebe, just one. ‘Moisten his eyes with heavenly dew, So that he may never see the rueful Styx: Le him think he is one of us. H bubbles. glstens, tis heavenly liquid. ‘The heart now is quiet, the eye now is clear. NOTE —tnforpation inthe above commentaries regarding bibliographic matters, first editions, dates, etc. ls derived from the following publi- ch da Musialichen Literatur by Corl redch Whiiling and Frid Hofmeister epee 1817.) eadoech day Marital Lem ecinc de At Wns Mantvrips, Rake # Vienna. 1951. Various publisher’ cotlos in thi sre. Belamong, Mexonder, Bast ut Cot cog ofa hi wars Cambrlgs. 1051) ond the tow Gorman edilon of the some by he eda oth News Schubert. ‘Anat owl 1978,CRITICAL APPARATUS ‘The original notation of the vocal melodies, transposed to correspond to the keys used in this edition, is cited below f certain problematic passages signalled in the songs. oe SCHAFERS KLAGELIED, Op. 3, no. 1 DER WANDERER, Op. 4, no. 1 he dt Gass ceimae i im ° = é =e = FRUHLINGSGLAUBE, Op. 20, no. 2 0 get — MEERES STILLE, Op. 3, no. 2 = = og saat = ges HANFLINGS LIEBESWERBUNG, Op. 20, n0. ° JAGERS ABENDLIED, Op. 3, no.4 wpe === Be et oa ogee te tas, aw GREISENGESANG, Op. 60, no.1SONGS° Schafers Klagelied (Originally in ¢ minor) Johann Wolfgang von Goethe ©. 3, No, D. 121, first version Massig ¢ J)=120) (a) Seip ep ope op Pi A Da dro = ben auf ie nem Ber ee, Da steh_ ich. tau send. ‘ ha s 3 | , ae 4 PS SS —= bd ¥ oo ye 2 2 7, @ * 2 rs a a a : ; : y jt ann papa te— 2 -) Hiind-chen be- wah - ret mir sie, il at «HR FPR Pe r =a 7a | Samar ase aM (© THCLA EDMONS 19803 ee nen Blu men, Da —steht___ die gan RY = } == = - bed ale PR Pa oySSS = Pees Hin - aus Land und in dasMeeres Stille . cgay Johann Wolfgang von Goethe Raw D. 216 second version Sehr langsam, jingstlich (J =72) ge #1 + fer. Heidenréslein (Originally in G major) Johann Wolfgang von Goethe Odi , i ., Liebtich (J 69) “ sp AY ae par Sah ein’ Knab cin Re = ben stehn, Ros - lein auf der = den, Kna - be sprach: Ich che dich, Ros - ein auf der e = Gon Und der wil = de Kn. be het 'sROs~ lein auf der Hei - den: ‘ Vv a= a og . ur 4 = ry ¥ SS SS a jung und mor - gen-schdn, Lief schnell, ot tah usa, Rs lin sprach: Ich ste - che dich, Dass du wig denkst an mich, = tein wehr - te sich und stach, Halt thm doch kein Weh und Ach Apap ape D1, 274 = ein, és = lein rot, lein, i ein, Rs = lein rot, SS = = SSSA Meteo ae sein auf der He - den,Jagers Abendlied (Originally in D> major) Johann Wolfgang von Goethe Op. 3, no. 4 a Sehr langsam, leise ()) =63) w — a Lim Fel ist so licht dein. =e Dein sis mein schnell ver = rau Stellt sich ler Fre - de kommt Weiss nicht8 Der Wanderer (Originally in CH minor) ‘Sehr langsam ( =63) OP. 4, no, 1 D. 493 (Third version) FSS Vv Trt Sar A v Ich kom- me vom Ge-bir « ge (© TECLA EDITIONS 1980 liSP a rey im mer wo?hoff nungs-griin, Das Land, wo mei - me Ro - sen bliihn, Wo mei - ne Freun- de (FD ores [a 2S SS SS SS - ten auf - er stehn,Wie — sehr —, bist du? Ich wan - dle pS yom + nig frok | Und immer bo an = Geis - ter-hauch\tont’s mir zu - rilck: “Dor, wo du nicht bist, dort FE | LR rR *F ss 7 3 = woe 4} 4, 4 Ee 5 - as == Pope tre ef12 Morgenlied (Original key) Zacharias Werner Ziemlich langsam ( J =63) —— ——= - = auf und her-un - ter das Mor - gemrot weht, Vor. ; (SS Se Pa) Sin - gen froh - lich die Kreuz—_ und die Quer———— | == se ea ee ns r ai2s, ts Pie fe pte der Sp ter te ut uw Vog - Wein euch all - 2u-mal_ So her ~ zig im war - men-den Son - nen- strahI?“ ae —h™ _ SS i oT OP ror trl Sa Wir freun uns, dass wir le - benund sind Und dass wir _luft’- ge Ge- : . = . Nach lb - li-chem Brauch Durch-flat - tern wir frdh- lich den Strauch, UmWi! Es 2S = == auch, er = got = zet die Son - ne sich auch.” (OS =——_s>- roof Cr wer i oe eR fa ee SS = 5 ——: — ba). ds. Py — PEt RP er er Pt PP — Sonn’ nicht be-guckt, Schon hat sie. die Nacht in die Wel - len _ge-duckt, i = 2 al - tein, lied = li~ cheSchein, Der __ : — er PF Mond der15 PFE Ter oe ge SS r= schein Uns in der—Dun ~ kel- heit nicht ver lasst,er = freut Hi , wohl flohst du da - hin! ee zen ge -duckt im Nest, Al = SS Se Ste Cet Car to fein der lieb - li- che Wi - der-schein der > = tSGesang des Harfners aus “Wilhelm Meister” (Original key) Johann Wolfgang von Goethe Op. 12, no. 1 Sehr langsam 7 pp pt oy * Plano version is marked “mit der Verechiebung”,ie., with the soft pedal, 5 5 © ECLA EDITIONS 1800 eelei, Es schleicht —_ein_Lie_-_ben-der SS f Z (mit leiserer Stimme) if SSS werd, = erst 221). faly MIs, SR Rk 7 (NB. : 48-50 may be substituted for mm, 33-35 of accompaniment, -Ed,) ro —* Sei mir gegriisst (Original in Bb) Friedrich Riickert OP. 20, no, heir ciiaD = ef7 = ¥ 4 = mr p p ‘Plano version is marked “mit echobener Dimpfung”,i., with the felts raised, for greater resonance. -Ed. (© TECLA EDITIONS 1080SSS ge + Kisst, y+} die sich feind - lich tren = nend 5 S Sees == == 4 SS eS Sa hat wis - chenmich und dich ges -tellt, dem Nei der Schick - sal. m3 yb =rme ner See ek tmadstem Er = gee v 1 te SS 7 f D pon? 8 BaF , si omit p> pit, simi f+ Kist,* wae 3 =r | 1 ’ pasate BOB 6 pe See vl ror BP tbat eel = 6 re poy bei ir ieFrihlingsglaube * (ovina in AD) Ludwig Uhland Op. 20, no. 2 D, 686 (Third version) Ziemlich langsam TEM by 7 i is eS He ie 4 rs Bs Hey || \| r {Ih | SS 4 OS RE ET [: I \a Nun muss sich al = les, Welt wird scho - ner mit a ee riss— nicht, was ___ noch. wer den___ mag, Das af ;28 Hinflings Liebeswerbung (Original key) Friedrich Kind Op. 20,no. 3 D, 552 (Second version) Etwas geschwind | iil | u | ? seed He (© THCLA EDITIONS 1980an OO SSS === ie | tein, dich, Schin : ste der Schwe * ‘stern! cken! O lie - be mich wie der! gt 0 tie - be mich wie . der’ 8 -30 Der Schiffer Johann Mayrhofer (Originally in Eb major) Op. 21, No, 2 D, $36 (second version) Geschwind und feurig SSS] Im36 (Original key) ‘Langsam +4 —— Wehmut Matthius von Collin Op. 22, No.2 Dm =——— dp ar) Wenn ich durch Wald und Flu = ren geh, Es In ih ster Schn - heit' Ful37 | 7 SS v—t aur ge = tirmt gen S35 = = 4 a ¥ a ¥ ¥ 7 or mel_steht, Und auch___der_ Mensch. : so hold ver- SP <= aS S_ schwin - det* Nachtstiick Johann Maythofer (Originally in C minor) OP. 36,No.2 D.6r Sehr langsam eee a ae SS RS , P crese. P SE Wenn d= ber Ber - ge sich der Ne - bel brei - tet, abe crese. Ss Ge-wal - ken kimpft, FSi schrei - tet und singt wald - cin. warts und ge- dimp———: “Du en —J yd > z fT — s—___ * Guitarist may pluck this passage with flesh, to imitate sound of harp, ‘as mentioned in text, ~ Editor. (© TECLA EDITIONS 1080,V \ E } ve at gone Dngfng ie wih aed ange, maxim in= 2a1 schen dann: “Schlaf —stss, du gu ter = al 2 ter Mann;” Die Gri - ser lis peln wr In order to reflect the “rustling” of trees mentioned in the text, the guitarist may accent these syncopated chords (mim. 40-58) by “brushing” the index fingernail over the appropriate strings ~ Editor's suggestion.42 = — ——|43“ Nacht und Traume Matthius von Collin Op. 43, No. 2 (Originally in B major) D. 827 Sehr langsam (© TECLA EDITIONS 1900=46 === SSS fen, wenn der Tag er-wacht: 4 5— 4 2 ¥ | 7s de Triu- me, keh - set wie der,Greisengesang “7 Friedrich Riickert eepr ira 3 2 2 Ju + gend Flor der ra Sse 1% == Se Bog49 Je Freu - den - strd7 nicht die Welt, die___—kal’ - te, dring’ins Ge - mach, ross Or F decresc. (a) Wirk ~ lich-Keit,2 . , Dithyrambe Friedrich von Schiller (Original key) D. 80) Geschwind und feurig _ \ — aa = —— . = = oe 1. Nim = mer, das glaubt mi, er 2 Sagt, wie be ~ wirt ich. der BVI i 3.Reich’ ihm die Scha - Ie! o ef 24 eas == aes = St == Fa anf ee ¥—F tae = + nen die Got nim ~ mer al - lein de-ge bor" himm - li-schen Chor? = ke dem Dich schen - ke nur ein! == aS= S a+ ay — —=s tS 7 rT” 7 ‘ _ 2 _ * = = = == SS = Se Kaum dass ich Bae hus, den tu + sti-gen, ha be, li -ches Le Schen - ket : Net” thm di > i himm = lis -chem Tau pa © TECLA EDITIONS 1960he pe auch schon A> mor, tr! was kann euch, Styx, den er den (SSS - der herr li -che, fin mom - aro et ia: = enh _ det + lymp mich em - por, din - ke sich cin, zu sein, =| =F PhO-bus, der Herr - ih che, he-bet zu eu - remo - ei- ner der un - ser sich _—__ —— - 5 as 4 Se = % a; = fin det sich ein. lymp mich em - por! din ke zu sein = = Sie na - hen, sie kom-men, die Die Frew de, sie wohnt aur in Sie rau -schet, sie per let, die Se Himm i schen al. ft le, Mit Got himm Pi” (GS Sate, fal - ml sche Quel - le, Der Bu ag + emer - fallt’ sich die let mit. Nek - tar, 0 + sen wird ru - hig, das it~ di-sche Hal - le, sie teicht mir die Scha~ le, die ‘Au + ge wird hel - le, sie - | a 1 454 —— a + $ eo & Ip DAIS sie kommen, die Him. tt - schen al sie wohnt nur in Ju pi sie per let, die himm «i na - hen, Freu - de, rau. schet sche Quel - le le, mit ters Sa le, 0 der Got -ten er fal Bu let mit sen wird pip? SS fallt sich die Nek - tar, 0 ru = hig, das iv BIL a 5, eee: 3s TT ie a 7 f id 7 le, mit Got- tem er - fille sich die ir = dicache ie, ‘O fil- let mit’ Nek - tar, o reicht mir die le, der Bu sen wird tu - hig, das AU ~ ge wird —=—= = vv Bl, + ee! aa 06s eee 2 aS Se ‘ = nF “om teBy AE ‘with modern critical editions of the guitar accompaniment Renn Oc historically justified and musically rewarding. This long- ‘hole new dimension to Schubert performances and A ee Rete eee ‘awaited and thoroughly researched edition Dr. Heck, Head of the Music Library at ‘sources and has contributed a historical introdu Pon pe ele Sot eS ee ee eee LS MAURO GIULIANI: Sechs Lieder. Six German Lieder from the Vienna of Schubert's day. for voice and guitar or piano. aeRO eee ee eo he ee Sa Preece cee ccs