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    Schubert Lieder IPA (Selected)

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    SCHUBERT'S COMPLETE SONG TEXTS Volume I By BEAUMONT GLASS 50 Kaen ‘narbo zm _lenttsvk't' lag¢ ‘virde, ktaen ‘mect'gon_ in desg ‘blyt‘ontsaet kein Knabe sing’ entziickt euch wieder, kein Midchen in der Bliitenzeit. No boy sing delighted you again, no girl in the blossom-time. (May no boy sing you again, delighted, nor any girl in the time of blossoms.) jig ‘zanot' nug fon ‘magne ‘libon; nun Jp'nict' zi: 'maene ‘rego hom. Thr sanget nur von meiner Lieben; nun spricht sie meiner Treue Hohn. You sang only of my dear one; now speaks she tomy faithfulness scorn. (CYou, my songs, sang only of my dear one; now she defies and scorns my faithfulness.) ig vart' ins ‘vase —tgengofrisbon; zo: flit den 'gox mut’ lism dafon. Thr wart ins Wasser eingeschrieben; so fliesst denn auch mit ihm davon. ‘You were into the water written; so flow then too with it away. (You were written on water; so flow away then with it too.) [Schubert composed two settings of this short poem. The first, from 1815, is more dramatic, more emotional; the second, from 1822, simpler, more philosophical. am ‘gtaiba lan'zelmos Am Grabe Anselmos At Anselmo’s Grave Op. 6, No. 3 [1816] (Matthias Claudius) das hig dig feyloran'haibo, das du: migt' mee bist Dass ich dich verloren habe, dass du nicht mehr bist, That 1 you lost have, that younot any more are, (That I have lost you, that you are no more,) lax! das hi lm ‘dizzam ‘graibo maen lan'zelmo list’, das list’ maen Jmerts! ach! dass hier in diesem Grabe mein Anselmo ist, das ist mein Schmerz! ah! that here in this grave my Anselmo is, that is my — pain! (ah! that my Anselmo is here in this grave, that is my pain!) zest’, vit ‘lep't'an visg/vis lons ‘baeda, lont’, zo: lan lig bin, KYomt" “frogdo Seht, wie liebten wir uns beide, und, so lang’ ich bin, kommt Freude See, how loved we us both, and, so long I am, comes joy (See how we both loved each other, and, as long as I live, joy will come) [poem: Seht, wir liebten uns, wir beide (See, we loved each other, we two)] ‘nimmadls visder(®) lin maen herts. niemals wieder in mein Herz. never again intomy — heart. [he poet has lost a dear friend. The shock of death’s finality makes him feel that he will never again be happy. Schubert’s music expresses overwhelming pain at the loss of someone who died too young. The singer is reminded to stress only those syllables that call for emphasis, no matter ‘on which beat of the bar they happen to fall (not “cass” or “ist,” for example).) Am Meer / Das Meer erglinzte weit hinaus see Schwanengesang 64 an den ‘ry:im ‘An den Frihling To the Spring First version: Op. 172, NO. 5 [1815] (Friedrich von Schiller) ‘Second version [also composed in 1815] published posthumously vitk’omen, —‘fome —jynlin! —du:'vono dem nattuxg! Willkommen, schiner Jiingling! du Wonne der Natur! Welcome, beautiful youth! you delight of the Nature! (Welcome, beautiful youth, you delight of Nature!) mit ‘dagnam ‘blusmank*cerp'gan Iaof dese flu Mit deinem Blumenkérbchen willkommen auf der Flur! With your flower basket welcome onthe meadow! ag, lag! da: bist’ ja: ‘vide, font’ bist’ zor lip’ font" font Ei, ei! da bist ja wieder, und —_ bist so lieb und scl Ah, ah! there (you) are really again, and (you) are so dear and beautiful! (Ab! There you are again, and you are so dear and beautiful!) first version: da bist du (du:, you) wieder] ont! fragn _visg/vis lons ‘hertshig,, lent"ge:gan undfreun wir uns so herzlic and gladden we ourselves so heartily, toward (and we rejoice so heartily to go to meet you.) denk'st’ —Igox nox lan maen'mett'gon? lag, tbe, denk's dox! Denkst auch nochan mein Midchen? Ei, Lieber, denke doch! Think (you) also still aboutmy girl? Ah, dear one, think by all means! (Are you too still thinking about my girl? Ah, dear one, do think about her!) dort’ lisp't's mig das ‘mest'gan, unt’ ‘sme:t'gon linp't’ mig__ nox! Dort liebte mich das Midchen, und s’Midchen liebt-mich noct There loved me the girl, and _thegirl loves me still! (The girl loved me over there, and the girl still loves me!) fyzgs ‘mest'gon ‘mangas ‘blymgon leybat’ ig mig fon di Firs Midchen manckes Bliimchen erbat ich mir von dir, Forthe girl manya_ittle flower requested I for myself from you, (Lrequested from you many a little flower for me to give to my girl,) i Kom lunt' it's virde(®), lunt dui? du: gip'st’ les mizg ich komm und bitte wieder, und du? du gibst es mir. 1 come and ask again; and you? Yougive it tome. [Many composers set this poem to music; Schubert’s second version is the most familiar of them. He himself also composed a setting for male chorus. His first version is in the style of a simple folksong, with a delightful short “Landler” tune in the piano part, between verses.] 66 an den momt' / fylost' ‘vide buf lunt tat ‘An den Mond / Fillest wieder Busch und Tal To the Moon / You Fill Again Bush and Valley Published posthumously [both versions composed in 1815] (Johann Wolfgang von Goethe) ‘fylost’ ‘vide buf lunt Pal fe'll mut’ ‘ne:balglants, Filles wieder Busch und Tal still mit Nebelglanz, (You) fill again bush and valley quietly with misty radiance, ‘gzast’ ——_tent'lig 1g0x Igenmail 'maeno ‘zesla gants, Wsest endlich auch einmal meine Seele ganz. (you) set free at last also once my —_soul_ completely. (You also set my soul completely free at last.) ‘bragt'ast’ —ly:be magn gofilt' Ident ‘dgenon bluk», Breitest _iiber mein Gefild lindernd deinen Blick, (You) extend over my fields soothingly your glance, (You extend your glance soothingly over my fields,) vir des frggndas ‘aoga mult’ ty:be maen ga'ftk’. wie des Freundes Auge mild ber mein Geschick. asthe friend’s eye gently over my fate. (as my friend’s eyes gently extend their influence over my fate.) ‘jetdan ‘naxk*lan magn herts fro: lunt Jeden Nachklang fit mein Herz —_froh’ und t Each echo feels my heart (of) happy and sad time, (My heart feels each echo of happy and sad times,) ‘vandla ‘tyvifan fragt’ ont’ fmerts wandle zwischen Freud und Schmerz in der (wander between joy and pain in the (L wander in solitude between joy and pain.) flisso, flissa, ‘ibe flus! ‘mme —vergd 1g fr Fliesse, fliesse, lieber Fluss! nimmer werd’ ich froh; Flow, flow, dear river! Never will I happy (be); (Flow, flow, dear river! Never will I be happy;) zor vepraoft'a ferts lont’ kus lont di trogo zo. so verrauschte Scherz und Kuss, und die Treue $0. thus died away jest and kiss and the faithfulness so. Gests and kisses flowed away as the river flows, and so did faithfulness.) ie bezas les dox lgenmail, vas zo: ‘Koest'lig ist"! Teh besass es doch einmal, was so kistlich ist! 1 possessed it though once, what so precious is! (once possessed it, though, that which is so precious) das_man dox tsu: zaene kvail ‘nime/nmer les feygist"! dass man doch zu seiner Qual nimmer es vergisst! that one surely to one’s torment never _it_ forgets! (that one—to one’s torment!—surely never forgets it!) 67 ‘roof, flus, das tal lent“tan, toma rast’ unt’ toner Rausche, Fluss, das Tal entlang, ohne Rast und ohne Rub, Rush, — river, the valley along, without rest and without peace, (Rush, river, down the valley, without rest and without peace,) —_[poem: ohne Rast und Rub] ‘raofa, flyst'ra ‘maenam zay_melo‘dizon ts sche, fliistre meinem Sang Melodien zu, [“meinem,” not “meinen,” as sometimes printed] ‘murmur, whisper my song melodies to, (murmur, whisper melodies to my song,) ven du: iin dery vint‘enaxt’ ‘vy:t‘ant* ty:befvilst’, wenn du in der Winternacht wiitend tiberschwillst, when you in the winter night furiously overflow, (when you furiously overflow your banks on a winter's night,) ‘odeforder lum di ‘frydmsptraxt’ june ‘nosp'an Kev oder um die Friihlingspracht junger Knospen quillst. or for the spring splendor of young buds well up. (or well up for the spring splendor of young buds.) veilig, ver ig fog devg vel’ tomo has fegfli Selig, wer sich vor der Welt ohne Hass verschliesst, Blest, whoever himself from the world without hate shuts away, (Blest is he who shuts himself away from the world without hatred, ) ‘agnan frggnt’ lam ‘bu:zon helt’ lont’ mit de:m gant’, einen Freund am Busen halt und mit dem geniesst, a friend to the breast holds and with him enjoys (holds a friend to his breast, and with him enjoys) vas, fon'menfon _nigt’_go'vust’, loide mgt’ bedaxt*, was, von Menschen nicht gewusst, oder nicht bedacht, what, by human beings not known or not thought of, (that which—not known or thought of by human beings—) dorg das abyrmt —desg_brust’ ‘vandolt lin der naxt”. durch das Labyrinth der Brust wandelt in der Nacht. through the labyrinth of the breast wanders in the night. (wanders throught the labyrinth of the breast in the night.) [Goethe wrote this deeply felt poem after a young woman, Christel von Lassberg, unhappy in love, had drowned herself in the Iln River near his cottage in Weimar. The poet, moved by the melancholy beauty of a moonlit night as he walks beside the river, longs to communicate feelings of love and loss with a sympathetic friend. Schubert’s second setting is considered to be ‘one of his masterpieces. The German text can be sung by a man or by a woman, since the pronouns are unspecific as to gender.) 68 an den mont / gags, lirbe moa ‘An den Mond / Geuss, licber Mond To the Moon / Pour, Dear Moon Op. 57, No. 3 [1815 and 1816] (Ludwig Henirich Holty) 999s, ibe momt’, gags ‘dagno ‘zilbeflime —_durg__‘drzas ‘bu:xangry:n, Geuss, lieber Mond, geuss deine Silberflimmer durch dieses Buchengriin, Pour, dear moon, pour your silver-glimmer through this beech-tree-green, (Pour, dear moon, pour your silver glimmer through the green of this beech tree,) vo: fant‘azion lunt ‘traomgs{ft'alt‘on time fo:z mig fory:be flim! wo Phantasien und Traumgestalten immer vor _mir voriiber flichn! where fantasies and dream-figures always in front ofme past fly! (where fantasies and dream-images always fly past before me!) ent‘hylo dig, das ig di ‘ft'et'o finds, vor loft’ magn ‘mest'gan ass, Enthiille dich, dass ich die Stitte finde, wo oft mein Midchen sass, Unveil yourself, that I the place find, where oftenmy girl sat, (Unveil yourself, that I may find the place where my girl often used to sit,) unt’ loft’, lim vem des ‘buxxbgoms lunt de:g tinda, dexg goldnon jt'at’ feygars! und oft, im Wehn des Buchbaums und der Linde, der goldnen Stadt vergass! and often, in the fluttering of the beech tree and the linden, the golden city forgot! (and often, in the fluttering of the beech and linden trees, forgot the golden cit ent‘hyls dig, das lig des ft'raoxs_ mig frage, dere ‘Wy:lung lie garaoft*, Enthillle dich, dass ich des Strauchs mich freue, der Kiihlung ihr gerauscht, Unveil yourself, that I of the shrub myself gladden, which cooling to her rustled, (Unveil yourself, that I may find delight in the shrub that cooled her as it rustled in the breeze,) unt’ tgenon Krants laof ‘jerdon tane —‘t'rago, vo: zit den bax. belaoft. und cinen Kranz auf jeden Anger streue, wo sie den Bach belauscht. and a wreath onto every meadow scatter where she the brook listened to. (and that I may scatter a wreath onto every meadow where she used to listen to the brook.) dan, lite momt', dan nim den'flage vide, unt trgor_lum ‘daenon fragnt’, Dann, lieber Mond, dann nimm den Schleier wieder, und traur’ um deinen Freund, ‘Then, dear moon, then take the veil again, and moum for your friend, Sai unt’ vaena dure den Vvolk‘anflorg heynisde, vit daen feylasne vaent*! und weine durch den Wolkenflor hernieder, wie dein Verlassner weint! and weep through the cloud- crapedown, as_your forsaken one weeps! (and look down, weeping through your crape of clouds as your forsaken friend is weeping!) 4 [The prelude of this exquisite song reminds one of Beethoven's “Moonlight Sonata. The pianist’s right hand portrays the moon gleaming through passing clouds; the bass line suggests the darkness of the night. The vocal melody seems to float like the moon in the sky. The middle section is in a contrasting rhythm, as the moon illumines the scenes where love was won and lost.) Cy an den momt' / vas ‘faoast du: zo: hel lont" Kare ‘An den Mond / Was schauest du so hell und klar To the Moon / Why do you look so brightly and clearly Posthumously published [composed 1816] (poem by Ludwig Heinrich Christoph Hélty) vas ‘fogast du: zo:hel —lunt" kag durg tapfolbggma, Was schauest du so hell und klar dureh diese Apfelbiiume, Why look you so brightly and clearly through these apple-trees, (Why do you look so brightly and clearly through these apple-trees) vo: laenst daen fragt’ zo: zeilig vary lunt ‘thrggmt'a ‘zyiso ‘trogma? wo einst dein Freund so selig war und triumte siisse Triume? where once your friend so blissful was and dreamed sweet dreams? (where once your friend was so blissfully happy and dreamed sweet dreams?) feghylo ‘daenan ‘zilbeglants, unt" ‘fimro, vit Verhiille deinen Silberglanz, und schimmre, wie du schimmerst, Veil your _silver-radiance, and shimmer, as you shimmer, (Veil your silvery radiance and shimmer more dimly, as you shimmer) ven du: den fry: ‘o:t'ank*rants deg juan braot’ boflimest*! wenn du den frihen Totenkranz der jungen Braut beflimmerst! when you the early funeral wreath of the young. bride beglimmer! (when you glimmer upon the early funeral wreath of the young bride!) du: ‘blik'st' lumzonst" zo: hel lont' Kare tm ‘ditza ‘lgobo ‘nisde; Du blickst umsonst so hell und klar in diese Laube nieder; You look in vain so brightly and clearly into this arbor down; (in vain do you look down into this arbor so brightly and clearly;) ni: findast du: das ‘from ptarp/pPasr ln tisram ‘fat'on ‘vicde! nie findest du das frohe Paar in ihrem Schatten wieder! never find you the happy pair its shadow again! (never again will you find the happy pair in its shadow!) ‘Jvarisos Taent‘higas go'fik’ _ lent"nts mis ‘magna ‘fora! Ein schwarzes feindliches Geschick entriss mir meine Schén« A black, hostile fate tore. frommemy beautiful one! Kaen zopfise tsaobet’ zi: tsurvk’, lont’ ‘keno ‘ze:nzuxtst'remo! Kein Seufzer zaubert sie zurtick, und keine Sehnsuchtstrine! No sigh conjures her back, and no —_yearning- tear! (No sigh can conjure her back again, and no tear of yearning!) o: ‘vandolt' zi: hinfort’ —taenma:t lan ‘mgene ‘uft'ele, © wandelt sie hinfort —einmal_—_an_meiner Ruhestelle, ‘Oh wanders she in the future sometime at _my resting place, (Oh, if she should wander near my resting place sometime in the future,) dan ‘maxo fluks mut ‘trytbom — ft'ral des graibas ‘blu:man ‘hela! dann mache flugs mit triibem Strahl des Grabes Blumen helle! then make at once with melancholy beam the grave’s flowers bright! (then at once illumine the flowers on the grave with one of your melancholy beams!) 0 Zit ‘zetgo ‘vagnont" zi Igofs grasp’, vor__Tozan ‘nitdehayon, Sie setze weinend sich aufs Grab, wo Rosen niederhangen, She may set weeping herself onto the grave, where roses hang down, (May she sit down weeping on my grave, where roses are are drooping,) unt’ ‘pflvk's zig gen ‘blyzmgan lap’, lunt drvk'_les lan di ‘vanan. und pfliicke sich ein Bitimchen ab, und driick’ es an die Wangen. and pluck herselfa little flower off, and press it to the cheeks. (and pick herself alittle flower, and press it against her cheek.) [Schubert found a simple, graceful melody, with an effective change of key in the middle, for his strophic setting of this melancholy poem.] an den momt' lin taene ‘herp'st'naxt" ‘An den Mond in einer Herbstnacht To the Moon on an Autumn Night Posthumously published [composed 1818] (poem by Aloys Wilhelm Schreiber) ‘frognt‘lig list daen ‘ant'lits, zo des ‘himols, ‘fragnt'ig! Freundlich ist dein Antlitz, Sohn des Himmels, freundlich! Friendly is your countenance, son ofthe sky, _ friendly! {the moon, der Mond, is masculine in German, feminine in Latin languages] lags zt ‘dagno ‘Pnit's durg des estes ‘vysst'2, ‘holde ‘naxt'gafe:gt's. Leis sind deine Tritte durch des Athers Wiiste, holder Nachtgefahrte. Soft are your steps through the ether’s wilderness, lovely night-companion. dagen ‘fime ist zanft' lunt’ lepkvik'ant’, vit das vort des trosst'as Dein Schimmer ist sanft und erquickend, wie das Wort des Trostes Your shimmer is gentle and refreshing, like the word of the comfort (Your shimmer is gentle and refreshing, like a word of comfort) fon. des fragndes ‘up's, ven laen'frek'lige —_‘gaee(t) lan dev zeilo naik't'. von des Freundes Lippe, wenn ein schrecklicher Geier an der Secle nagt. from the friend’s lip, when a frightful vulture at. the soul gnaws. (from the lips of a friend when a frightful vulture is gnawing at one’s soul.) ‘manga ‘treme zisst dus, zisst' zo: 'manges ‘legoln, ‘Manche Triine siehst du, siehst so manches Licheln, Manya tear see you,(you)see so manya smile, (Many a tear you see, you see many a smile,) host der ‘ikbo ‘traoligas gaflvst'e, Tagt‘ast’ lisgfitr of ‘J’ slam ‘pfa:da, horst der Liebe trauliches Gefliister, leuchtest ihr auf stillem Pfade, (you) hear the love’s cozy whispering, shine for it on quiet pathway, (you hear the cozy whispers of love, you shine down upon the quiet pathway, for love's sake,) ‘hofnun — fverp't!_Igof ‘dgenam ft'raila herap', _he'rap’ tsum_‘'slan ‘dulde, Hoffnung schwebt auf deinem Strableherab, —herab zum stillen Dulder, hope hovers. on your beam downwards, down tothe quiet endurer, (hope hovers downwards with your rays, down to the one who quietly suffers,) 81 i ‘remo fon dem vana _‘2g0ga, le: di tergdo thrmnk'at' lagen! die Trine von der Wange sauge, eh sie die Erde trinket ein! the tear from the cheek suck, before it the earth drinks up! (before the earth drinks it up!) vol helt" zit tso:gent’ laof dexg ‘vane Wohl hiilt sie zigernd auf der Wange ‘No doubt stops it hesitantly on the cheek (No doubt it stops hesitantly on your cheek) lont’ vil zig hes dew ‘raga —_vaen: und will sich heiss der Treue —_weihn; and_ wants itself fervently to the faithfulness consecrate; (and wants to consecrate itself fervently to faithfulness;) nun — lig zit zorlim us lemipfayo, nun zint' lgox ‘daeno 'mertsan magn. nun ichsie so im Kuss empfange, nun sind auch deine Schmerzen mein. now that 1 them so inthe kiss receive, noware also your sorrows — mine. (now that I receive them like that in my kiss, now your sorrows are also mine.) [An die Geliebte was composed on the name day of Schubert's first love, Therese Grob.] An die Harmot see Gesang an die Harmonie an di Iaot's An die Laute To the Lute Op. 81, No. 2 [1827] (Johann Friedrich von Rochlitz) ‘laeze, —lagze, —“K*lagno ‘Iaot'a, fvst'ra, vas lig dig fegt'raot’s, Leiser, leiser, kleine Laute, flistre, was ich dir vertraute, More softly, more soffly, little lute, whisper what to you confided (Whisper more sofily, little lute, what I confided to you) dort’ tgu: jemom ‘fenst'e hm! vir di ‘velon anft'e ‘Ivft', dort zu jenem Fenster hin! Wie die Wellen sanfter Liifte, there to that window hence! Like the waves of gentle breezes, (up to that window there! Like the undulations of gentle breezes,) ‘momdonglants lunt' ‘blurmandvft’s, zen les deve gobist'onin! ‘Mondenglanz und Blumendiifte, send’ es der Gebieterin! moon-radiance and flower-fragrances, send it to the mistress! (like moonlight and the fragrance of flowers, send it to the lady who rules my heart!) [“Gebieterin” = a woman with the power to command, a ruler] ‘naedif zint des naxbarrs/naxbargs ‘zomo, lunt’ lim ‘fenst'e jeme Neidisch sind des Nachbars Sohne, und im Fenster jener Schéne Envious are the neighbor's sons, and in the window of that beautiful woman (The neighbor's sons are envious; and in the window of that beautiful woman) 82 ‘flimet’ nox Igen tgenzaim ligt’, drum nox ‘laze, —_K*laena ‘got'a flimmert noch ein einsam Licht.Drum noch leiser, _—Kleine Laute: glimmers still a lonely light. Therefore still more softly, little lute: (a lonely light is still glimmering. Therefore still more softly, little lute:) dig, feynemo di fegt’rqot’s, ‘naxbarm/naxbaxgn laibe — ‘naxbarrn/naxbargn nigt"! dich vernchme die Vertraute, _ Nachbarn aber— Nachbarn nich you hear the intimate friend, neighbors however—neighbors not! (let my lady hear you, but not the neighbors!) [A delightfully mischievous little serenade, in which the piano imitates the lute.] an di ‘gee ‘Andie Leier To the Lyre Op. 56, No. 2 [1822] (Franz von Bruchmann, after the Greek poet Anacreon) ig vil fon fat'rags ‘zéman, fon ‘k'at'mus vil lig ‘zmjan! Ich will von Atreus’ Séhnen, von Kadmus will ich singen! I wantof Atreus’s sons, of Cadmus want] to sing! (want to sing about the sons of Atreus and about the hero Cadmus!) dox ‘magna ‘zaet'an ttonan mug tbo fim legk*lmen. Doch meine Saiten tinen nur Liebeim Erklingen. Yet my — strings sound only love in the resounding, (Yet the strings of my lyre sound only tones of love.) ig ‘taofo lum di ‘zaet‘on, di ‘laee marct’ ig thaofon! Ich tausche um die Saiten, die Leier macht ich tauschen! I exchange the strings, the lyre would likeT to exchange! (I change the strings, I would like to exchange the lyre!) altsicdons ‘zisgasfraet'on zolt' tire _maxt’ lentrqofan! Alcidens Siegesschreiten sollt” ihrer Macht entrauschen! Alcides’ triumph-strides should their power thunder forth! (Their power should thunder forth the triumphant strides of Alcides [Heracles/Hercules}!) dox ‘maeno ‘zaet‘on ttginan mug ‘tba fim —legk*lmon! Doch meine Saiten tnen nur Liebeim Erklingen! Yet my — strings sound only love in the resounding! (Yet the strings of my lyre sound only tones of love!) zo: lest den voi, heron! den ‘magna ‘zaet'an oman, So lebt denn wohl, Heroen! denn meine Saiten tinen, So fare then well, heroes! for my strings sound, (So farewell then, heroes! For my strings sound,) frat’ ‘heldanzay tgu:'droron, nue ‘litbo fim —legk*mon. statt Heldensang zu drohen, nur Liebeim — Erklingen. instead of heroic song to threaten, only love inthe resounding. (instead of threatening a song about heroes, only tones of love.) 8 [Atreus was a king of Mycenae; his sons were Agamemnon and Menelaus, famous for their part in the Trojan War and in many an ancient Greek drama, Cadmus, brother of Europa, founded the Grecian city of Thebes. Alcides was one of the names of Heracles (Hercules), the son of Zeus by Alemene, a mortal woman; he was said to be the strongest man on earth. The Greek poet ‘Anacreon celebrated the joys of life and youth. In this poem he pretends to want to sing of heroic ‘warriors; but his insubordinate lyre insists on singing of love. Schubert's song emphasizes the ‘conflict by alternating heroic declamation with a suavely lyrical, legato melody.] an di muzik An die Musik To Music Op. 88, No. 4 [1817] (Franz von Schober) du: ‘holds Kunst, lm ‘vifil ‘gragan ‘ft'undan, Du holde Kunst, in wieviel grauen Stunden, You lovely art, in howmany grey hours, vo: mig des ‘esbons vilde kraes lumftrk't", wo mich des Lebens wilder Kreis umstrickt, where me the life’s wild circle entangles, (when life’s wild vortex ensnares me,) hast du: maen herts tsu:'varme lisp’ lenttsundan, hast du mein Herz zu warmer Lieb entzunden, have youmy heart to warmer love ignited, (you have ignited my heart to warmer love,) hast’ mig ln taena ‘besro velt’ lentryk't!! hast mich in eine bessre Welt entriickt! haveme intoa better world carried away! (have carried me away into a better worl i") oft’ hat" laen ‘zagfise, daene —_harf_lentflossan,, Oft hat ein Seufzer, deiner Harf entflossen, Often has a sigh, from your harp flowed forth, (Often a sigh, that from your harp flowed forth,) gen zvse, ‘haelige(t) lakYort’ fon dite ein siisser, heiliger Akkord von dir a sweet, holy chord from you den ‘himal ‘besre tsaet'“an_mixg/misr lew'floson, — den Himmel bessrer Zeiten mir _erschlossen, — the heaven ofbetter times tome opened, — (has opened the heaven of better times to me, —) du: ‘holds Kunst’, ig ‘dank’ dig datfy:g, du: ‘holds ktunst’, lig ‘dank's dix! du holde Kunst, ich danke dir dafir, du holde Kunst, ich danke dir! youlovely art, I thank you for that, you lovely art, 1 thank you! [This song is Schubert's hymn of gratitude to the art of music, his solace his window into heaven. imes of sorrow and an di ‘naxt'igal / exg firk't' lont’ flesft’ lan ‘magnom ‘hertson ‘An die Nachtigall / Er liegt und schlift an meinem Herzen To the Nightingale / He Lies and Sleeps at my Heart Op. 98, No. I [1816] (Matthias Claudius) ey Hik't' lunt’ flesft’ lan ‘maenom ‘hertson, magn ‘gut’ ‘futsgaest’ —zan_lim laen, Er liegt und schlift an meinem Herzen, mein guter Schutzgeist sang ihn ein, He lies and sleeps at_my heart, my good guardian spirit sang him to sleep, unt’ lig kan ‘frig zaen lunt’‘Jertson, und ich kann frohlich sein und scherzen, andI can merry be and joke, (and I can be merry and joke,) kan jeide — blum lont’ jerdas blats mig fragn, kann jeder Blum’ und jedes Blatts mich freun. can of every flower and of every leaf myself gladden. (Lcan take delight in every flower and every leaf.) ‘naxt'igal, ax! zm mizg den tamorg mgt’ vax! Nachtigall, ach! sing mir den Amor nicht wach! Nightingale, ah! sing me the Cupid not awake! (Oh nightingale! Don’t wake up Cupid!) [The poet, in this miniature gem, is glad that love is dormant for the moment; he can enjoy nature and feel at ease without the distraction of desire. But at any moment an amorous nightingale might stir Cupid into action again ] an di ‘naxt'igal / gaps migt’ zo: Lgot An die Nachtigall / Geuss nicht so laut To the Nightingale / Do not Pour so Loudly Op. 172, No. 3 [1815] (Ludwig Heinrich Christoph Holty) 9298 mict’ zor Ioot dexg ‘tip'lentflamt‘on ‘lide ‘tomraegon fal Geuss nicht so laut der _liebentflammten Lieder tonreichen Schall Pour not so loudly of the love-inflamed songs tone-rich sound (Do not pour so loudly the rich tones of love-inflamed songs) fom ‘bly:t'onlast des tapfalbgoms hegni:de(r), fo: naxt'igal! vom BBliitenast des Apfelbaums hernieder, o Nachtigall! from the blossom-bough of the apple-tree down, _O nightingale! (down from the blossoming bough of the apple-tree, O nightingale!) du: ‘omast’ mizg mut ‘daene ‘zy:son ‘Keto di ‘tba vax; Du ténest mir mit deiner siissen Kehle die Liebe wach; You sound in me with your sweet throat the love awake; (With your sweet throat you sing love awake in me;) den fom durgbep't di thifo'maene ‘ze:lo daen 'Jmelisont’ lax! denn schon durchbebt die Tiefe_meiner Seele dein schmelzend Ach! for already through-trembles the depths of my soul your melting “Ah”! (for already your melting sigh is trembling through the depths of my soul!) 94 zor bist du: dox rag gabli:bon, lunt’ got’ hats ‘dro:bon_leyk*ant’ so bist du doch treu _geblieben, und Gott hat’s droben_erkannt. $0 are you nevertheless faithful remained, and God has it up above perceived. (you have nevertheless remained faithful, and God has perceived that up above.) vie volon les mute legtraigon, zo: lay nung di: ‘rema nox ninth, Wir wollen es mutig ertragen, so lang nur die Triine noch rinnt, We want it bravely to bear, so long only the tear still runs, (Let us bear it bravely as long, at least, as tears are still streaming, ) unt ‘ragmen fon fonoren Pagan, di: lamp fory:be zt’, und triumen von schdneren Tagen, die lange voriiber sind. and to dream of more beautiful days, which long past are. (and dream of more beautiful days which are long past.) ont’ zitst du: di ‘blyst'on legJaenan, lunt' ‘zon di fy:gal lumiherg, Und siehst du die Bliiten erscheinen, und_singen die Végel umher, ‘And see you the blossoms appear, and sing the birds all around, (And if you see the blossoms appearing and birds are singing all around,) zo: maik'st du: voil ‘haemlig ‘vaenon, dox ‘kéa:gon zolst du: migt’ mezg. so magst du wohl heimlich weinen, doch klagen sollst du nicht mebr. so may you well secretly weep, but lament shall younot more. (then you well may secretly weep; but you shall not complain any more.) gem dox di tewigon ‘ft'erna dort’ forbon mat’ ‘goldanom ligt Gehn doch die ewigen Sterne dort oben mit goldenem Licht Move after all the eternal stars there up above with golden light (Afterall, the etemal stars up above move by with golden light) unt! ‘legoln zo: fragnt’lig fon ‘fegna, lunt ‘denk'on dox ‘onze nigth und licheln so freundlich von ferne, und denken doch unser nicht. and smile so friendlily from afar, and think nevertheless of us not. (and smile at us from afar in such a friendly way, and yet they do not think about us.) [The words are all addressed to the poet's heart, and its agitation is powerfully expressed in ‘Schubert's accompaniment. The title of the poem is “Am 23sten Januar 1816.”| an magn kMavi ‘An mein Klavier To My Piano Posthumously published [composed in 1816] (poem by Christian Daniel Schubart) ‘zanft'as Wlavvirg! velea_lenttsvk'uyon ‘fafast_ du: mi Sanftes Klavier! welche Entziickungen schaffest du. mi Gentle piano! what delights create you for me! Gentle piano, what delights you create for me!) [poem: schaffst du in mir! (in me)] ven 216 di ‘foman ‘tendoint’ ferveman, Wennsich die Schiinen _tiindelnd verwohnen, When themselves the beautiful ones triflingly pamper, (When the beautiful ones are triflingly pampering themselvés,) 95 vae ig. mig. dizg,“Tirbos. kMa'virg! weih ich mich dir, _liebes Klavier! consecrate! myself to you, dear piano! (consecrate myself to you, dear piano!) bin ing lagen, hgox lig disg ‘magna lempfindugan laen, ‘tumlf —_lunt* raen. Bin ich allein, hauch ich dir meine Empfindungen ein, himmlisch und rein, AmI- alone, breathe! toyoumy — feelings into, heavenly and pure. (When I am alone I beathe into you my feelings, heavenly and pure.) ‘onfolt’ im ‘fp'ita, ‘urgant’gafy:o ‘fp'recon laps divg, tragt'as ka ‘Unschuld im Spiele, Tugendgefiihle sprechen aus dir, trautes Klavier! Innocence in the play, virtue- feelings speak out of you, dear piano! (Unnocence at play, feelings of virtue speak out of you, dear piano!) zm lig datsu;,goldane fly:gol, vel ‘himiifo ru: ‘ispalst’ mizg_ du: Sing ich dazu, goldener Fligel, welch himmlische Ruh lispelst mir du! SingI toit, golden wing, what heavenly peace whisper to me you! (When I sing to your accompaniment, golden wing,* what heavenly peace you whisper to me!) ‘treman deg ‘fragda ‘netson di ‘zaet‘a! ‘zilbene kan treck't den go'zan, Triinen der Freude netzen die Saite! silberner Klang trigt den Gesang. Tears of the joy moisten the string! Silver sound carries the song. (Tears of joy moisten the strings! Silver sound carries the song.) ‘goldnas kMavirg! ven mig lim ‘le:ban ‘zorgan lumfve:ban, Goldnes Klavier! Wenn mich im Leben Sorgen umschweben, Golden piano! When me inthe life cares _hover around, (Golden piano! When cares hover around me in life,) ‘tena du: mize, ‘tragt'as Mavi! téne du mir, trautes Klavier! resound you for me, dear piano! (resound for me, dear piano!) [+ “Fluger” means “wing,” literally; it also is the German term for “grand piano”; “Klavier” (or “Clavier,” as it was spelled in the original poem) can refer to any one of various keyboard instruments, depending upon the period. It is now the generic word for piano, the specific word for an upright piano. The original title of the poem was “Serafina an ihr Clavier”; there is reason to believe that the poet was referring to the soft tones of a clavichord. Schubert, who felt the sentiments of the poem very personally, left out Serafina and two stanzas, one of which implied that the speaker was a woman, so that this song could become an expression of his own feelings). an minj6 ‘An Mignon To Mignon Op. 19, No. 2 [1815] (Johann Wolfgang von Goethe) lunt’ flus gattraigan, tsitat’ raen deg zona ‘vargan. und Fluss getragen, ziehet rein der Sonne Wagen. Over valley and river borne, passes purely the sun’s chariot. (Borne over valley and river, the chariot of the sun passes in its purity.) 101 an fvaige 'ero:nos ‘An Schwager Kronos To Coachman Cronus Op. 19, No. 1 [1816] (Johann Wolfgang von Goethe) ‘fp'ux's dig, Kromos! fort. den ‘rasolndan trot’! berk'tap* ‘glaet'at deze veik'; Spute dich, Kronos! fort den rasselnden Trott! Bergab gleitet der Weg; Hurry yourself, Cronus! Onward the rattling trot! Downhill glides the way; (Hurry up, Coachman Time! Onward the rattling trot! The way is gliding downhill;) ‘ek'las ‘[vindoin ‘eget’ mie fore di ‘ft'imo dagen ‘tsqoden / ‘haoden. ekles Schwindeln —_zégert mir vor die Stirne dein Zaudern/Haudern*. ° nauseating dizziness [object] delays for me in front of the forehead your dawdling [subject]. (your dawdling in front of my forehead delays nauseating dizziness = the sight of your dawdling, ‘you seated just in front of my forehead, keeps me nauseatingly dizzy.) {*Most editions print “Zaudern”; the word used in the original poem is “Haudern,” which originally meant to drive for hire, hence to move at a jog-trot, to amble or mosey along.) fn, ‘holp'et' les glaeg, ty:be ft'ok' lont'ft'aeno den thot’ raf ins _‘lesbon hrnaen! Frisch, holpert es gleich, fiber Stock und Steine den Trott rasch ins Leben hinein! Briskly, jolts it at once, over and stones the trott fast into the life (into)! [“iber Stock und Stein” = an idiom similar to “up hill and down dale”) (Quick! even if there are lots of jolts, speed up the trot, up hill and down dale, right into life!) nun fom ‘vide den leriat'mandan frit’, num fon ‘vide ‘my:zarm _berk'hrngof! ‘Nun schon wieder den eratmenden Schritt, nun schon wieder mihsam berghinauf! Now already again the lung-filling step, now already again laboriously uphill! [poem: nun schon wieder den eratmenden Schritt mihsam Berg hinauft}] eof den, nigt thre;ga den, ‘ft're:bont’ lont’ hofont_hrnan! Auf denn, nicht trige denn, strebend und hoffend hinan: Up then, not sluggish then, striving and hoping onward! (Come on, then! Don’t be sluggish, then! Striving and hoping, move onward!) vast’, hor, ‘herlig rigs den bhik’ ins e:bon_hrnaen, Weit, hoch, herrlich rings den Blick ins Leben hinein, — [poem: herrlich der Blick] Far, high, glorious all around the gaze into the life (into), (High up, I cast my gaze into life, spread out in the distance so gloriously!) fom gobirk’ tsum_gobirk! vom — Gebirg zum Gebirg from the mountain range to the mountain range (From one mountain range to another) ‘Jverbot dei te:vige gaest", fe:vigan ‘le:bons tandafol. schwebet der ewige Geist, ewigen Lebens ahndevoll. * soars the etemal spirit, of eternal life presentiment-full. [*ahndevoll” = “ahnungsvoll,” in this sense; “Ahndung” is an obsolete form of “Ahnung”) (Soars the eternal spirit, full of intimations of eternal life.) 102 ‘zaet'verts des ty:bedaxs Seitwirts des Uberdachs Schatten zieht dich a Sideways the roof’s shadow draws you onwards, (CThe shadow of the top of your coach, cast sideways and somewhat in front of you, gives the impression of drawing you onwards,) unt! laen‘frifon —-—-fewhagsonde blik* gof dere 'Jvelo des 'mest'cans da. und cin Frischung verheissender Blick auf der Schwelledes Miidchens da. and a regeneration-promising glance on the threshold of the girl there. (and a glance that promises regeneration from the girl standing there on her threshold.) ‘Taibo dig! mip/misr lgox, ‘mest'gan, ‘di:zan ‘fagmondan — rank*, Labe dich! Mir auch, Madchen, diesen schiiumenden Trank, Refresh yourself! Forme too, girl that foaming —— drink, ‘dizon frifon gozunt'hagtsbkik""! lap’ den, ‘rafe hrnap'! zit, dit ‘zona _zimk't'! diesen frischen Gesundheitsblick! Ab denn, rascher hinab! , die Sonne sinkt! that fresh health- look! Down then, faster downwards! See, the sun sinks! (that fresh look of health! Down then, faster downwards! See, the sun is sinking!) e: zi amk'P le: mig. ‘graezan leggracft’ lim ‘morro ‘nesbalduft, Eh siesinkt, ch mich Greisen ergreift im Moore Nebelduft, Before it sets, beforeme oldman seizes _in the swamp mist- exhalation, (Before it sets, before an exhalation of mist in the swamp seizes me as an old man,) lenttsamt’o ‘kYisfe ‘fnat'en unt das flot'ends geben. rupk'nan entzahnte Kiefer schnattern und das schlotternde Gebein. Trunknen toothless jaws cackle and the wobbling bones. Drunk (before toothless jaws and wobbling bones chatter and rattle.) fom —‘letst'on ft'ra:l rags mig, laen fooeme:e mixg/mis lim ‘Joomandon —1aok', vom — letzten Strahl reiss mich, ein Feuermeer mir ‘schiiumenden Aug, from the last ray tear me, a fire- sea me inthe foaming —eye, (Drag me, drunk from the last ray of the setting sun, a sea of fire before my foaming eyes,) mig goblendat'an ‘aomaindon lin dexg hoeto negt'ligas org! mich geblendeten Taumelnden in der Holle nichtliches Tor! me dazzled staggering one into the hell’s nocturnal gate! (drag me, dazzled and staggering, through the nocturnal gate of hell!) ‘tomo, ‘fvarge(s), ins horn, ‘raslo den 'Jalondon trap’, Tone, Schwage Horn, rassle den schallenden Trab, Sound, coachman, into the horn, rattle the ringing trot, (Sound your horn, coachman! Let the trotting hooves and the carriage rattle and ring,) i das dexg/dexr torkus feyne:mo: virg ‘kYoman, dass der Orkus vernehme: wir kommen, sothatthe Orcus may hear: we are coming, (60 that Orcus, the god of death, may hear that we are coming,) das glace lan devg thy: dexg vit’ lons ‘frognt’hg lem'pfano. dass gleich an der Tair der Wirt uns freundlich empfange. [poem: Tire (\*y:r9)] so that right away at the door the host us friendly receive. (So that the host may receive us right away at the door in a friendly way.) 104 ven zit, das zi: golicp't’ vit’, runk'on fon ‘libo, zigs denk'th! wenn sie, dass sie geliebt wird, trunken von Liebe, sich’s denkt! when it, that it loved is, drunk from love, itself it thinks (realizes)! (when it realizes, drunk with love, that itis loved!) [The poet dedicated this poem to the woman who became his first wife. The verses themselves are addressed not to her directly but to “Time,” to “blessed Time” that—after long searching and waiting—finally brought him someone to love who loved him in return] an ‘zilvja_(g9zan: an ‘zilvja] ‘An Sylvia [Gesang: An Sylvia] To Sylvia [Song: To Sy! (from William Shakespeare's Two Gentlemen from Verona) ‘Op. 106, No. 4 [1826] (German rhythmical translation by Eduard von Bauernfeld) vas list’ ‘zilvja, ‘zaigot’ lan, das zi: di ‘vaet'o flug —_pYraest"? Was ist Sylvia, saget an, dasssie die weite Flur _preist? What is Sylvia, announce, that her the wide common praises? (What is Sylvia—announce it!—that everyone on the wide common praises her?) [“ansagen” = to announce; to notify} Jom tont tsaret’ Schén und zart Beautiful and delicate see I her come near, (Ise her coming near, beautiful and delicate;) Igof tuumals gunst’ lunt’ fp'we vaest", das limglisr falas tunt‘etamn, Himmels Gunst und Spur weist, dassibr alles ——_untertan. to heaven’s favor and trace points that toher everything (is) subject. (that everything is subject to her indicates heaven’s favor and mark.) ist’ zi: fom lunt’ gust datsu:? rats lazp't’ vir ‘mulda ‘k*mt'haet*; Ist sie schin und gut dazu? Reiz labt wie milde Kindheit; Is she beautiful and kind as well? Charm refreshes like gentle childhood; irom Iaok' laglt’ tazmorg tsus, dort’ haelt’ lexy ‘zaeno ‘blint’hagt*, rem Aug eilt Amor zu, dort heilt er seine Blindheit, toher eye hurries Cupid to, thereheals he his blindness, (Cupid hurries to her eyes, he heals his blindness there) lunt’ fegvaelt’ hm zy:se ru: und verweilt in siisser Rub. and lingers in sweet rest. ‘darom ‘alvja, tom, 0: zan, dere ‘holdan “zilvja_tesron; Darum Sylvia, tn, 0 Sang,der holden Sylvia Ehren; Therefore (to) Sylvia, sound, O song, to the lovely Sylvia honors; (Therefore, O song, sound honors to Sylvia, to the lovely Sylvia;) jexdon raets_ boil den tergda kan ga've:ron: jeden Reiz besiegt sie lang, den Erde kann gewahren: every charm won she long since, that earth can grant: (she has long since won every charm that earth can grant:) 105 ‘Krentso lisgfier lont’ ‘zaet’ank*an! Krdnze ihr und Saitenklang! wreaths to her and strings-sound! (wwreathe her head and strike the harp!) [Since Schubert’s friend Eduard von Bauernfeld, who translated Shakespeare's poem (from Act IV, scene 2, of the play), kept a compatible rhythm, the song can be sung with the original English words Who is Sylvia? What is she, Is she kind as she is fair? ‘That all our swains commend her? For beauty lives with kindness. Holy, fair, and wise is she; Love doth to her eyes repair, ‘The heavens such grace did lend her, _To help him of his blindness, ‘That she might admired be. And being helped, inhabits there Then to Sylvia let us sing, ‘That Sylvia is excelling: She excels each mortal thing Upon this dull earth dwelling: To her let us garlands bring.) antti:gone lunt’ to:dip* Antigone und Oedip Antigone and Edipus Op. 6, No. 2 [1817] (Johann Mayrhofer) ANTIGONE: ig ‘hoon ‘hmiifon, —_leghoirot deve thoxt'e ‘hertslent'ft'réxmt’2s ‘lezen: Thr hohen Himmlischen, erhdret der Tochter herzentstrémtes Flehen: You high heavenly ones, hear the daughter's heart-streamed supplication: (You high heavenly beings, hear the supplication that streams from a daughter's heart:) [poem: Flehn (flen)] last’ tagnan ‘ktyrlan hgox des ‘trorst’as lin des fat'es ‘groisa ‘zeilo vein. Lasst einen kiihlen Hauch des ‘Trostes in des Vaters grosse Seele wehn. Jet a cool breath of the comfort into the father’s great soul blow. (let a cool breath of comfort blow into my father’s great soul.) [poem: in Ocdips ('6:dips) grosse Seele wehn} gony:got’, tggron tsom {su ‘zymon, diss jugp ‘lesbon,—nemt’ es hin, Gentiget, euren Zorn zu siihnen, dies junge Leben,—nehmt es hin, Suffices, your anger to propitiate, this young life, — take it hence, (f this young life suffices to propitiate your anger, then take it,) ont’ tage ‘raxoft'ral feymigt's di tif bottry:p't’s duldonn, und euer Rachestrahl vernichte die tief betribte | Dulderin. and your revenge-ray annihilate the deeply troubled patiently enduring woman. (and may a ray of your revenge annihilate this deeply troubled one, who will patiently endure it.) [poem: und eurer (Iagre) Rache Strahl} nz ‘vaega ‘ne:bal ttrmmk‘an rms di ‘thyrmenda ‘ferna; weiche Nebel trinken rings die tiirmende Ferne; soft mists drink all around the towering. distance; (all around, soft mists drink up the towering distance;) ‘morgenvint’ lumfly:golt di bafat‘at's buxt!, Morgenwind umfliigelt die beschattete Bucht, momning-wind about-wings the shadowed bay, (the moming breeze wings about the shadowed bay,) vat lim ze: bolfp'isgalt’ zig di und im See bespiegelt sich die and in the lake mirrors itself the ripening fruit. (and in the lake the ripening fruit is mirrored.) [Goethe wrote this poem on Lake Zurich in Switzerland, during the summer of 1775, as he was recovering from a love affair (a “golden dream”). The “free world” of the first line may refer to ‘Switzerland, a small island of democracy in Goethe’s Europe; or it may simply be nature itself and the great outdoors. In the first part of the song Schubert suggests the rhythm of the oars; at the change of meter we can imagine the morning breeze rippling the water, breaking sunlight into “a thousand floating stars.” of dem f'romm Auf dem Strom On the Current Op. 119 [1828] (Ludwig Rellstab) nim di ‘etst'an tapfitsk'yso, unt di ‘ve-ondan, di ‘gry'so, Nimm die letzten Abschiedskiisse, und die wehenden, die Griisse, Take the last farewell- kisses, and the blowing, the greetings, (Take the last kisses of farewell, and these blown greetings) di: ig nox lans tusfe ‘zenda, le: daen fus zig ‘faedont’ ‘vendo! die ich noch ans Ufer sende,eh dein Fuss sich scheidend wende! which I still to the bank send, before your foot itself parting turn! (which I am still sending to the shore, before your feet turn away in parting!) Jon vi fom des‘t'ro:mas ‘voigan raf derg ‘naxen fort’gatsorgan, Schon wird von des Stromes Wogen rasch der Nachen fortgezogen, Already becomes by the current's waves swiftly the skiff carried away, (Already the skiff is being swiftly carried away by the waves of the current;) [Peters: des Sturmes (t'urmas, storm’s) Wogen] dox den 'tremandunk'lon bhik’ {sit di ‘zenzuxt' ft'ets —_tyurvk, doch den trinendunklen Blick zieht die Sebnsucht stets —zuriick. but the tear- dark glance draws the yearning constantly back. (but yearning constantly draws the tear-darkened glance back toward the place of parting.) vont’ zo: tre:k't’ mig den di ‘velo fort’ mut‘ tunlegfle:t'e Jnelo. Und so triigt mich denn die Welle fort mit unerflehter Schnelle. ‘And so carries me then the wave away with unentreated swiftness. (And so the waves carry me away, then, with unasked-for swiftness.) 113 ax, Jom list di flux fey'fvundon, vo: lig ‘zeilig ‘Ach, schon ist die Flur verschwunden, wo ich selig ‘Ah, already is the meadow disappeared, where blissfully her found! (Ah, already the meadow where I blissfully found her has disappeared!) poem: entschwunden (lent"Jvunda)] ‘ewig hin, sg onotaigo! ‘hofnunslerg —feghalt di kMaxga Ewig hin, ihr Wonnetage! Hoffnungsleer verhallt die Klage Eternally gone, you rapture-days! Hope- empty dies away the lament (Eternally gone, you days of rapture! Empty of hope, the lament dies away) [poem: verschallt (fepfalt)] om das ‘haemaxt'lant’, vo: lig tira fant’. um das schdne Heimatland, wo ich ihre Liebe fand. for the beautiful homeland, where her love found. (for my beautiful homeland, where I found her love.) vi: flit dere ft'rant’ fory:be(s) lunt’ vi: drenk't’ les mg. hrny:be, Sieh, wie flieht der Strand voriiber und wie dringt es mich hiniber, See, how flies the shore past and how urges it _me over there, (See how the shore flies by; and how something inside of me is urging me to be there,) tsit’ mit’ tonnenba:ron ‘bandon lan deg ‘hyt’s dort tsu: ‘landan, zieht mit unnennbaren Banden an der Hiitte dort zu landen, [Peters: die (di) Hitte] draws with inexpressible bonds at the cottage there to land, (is drawing me with inexpressible bonds to land at the cottage there,) mn deg Igoba dort tsu:‘vaelan; dox des ‘t'ro:mas velon taelan inder Laubedort zu weilen; doch des Stromes Wellen eilen in the arbor thereto linger; but the current’s waves hurry (to linger in the arbor there; but the waves of the current hurry) vaet'e(r) Toma rast’ lont’ ru, fyzran mig dem velt'merg tsu weiter ohne Rast und Rub, filhren mich dem Weltmeer zu. farther without rest_and peace, lead me tothe ocean to. (farther without rest or pause, lead me toward the ocean.) ax, form ‘jeme ‘dunk'lon ‘vyst’s, fern fon ‘jerde ‘haet'en ‘k*yst'a, ‘Ach, vor jenerdunklen Wiiste, fern von jeder heitern Kiiste, ‘Ah, before that dark wilderness, far from any cheerful coast, (Ab, confronting that dark wilderness, far from any cheerful coast,) vo: kgen laglant tsu: leyfooan; lo: vi: fast’ mig tsit'ent’ —‘gragan! wo kein Eiland zu erschauen; 0, wie fasst mich zitternd Grauen! whereno island to beseen; oh, how seizes me tremblingly horror! (where no island can be seen; oh, how horror seizes me and makes me tremble!) ‘vexmusst're:nan zanft tsu: ‘brigon, kan Kaen Hist fom —fu:fe ‘drmon; Wehmutstriinen sanft zu bringen, kann kein Lied vom — Ufer dringen; Melancholy-tears gently to bring, can no song from the shore force a way; (No song from the shore can penetrate the distance, gently to bring tears of melancholy;) Peters: zum (tsum, to the) Ufer (no song can reach to the shore...)] 14 ug derg [t'urm vert" Kalt daherg durg das graogaho:bna mere! nur der Sturm weht kalt daher durch das graugehobne Meer! ‘only the storm blows coldly thence through the grey-raised sea! (only the storm-wind blows coldly toward me through the grey and heaving sea!) Kan des taogas zemant’ ‘fvaefon ‘k*aena ‘urfe me:g/mex leygraefon, Kann des Auges sehnend Schweifen keine Ufer mehr —_ergreifen, Can the eye’s yearning sweep no shore any more apprehend, (When the yearning sweep of my eyes can no longer discern any shore,) nun zo: fap lig tsu: den Jt'ernan lgof lin jean ‘haelgon ‘fernan! nun so schau ich zu den Sternen auf in jenen heilgen Fernen! nowso look I to the stars up in those holy distances! (then I look up at the stars in their holy remoteness!) [poem + Peters: nun so blick’ (blik’) ich zu den Sternen dort (dort’, there)... ax! ae tisram ‘mildan ‘faeno nant’ lig zi: tsulexgst di ‘mae! Ach! bei ihrem milden Scheine nannt ich sie zuerst die Meine; Ah! by their gentle light called her first the mine; (Ab! by their gentle light I first called her mine;) [(in the song the last lines are repeated with this variation:)] [bag deze 'ft'erna ‘imuldam ‘faena] [Bei der Sterne mildem Scheine...]__[Peters: milden (ungrammatical error)} [By the stars’ gentle light...) dort’ filaect’, lo: ttrgsst’ont" glyk’, dort’ bogerg.....mig tirom — blik*! dort vielleicht,o tréstend Gliick, dort begegn’ ich ihrem Blick! there perhaps, oh comforting chance, there encounterI her glance! (there perhaps, oh comforting thought, there among the stars I may again encounter her glance!) [This piece was composed especially for a concert, in which it was sung in the key of E major (a third higher than the Peters edition) with a horn obbligato. It can also be performed with cello, Where there are variants, the Gesamtausgabe is generally more faithful to the original text of the poem and to Schubert's MS., though Peters follows the wording of the poem in the final stanza. of dem ‘vase tsu: ‘zijon Auf dem Wasser zu singen To be Sung on the Water Op. 72 [1823] (Leopold Graf von Stollberg) ‘mit‘on lim ‘fime deg. ‘Jp'itgalndan ‘velon Mitten im Schimmer der _spiegelnden Wellen Middle in the shimmer of the reflecting waves (In the midst of the shimmer of the reflecting waves) ‘glaet'at’, vi: ‘fvema, — de:g ‘vank'onda k*am; gleitet, wie Schwiine, der wankende Kahn; Blides, like swans, the wavering boat; (the swaying boat glides like a swan;) us ax, lgof dere ‘fragdo ‘zanft’fimendon —_‘velan ach, auf der Freude sanftschimmernden Wellen ah, on the joy’s soft-shimmering waves (ah, on the softly shimmering waves of joy) ‘glaet'at' di ‘zetla dah vir de:y kam; gleitet die Seele dahin wieder Kahn; glides the soul along like the boat; (the soul glides along like the boat;) den fon dem ‘imal herap' —gof di. 'velon denn von dem Himmel herab auf die Wellen for from the heaven downwards onto the waves (for from heaven down onto the waves) ‘Pantsat das fa:bont'ro:t’ runt’ lum den kam, tanzet das Abendrot rund um den Kahn. dances the sunset round about the boat. (the red glow of sunset dances all around the boat.) ‘yzbe den ‘vipfoln des ‘vest'ligan ‘haenas ‘vink'at' lons ‘fragnt'lig dese roat‘liga Jaen; ber den Wipfeln des westlichen Haines winket uns freundlich der rdtliche Schein; Over the treetops ofthe western grove waves tous friendly the reddish gleam; (Over the treetops of the western grove the reddish gleam beckons to us in a friendly way;) unt'e den 'tsv ligan faen; unter den zw rotlichen Sel under the branches of the eastern grove murmurs the calamus in the reddish light; (under the branches of the eastern grove the reeds murmur in the reddish light;) ‘fragdo des ‘himals lunt' ‘uo des ‘haenos la:'mat di ‘zerl iim lep'ro:ttandan Jaen. Freude des Himmels und Ruhedes Haines atmet die Seel im errdtenden Schein. Joy of the heaven and peace of the grove breathes the soul inthe reddening light. (the soul breathes the joy of heaven and the peace of the grove in the reddening light.) ax, les lent"Jvindot' mit ‘aorgam fly:gal misg/misr Igof den ‘vi:gandan ‘velon di tsaet’. Ach, es entschwindet mit tauigem Fligel mir auf den wiegenden Wellen die Zeit. ‘Ah, it vanishes withdewy wing forme on the rocking waves the time. (Ah, for me on the rocking waves time flies away on dewy wings.) ‘morgen lent"fvindo mut’ ‘fimendsm —_‘fly:gol Morgen entschwinde mit schimmerndem Fliigel ‘Tomorrow vanish with shimmering _wing (May time vanish again tomorrow on shimmering wings) (poem: schimmernden (Jimendan) Fliigel (wings)} vide vit ‘gest'en lont’ hagt's di tsagt", wieder wie gestern und heute die Zeit, again as yesterday and today the ts (as it has vanished yesterday and today,) 16 bis ig Igof hérom ‘ftratlondan ‘fly:gal ‘zelber(r) lent"Jvinds dere ‘vekzolndon tsaet*. bis ich auf hdherem strahlenden Fligel selber entschwinde der wechselnde Zeit. untill on higher radiant wing myself vanish tothe changing time. (until I myself on higher radiant wings vanish to changing time.) (The accompaniment realistically mirrors the rippling of the water; the harmony, as it shifts from minor to major, floods the scene each time anew with a burst of sunset glow. The poet’s soul, mirroring the nature all around him, joyfully breathes in the beauty and tranquillity, as its voyage parallels that of the little boat.] of den zi’ dere ‘dagtfon Auf den Sieg der Deutschen (On the Victory of the Germans Posthumously published [composed 1813] (author unknown) feyjvundan —zint di ‘Jmertson, Verschwunden sind die Schmerzen, Disappeared are the pains, (The pains have disappeared,) vag] laos baktlemt'on ‘hertson kaen ‘zagfise videhalt®. drum ju:bolt hoxx, weil aus _beklemmten Herzen Seufzer widerhallt. Drum — jubelt hoch, because out of oppressed hearts no sigh echoes. ‘Therefore rejoice highly, (because no sigh is echoing any more out of oppressed hearts. Therefore rejoice greatly,) ling ‘dggtfo, den di feprust’s pPaetfa hat" tent'lig tgosgak’nalt’, ihr Deutsche, denn die verruchte Peitsche hat endlich ausgeknallt. you Germans, for the infamous whip has finally cracked out. (you Germans, for the infamous whip has finally cracked its last.) zen frank'raegs Kreatburron, zi ‘maxt'sn ‘dgptflants—‘fluxron Seht Frankreichs Kreaturen, sie machten Deutschlands Fluren See France’s creatures, they made Germany’s meadows {sum blust'igen laltare! di ‘gimigo hyema fras —‘hermans _te:dlo ‘zéno zum blutigen Altar! Die gierige Hyine frass Hermanns edle Séhne tothe bloody altar! The greedy hyena devoured Hermann’s noble sons (into a bloody altar! The greedy hyena has devoured Germany’s noble sons), dure merg/mer lals ‘tsvantste jare.. durch mehr als zwanzig Jahr. through more than twenty year. (throughout more than twenty years.) es ‘vurden mulioman fom ‘done deg kYainoman tsum jame(r) laofgafrek'tt, Es wurden Millionen vom Donner der Kanonen zum Jammer aufgeschreckt, There were millions from the thunder of the cannons tothe misery _up-frightened, (Millions were awakened to misery, terrified by the thunder of the cannon, ) i 128 9s heljorp'olis (laens) ‘Aus Heliopolis (1) From “Heliopolis” (1) Op. 65, No. 3 [1822] (Johann Maythofer) im ‘Kalt‘an, ‘rg90nnordon ist ‘kYunds mig ga'vordan Im kalten, rauhen Norden ist Kunde mir _geworden Inthe cold, rugged North is information to me become (In the cold, rugged North tidings reached me) fon gene ft'at, dese ‘zononft'at’. vo: vagit das fif, _ vo: hist deve pfax, voneiner Stadt, der Sonnenstadt. Wo weilt das Schiff, wo ist der Pfad, of a city, ofthe sun-city. Where lingers the ship, where is the path, (ofa city, of the city of the sun. Where is the ship, where is the path) [published poem: von einer Sonnenstadt... wo winkt (vint, beckons) der Pfad) di: mig gu: jeman ‘halon ‘tra:gan? fon ‘menfon ont’ lig nigis — legfras die mich zu jenen Hallen tragen? Von Menschen konnt ich nichts erfragen, ‘me to those halls convey? From people could I nothing ascertain, (which might convey me to those Halls? From people I could ascertain nothing;) [poem: mu ihren (iron, its) Halen} im tsvitfp'alt' ‘varron zit fepvoron, tsur ‘blurma, dit zig ‘heilios legk*oran, im Zwiespalt waren sie verworren. Zur Blume, die sich ‘Helios erkoren, in the dissension were they confused. To the flower which for himself Helios chosen, (they were confused with dissension. To the flower which Helios has chosen for his own,) [published poem: in (in) Zwiespalt waren sie verloren (feglo:ran, lost)] di: tewig lin zgen tant'hnts bhk't’, vant’ lig mig nun, lunt vart’ lenttsyk't!: die ewig in sein Antlitz blickt, wandt ich mich nun, und ward entziickt: which eternally into his face looks, tumedI myself now, and was enchanted: (which eternally looks into his face, I now turned, and was enchanted:) ‘vendo, zo: vit lig, tsur ‘zona ‘dagen tgogan! dort list’ vona, dort’ list’ Te:bon; “Wende, so wie ich, zur Sonne deine Augen! dort ist Wonne, dort ist Leben; “Tum, justas I, tothesun your eyes! There is rapture, there is life; (Tum your eyes, as I do, to the sun! Rapture is there, life is theres) [poem: deine Blicke (blik’2, glances)] thay leggerbon, ‘philgra tsu: lont tsvaefle nigt': ‘rua ‘findast du: fim ligt, tren ergeben, pilgre zu und zweifle nicht: Rube findest du Licht. faithfully devoted, go ona pilgrimage and doubt not: peace find you in the light. (faithfully devoted one, go on a pilgrimage and do not doubt: you shall find peace in the light.) ligt’ legtsaggat’ fala ‘glust'an, hofnunspflantson, ‘ta:t'anflu:t'on! Licht erzeuget alle Gluten, Hoffaungspflanzen, Tatenfluten!” Light engenders all fires, hope’s plants, _deeds-floods!” (Light engenders all fires, it gives life to the plants of hope and begets a flood of deeds!”) [Heliopolis means “City of the Sun.” Helios (or Helius) is the Greek sun god. The sunflower was once a nymph in love with him; she always tuned her face toward the sun as she followed his course through the sky. Schubert copied the words from Mayrhofer’s MS, changing only one ‘word (“ihren” became “jenen”); the published poem had other changes, indicated above.] 129 ‘095 helio:p' ols (tsvae) / helliosp'olis ‘Aus “Heliopolis” (II) / Heliopolis From “Heliopolis” (11) / Heliopolis (Schubert's title) Posthumously published (composed 1822] (poem by Johann Mayrhofer) fels Igof felzan ‘hingaveltsat’, fest’e grunt’ lont thrage Fels auf Felsen hingewiilzet, fester Grund und treuer Rock on rocks hence rolled, firm ground and trustworthy footing; (Rocks piled onto rocks, firm ground and a secure footing;) vasefelo, ‘vindasfaoe(r), tunbagnfana —_gavvalt” — Wasserfiille, Windesschauer, unbegriffene Gewalt — waterfalls, wind- showers, uncomprehended power — ‘genzaim Igof gotbmrgas ‘yim, ‘Wlost'e vir laox ‘burk'ruina: Einsam auf Gebirges Zinne, Kloster- wie auch Burgruine: alone on mountain range’s pinnacle, monastery- as also_castle-ruins: (alone on the pinnacle of a mountain range, among the ruins of a monastery and a castle:) grap’ zi: dexg/derr lerlmrunflegtinrun gen! den dexg ‘digt'e le:p't' fom —_zaen, grab’ sie der Erinn’rung —_— ein! Denn der Dichter lebt vom — Sein. engrave them the memory in! For the poet lives. from the being. (engrave those things in your memory! For the poet lives in the experience of Being.) ‘at'ma du: den thgelgan texte, fly di arma lum di velt*; Atme du den heil’gen Ather, schling’ die Armeum die Welt; Breathe you the holy ether, wind the arms around the world; (Inhale the holy ether, wind your arms around the world;) nug dem ‘vyrdigan, dem ‘grosson ‘blaebo ‘muti ——_tsuga’zelt"! nur dem Wiirdigen, dem Grossen bleibe mutig _—_zugesellt! only to the worthy ones, to the great ones remain courageously joined! (remain courageously associated only with great and worthy souls!) {poem: und (lunt, and) dem Wairdigen...] las di ‘lgedonfaft'on ‘zgozan im mettalanan lakort Lass die Leidenschaften sausen im metallenen Akkord; Let the passions roar inthe metallic chord; (Let your passions roar in a ringing chord;) ven di ‘ft'ark‘an ft'yrme ‘braozan, ‘findast du: das ‘rest'a vort’. wenn die starken Stiirme brausen, findest du das rechte Wort. when the strong storms rage, find you the right word. (when powerful storms are raging you will find the right words.) [Maythofer and Schubert shared lodgings for a while. Their temperaments were very different: the poet unsmiling and aloof, the musician gregarious and friendly; yet they remained good friends until separated by Mayrhofer’s tragic suicide. In this poem from his larger work entitled “Heliopolis” Maythofer expresses the exhilaration of standing on a mountain top alone with the elements and giving free vent to one’s passions, an experience of being that will inspire the poet to find winged words. He seems to be encouraging his friend to find himself in the same way.] 130 ‘ave mati /‘elans ‘dnt'e gazan, Ave Maria /Ellens dritter Gesang ‘Ave Maria / Ellen’s Third Song (“Hymn to the Virgin” from Sir Walter Scott’s The Lady of the Lake) Op. 52, No. 4 [1825] (German translation by P. A. Storck) ‘junfrgo mult’, leghosre taene junfrao _flesan, Jungfrau mild, erhdre einer Jungfrau fleh ‘Ave Maria (Hail Mary)! Virgin mild, hear a —_virgin’s_ supplication, (Hail Mary! Gentle Virgin, hear a virgin’s supplication,) laos ‘diam 'felzn ——‘ft'ar lunt’ vilt’ zol_maen gabext tsu: dig ‘hmveon. aus diesem Felsen starr und wild soll mein Gebet zu dir hinwehen. ‘out of this rocky place, stark and wild, shall my prayer to you waft away. (may my prayer waft up to you from out of this stark, wild chasm.) ‘flasfon ‘zige bis {sum ‘morgan, lop’ —‘menfan nox zo: ‘grgozam zit’ Wir schlafen sicher bis zum Morgen, ob Menschen noch so grausam sind. We sleep safe until to the morning, whether human beings still so cruel are. (We shall sleep safe until the morning, no matter how cruel human beings may be.) : jonfran, zit dere junfra ‘zorgan, lor ‘mut'e, hoxe/hesr Igen ‘bit‘ant* Kent’! © Jungfrau, sieh der Jungfrau Sorgen, o Mutter, hir in bittend Kind! © Virgin, see the virgin’s anxieties, © Mother, hear a _ pleading child! ave mariza! tunbaflek't™! ven vitg/virr Igof ‘dizzan_fels ‘hinzink‘an ‘Ave Maria! unbefleckt! Wenn wir auf diesen Fels hinsinken ‘Ave Maria! immaculate! When we upon this rock sink down (Ave Maria! immaculate! When we sink down upon this rock) tsum flaf, lont’ fons daen futs —bodek't". virt' vag desg ‘hart's fels lons ‘dynk'an. zum Schlaf, und uns dein Schutz bedeckt, wird weich der harte Fels uns diinken. tothe sleep, and us your protection covers, will soft. the hard rock tous seem. (to sleep, and your protection covers us, the hard stone will seem soft to us.) du ‘legalst’, rozondyft's veron Iin ‘disze “dumpfon ‘felzanktuft”. Du lichelst, Rosendiifte wehen in dieser dumpfen Felsenkluft. You smile, rose-fragrances waft in this gloomy ravine. (You smile, and the fragrance of roses wafts through this gloomy ravine.) o:'mut'e, ‘hora ‘kbindas fle:an, o: junfrao, tgena junfingo rust O Mutter, hére Kindes’Flehen, 0 Jungfrau, cine Jungfrau ruft! OMother, hear child’s supplication, O Virgin, a virgin calls! (© Mother, hear the supplication of your child, O Virgin, a virgin is calling to you!) awve matriza! ‘raena mack't'! de:p/de:r tergda lont' derg luft_de'mo:nan. ‘Ave Maria! Reine Magd! Der Erde und der Luft Dimonen, ‘Ave Maria! Pure. maiden! The earth’s and the air's demons, (Ave Maria! Pure maiden! The demons of the earth and of the air,) 131 fon ‘daenas tgogos holt fegjak't®, zit Kcenon hisg_migt’ ae. luns ‘vornan, von deines Auges Huld verjagt, sie. kénnen hier nicht bei uns wohnen. by your eye's graciousness chased away, they can here not with us dwell. (driven away by the graciousness of your eyes, they cannot dwell with us here.) vie voin tons fil “basgan, da: luns dagen ‘haelge trosst’ tanvest* ; Wir wolln uns still _dem Schicksal beugen, da uns dein heilger Trost anweht; We want ourselves quietly to the destiny to bow, since us your holy comfort wafts to; (We want quietly to submit to destiny, since your holy comfort is wafting toward us;) deg junfrao volo halt = dig_—‘naegon, der Jungfrau wolle hold dich _neigen, tothe virgin be willing graciously yourself to incline, (may you be graciously to incline your ear to a virgin,) dem ktmnt, das fyrg den fe dem Kind, das fiir den Vater flebt! tothe child, who for the father pleads! Ave Maria! (to a child who is pleading for her father! Ave Maria!) [It may come as a surprise to many that this song is not a setting of the famous Latin prayer, although those words have often been twisted and stretched to fit this famous melody. Here are the original words from The Lady of the Lake by Sir Walter Scott: ‘Ave Maria! maiden mild! / Listen to a maiden’s prayer! ‘Thou canst hear though from the wild, / Thou canst save amid despair. Safe may we sleep beneath thy care, / Though banish’d, outcast, and reviled-- \ Maiden! hear a maiden’s prayer; / Mother, hear a suppliant child! ‘Ave Maria! Ave Maria! undefiled! / The flinty couch we now must share Shall seem with down of eider piled, / If thy protection hover there. ‘The murky cavern’s heavy air / Shall breathe of balm if thou hast smiled; ‘Then, Maiden! hear a maiden’s prayer; / Mother, list a suppliant child! Ave Maria! Ave Maria! stainless styled! / Foul demons of the earth and air, From this their wonted haunt exiled, / Shall flee before thy presence fair. We bow us to our lot of care, / Beneath thy guidance reconciled; Hear for a maid a maiden’s prayer, / And for a father hear a child! ‘Ave Maria! Ellen’s father, Lord Douglas, has been banished by the king, They have taken refuge in a cave in the mountains near Loch Katrine. Her “Hymn to the Virgin” is preceded by these lines: But hark! what mingles in the strain? / It is the harp of Allan-bane, ‘That wakes its measure slow and high, / Attuned to sacred minstrelsy. What melting voice attends the strings? / *Tis Ellen, or an angel, sings. (from Canto III, XXVID)] 170 ven Im 't'undon ‘zedge ‘vaso Wenn in Stunden selger _ Weihe if hours of blissful consecration (As if, in hours of blissful consecration,) zag dem ‘fryren ‘vonon ‘raga ‘dunk'al vere_magn gags’ bo'vust’, sich der friihern Wonnen Reihe dunkel war’ mein Geist bewusst, itself of the earlier raptures’ series darkly weremy spirit aware, (my spirit were darkly aware of a series of earlier joys,) ven zig ‘nago ‘za ‘fendan, wenn sich neue Sinne finden, if themselves new senses found, (as if new senses were found,) di: das ‘hére_ fey'ft'endon ln derg thsfbaverk't'on brust*! die das Hohere verstiinden in der tiefbewegten Brus which the higher understood in the deeply-moved breast! (which understood in my deeply-moved breast a more sublime reality!) jar, zo: lists! des ‘haemve:s —_‘fmertsan__‘tsaegan ‘maenom 't'ragon ‘hertsan Ja, so ist's! Des Heimwehs Schmerzen zeigen meinem treuen Herzen Yes, so is it! The homesickness’s pains show tomy faithful heart (Yes, itis so! The pains of homesickness reveal to my faithful heart) taenos ‘ast‘elandos glvk*; font’ vas nis deg munt’ nox ‘nant’a, eines Vaterlandes Gliick; und was nie der Mund noch nannte, a fatherland’s happiness; and what never the mouth yet named, (the happiness of a fatherland; and what my mouth has never yet named) list’ lags ‘fryrem fait'elando lgen bozeilt'e zononblik* ist aus friiherm Vaterlande ein beseelter Sonnenblick. is out ofearlier fatherland a _soul-stirring sunny-glance. (isa soul-stiring, sunny glance from an earlier fatherland.) [*The original poem by “Theodor Hell” (pen-name of Karl Gottfried Winkler) has six verses and is printed in the Gesamtausgabe (Breitkopf & Hartels). Schubert wrote out only the first verse, but marked a repeat sign at the end. For the Peters edition a second and a third verse were commissioned from Max Kalbeck, omitting all of Theodor Hell's verses except the first, and it is that version that one is more likely to hear. Both versions are included above, the verses by Max Kalbeck in brackets.] das list’ hm ‘gry:non Das Lied im Griinen ‘The Song in the Greenery Op. 115, No. 1 [1827] (Friedrich Reil) ms ‘grymo, ins ‘gryma, da: _lok't' lons deve fry:lm, — desy ‘iy Ins Griineins Griine,da_lockt uns der Friihling, der liel Into the green, into the green, there lures us the spring, the lovely — boy, (Into the green, into the green, there the spring, that lovely boy, is luring us,) m nt’ fyert’ luns lam ‘blu:manlumyvundonan ‘ft'aibo und fiihrt uns am — blumenumwundenen Stabe and leads us by the flower- entwined staff (and leads us with his flower-entwined staff) hrngos, vor di lerganlont' tamzoln zo: vax, hinaus,wo dieLerehen und Amseln so wach, ‘out, where the larks and blackbirds so astr, (out there, where the larks and blackbirds are so astir,) m velde(r), laof felde(r) laof ‘hy:gal, tsum bax, lms ‘grymo, lms ‘grymna. in Wilder, auf Felder, auf Hiigel,zum Bach, ins Griine, ins Griine. in woods, on fields, onto hills, to the brook, into the green, into the green. im ‘grymnan, lim ‘grymman, da: lesp't' les zig ‘vonig, da: _‘vandoln isp ‘gemma Im Griinen,im Griinen,da _lebt es sich wonnig, da wandeln wir gerne Inthe green, inthe green, there lives it itself blissfully, there wander we gladly (In the green, in the green, there one can live blissfully, there we like to wander) lunt’‘heft‘an di aogan dam Jon — fon ‘ferna, und heften die Augen dahin schon von ferne, and fix the eyes thither already from afar, (and fix our eyes on it even from afar,) unt vi: vite zo: ‘vandaln_ mit’ ‘haetore brust’, und wie wir so wandeln mit heiterer Brust, and as we so wander with cheerful breast, (and as we wander like that with cheerful hearts,) lomvatot’ luns time di Kmt‘liga lust, im ‘gry:nan, im ‘grymon. umwallet uns immer die kindliche Lust, im Griinen,im Griinen. around-undulates us always the childlike pleasure, in the green, in the green. (a childlike pleasure always undulates in and around us, in the green, in the green.) im ‘grymnen, lim ‘gry:nan, da: rust’ man z0: voll, lembpfindat’ zo: ‘fgsnas, Im Griinen,im Griinen,da _ruht man so wohl,empfindet so Schnes, Inthe green, inthe green, there restsone so well, senses so much beautiful, (In the green, in the green, there one rests so well, one senses so much that is beautiful,) [poem: und (Wnt’, and) empfindet} ont ‘denk’at’ bahack'lig lan ‘diszas lont’ jemos, und denket behaglich an dieses und jenes, and thinks comfortably of this and _that, (and thinks, unhurried and at ease, of this and that,) unt ‘tsaobet fon ‘hman, — lax, vas luns bo'drvk't und zaubert von hinnen, ach, was _uns bedriickt, and conjures from here away, ah, whatever us oppresses, (and conjures away, ah, whatever may be oppressing us,) nt’ falas —heybae, lunt’ falas —hegbae, vas den ‘buzzon lenttsvk't' lim ‘grymnon. und alles herbel, und alles —_herbei, was den Busen entziickt im Griinen. and everything hither, and everything hither, which the bosom delights in the green. (and conjures up everything that delights the heart, in the green.) im im ‘grymnan, da: ‘vegdan di ‘t'eme zo: Klay, . Im Griinen, da werden die Sterne so klar, Inthe green, there become the stars so clear, In the green, there the stars become so bright,) di: di ‘vaezon dee ‘forvelt tsur_‘aet'un des. ‘lezbons luns ‘pPraezan, die die Weisen der Vorwelt zur Leitung des Lebens uns preisen, which the wise men of the ancient world for the guidance of the life tous praise, (the stars, which the wise men of antiquity recommend to us as guidance in our lives,) da; ‘f'raegan di ‘voelk'gon zor tgargt__luns dain, da streichen die Wolkchen so zart uns dahin, there pass the little clouds so delicately us by, (there the little clouds pass over our heads so lightly,) da: ‘haet’en di thertsan, da: KMlesgt’ zig dere zm, fim —‘gry:nan. da heitern die Herzen, da klirt sich der Sinn, im Griinen. there cheer up the hearts, there clears. itself the mind, in the green. (there hearts cheer up, there the mind becomes clear, in the green.) im ‘gryman, da: ‘vurdo mang. ‘pAle:ngan Igof ‘ly:galn got'ra:gan, Im Griinen,da wurde manch Plinchen auf Fligeln getragen, Inthe green, there was. manya little plan on wings bore, (In the green, there many a little plan took flight,) i tgukYunft dere ‘gremligon tanzigt’ lent"fla:gan, die Zukunft der grimlichen Ansicht entschlagen, [Schubert's MS: Aussicht (Iaoszi¢t’)] the future ofthe morose aspect _ divested, (the future was divested of its morose aspect,) da: f'erk't’ zig das toogo, da: lap't’ zig devg blu da stirkt sich das Auge,da labt sich der Blick, there refreshes itself the eye, there refreshes itself the look, (there the eye is refreshed, there the look is refreshed,) _[“sich starken” to take refreshment] zanft’ viigon di ‘vynfo zig thm lont tsurvk’ fim ‘grysnon. sanft wiegen die Wiinsche sich hin und zuriick im Griinen. gently rock the wishes themselvesto and fro _in the green. (our wishes gently rock to and fro in the green.) [poem: da tindeln (da: ttendaln, there dally) die Wiinsche dahin (dah) und zuriick] [acct ‘tendalt di ‘zemzuxt dathm lont tsurvk } [Schubert: leicht tindelt die Sehnsucht dahin und zuriick] (lightly dallies the longing to and fro... [longing dallies lightly to and fro)] sn lam ‘morgan, lam ‘a:bont’ lin traolige ‘ft'ila am Morgen, am Abend in traulicher Stille Inthe green in the morning, in the evening in intimate stillness, {The Peters edition prints “

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