Muassorgsky’s Gorplete Sorg Texts Russian texts of the complete songs of Modest Petrovich Mussorgsky, with phonetic transcriptions, literal and idiomatic English translations by Laurence R. Richter FSU MUSIC LIBRARYTable of Contents FOHBIE FOB! Boxamiuit win YOUTHFUL YEARS A Vocal Cycle (Selections 1-17) 1. Tae THs, sptz04Ka? 1 Where Are You, My Little Star? (N. Grekov) Ja. Pe rss, s88sa0%Ka? (Bropax opecrponaa penakiints) Where Are You, My Little Star? (Second orchestral version) (N. Grekoy) 2. Becttaniii wae Sacronbiias mechs 3 Let Us Be Merry A Drinking Song (A. Kol'tsov) 3. JIuereat uiymenn yusino Mysiskaasiili pacexas 4 The Leaves Rustled Sadly A Musical Story (A. Pleshcheev) 4. Muoro ects y mens repemoo n eazon Pomane 5 1 Have Many Palaces and Gardens Romance (A. Kol'tsov) Monurna 6 Prayer (M. Lermontov) 6. Orvero, xan, ayma zesmna Powatic c ‘Tell Me Why, O Maiden Fair Romance 7. Yo wan enoBa s106un? Powaic 8 What Are Words of Love to You? Romance (A. Ammosov) 8. Ayor nerpst, werpti Gyiimpie Tlecus 9 The Winds Blow, the Gusty Winds Song (A. Kol’tsov) 9. Ho ecau 6u1 € ToG0I0 m netperuteca Morna Ponauc 10 Tf Only I Could Meet with You Again Romance (V. Kurochkin) 10. Ax, saem Tou raaski nopoIo Ponanc ul Ob, How Your Eyes Look at Me Sometimes Romance (A. Pleshcheev) 11, Teen erapua 2 ‘The Old Man’s Song (From Withelm Meister by J. Goethe) 12. laps Cay Tecus Cayna nepea Goem — (Flepaas pexaxiis) 13 King Saul Saul’s Song before Battle (First version) 12a. Hap Caya Tlecis Cayaa nepea 6ocm —(Bropaa peraxuiia) 4 King Saul Saul’s Song before Battle (Second version) (Lord Byron trans. P. Kozlov) 13. Hows Powane-panrasua (Flepsaa penaxuua) 16 Night Romance-Fantasia (First version) (A. Pushkin) 13a. Hows, @anrasa (Bropaa penaxuna) 7 Night Fantasia (Second version) (Free reworking of a poem by A. Pushkin) 14. Kanmerparyurka 3ni01 8 wapoanom cruae (Tlepnas peaaxuia) 19 Kalistratushka Etude in Folk Style (First version) (N. Nekrasov) 14a. Kaamerpar (Bropas peaaxiiia) 20 Kalistrat (Second version) (N, Nekrasov) Orvepwennas (Onsir pewirraruna) 21 ‘The Outcast (An attempt at a recitative) (I. Gol'ts-Miller) SIME 1 ippnr FoU MUSIC LIBRARY16. KomiGenuuan mecus (Tlepsax penaxins) Lullaby (First version) (From the play Vayevoda by A. Ostrovsky) B 16a. Cnn, yen, epecTesuicknii cua KonnSebiaa necna (Bropox penakua) 24 Sleep, Sleep Deeply, My Peasant Son Lullaby (Second version) (From the play Voyevoda by A. Ostrovsky) 17. Heew» Baxeapua Ha mupy, 8 casiax Panninskapa ug onepit «imneu» [«Canan6o»] ‘The Song of Balearets Ata feast, in the gardens of Halimkar from the opera The Libyan (Salammbo) (M. Mussorgsky after the novel by G. Flaubert) 18. %Kenanne cepaua My Heart’s Desire (Russian text D. Usov) 19. Kenanne Powanc ‘Desire Romance (H. Heine trans, M. Mikhaylov) 20. Tonax (Tlepaaa penaxtuia) Hopak (First version) (From the poem Haydamaky by T. Shevchenko tans. L. Mey) 20a. Ponax. Kodsaps (Bropax opxecrposx pe,zaxi0#) Hopak. The Kobza Player. (Second orchestral version) (From the poem Haydamaky by T. Shevchenko trans. L. Mey) 21, Hs cata moux meipoco muioro Powanc Many Have Grown from My Tears Romance (H. Heine) 22, Cuerme Casmuina Light of My Life, Savishna (M, Mussorgsky) 23. Ax Th, nanan Terepa! Ms noxox:eHni Taxowisa Oh, You Drunk Good-for-Nothing From the adventures of Pakhomych (M, Mussorgsky) 24. Cemmmapuer (Tlepsas peaaxson) ‘The Seminarian (First version) (M. Mussorgsky) 24a, Cerunapuer (Bropas penauia) ‘The Seminarian (Second version) (M. Mussorgsky) 28. Enpeticxas mecna Jewish Song (L. Mey) 26. Crpexorynbs GeaoGoxa Lyra ‘Chatting White-sided Magpie A Joke (A. Pushkin) 27. Mo rpusea Gathering Mushrooms (L. Mey) 28, Tupyuika Pacexas ‘A Fine Feast A Story (A. Kol’tsov) 29, Osopuims ‘The Mischief-Maker (M. Mussorgsky) Koan Crcroxas ckaso4Ka The Billy-Goat A High-Society Fairy Tale (M. Mussorgsky) 30. 25 2 28 29 32 35 36 38 4B 46 49 50 52 3 55 3831. Kaacenk Mo nopoay wexoTopux mysbixatsibix cratecK Ha Dawnnnugsna ‘The Classicist After several musical articles by ‘Mr. Faminitsyn (M. Mussorgsky) 32. Mo-naa lonow caa unerér Tlo-nan Jontom ca user (A. Kol'tsov) 33. Cuporka (Tlepsaa penaxuns) ‘The Orphan Boy (First version) (M. Mussorgsky) 33a, Cupora (Bropas penaxins) ‘The Orphan Boy (Second version) (M. Mussorgsky) M. KonniGexsnan Epémyunxn (lepsas peaakutts) Lullaby for Eryomushka (First version) (N. Nekrasov) ‘Ma, KomutGeavnasi Epéwyunsu (Bropax peaxitia) Lullaby for Eryomushka (Second version) (N, Nekrasov) 35. Jerexas necema_(Tlepaas 1 mropas peaarunt!) A Little Song for Children (First and second versions) (L. Mey) 36. Besepnas necenwa Evening Song (A. Pleshchcev) 37. 3aGeinssii Basurana The Forgotten One A Ballad (A. Golenishchev-Kutuzov) 38. Pais: (Bropaa penaxims) ‘The Peanut Gallery (Second version) (M. Mussorgsky) AETCKAS Boxansui unc ‘THE NURSERY A Vocal Cycle 39. C usineii With My Nanny (M. Mussorgsky) 40.B yray Tn the Corner (M, Mussorgsky) 41. Ky The Beetle (M. Mussorgsky) 42. C xyxaoii Playing with a Doll (M. Mussorgsky) 43. Ha con rpaxyumnit Now I Lay Me Down to Sleep (M. Mussorgsky) 44. Kor marpoc Sailor the Cat (M. Mussorgsky) 48. Ha aave Hi aetexoll xvsuu Toexaa tia natosne (Tlepaas penaxnua) At the Countryhouse An Episode from a Child's Life A Ride on a Hobbyhorse (First version) (M. Mussorgsky) 48a, Tloexan a nasto"xe (Bropaa peraxua) A Ride on a Hobbyhorse (Second version) (M. Mussorgsky) 60 61 62 n 9 81 83 85 86 88. 90vt BE3 COJIHIJA Boxanbuit wii Axssou crixorvopennt A.A. Tonewmiena-Kyryo08a SUNLESS A Vocal Cycle An album of poems by A.A. Golenishehev-Kutuzov (Selections 46-51) 46, B sersapéx crenax In Four Walls (A. Golenishchey-Kutuzov) 47, Mena 161 8 roame we ysuazia ‘You Didn’t Recognize Me in u Crowd (A. Golenishchev-Kutuzov) 48, Oxous1en npasauusit, uty tt eH ‘The Noisy, Busy Day Is Over (A. Golenishchev-Kutuzov) 49. Caysait ‘Be Bored (A. Golenishichey-Kutuzov) 50, Jaerus Elegy (A. Golenishchey-Kutuzov) SL. Hag peroii ‘On the River (A. Golenishchev-Kutuzov) 52, Hagrposnoe nuceme ‘A Graveside Letter (M. Mussorgsky) 53, Henonsrnas The Misunderstood Girl (M. Mussorgsky) 54, He Gxt rpowtom yaapn.te It Didn't Strike Like a Bolt from Heaven (A. Tolstoy) 55, Popmnnn Tuxo eracia ayia neGeeantit “The Soul Flew Quietly through the Celestial Heights (A. Tolstoy) 56. Cnecs Arrogance (A. Tolstoy) Oil, seers aio Mosioauy at npactH? ‘Oh, Is It Right for a Fellow to Spin Flax? (A. Tolstoy) 58. Paccenaeres, pacctynacten Now Disperses and Withdraws (A, Tolstoy) 59, Busenne ‘A Vision (A. Golenishchev-Kutuzov) 60. Crpannine ‘The Pilgrim (F. Riickert trans. A. Pleshcheev) 61. Hlecust Meducropean B norpedxe Aysp6axa Mephistopheles’ Song in Auerbach’s Tavern (From Faust by Goethe trans. A. Strugovshchikov) 62. Ha JInenpe Moé nyreuieerbue no Poceun ‘On the Dnepr My Joumey through Russia (Adapted from the epic poem Haydamaky by T. Shevchenko) 95 7 99, 101 106 108 109 rt) 112 13 us 116 u7 119NECHH H MLISICKH CMEPTH SONGS AND DANCES OF DEATH. 63. Kommibenmnas Lullaby (A. Golenishchey-Kutuzoy) 64, Cepenaaa Serenade (A. Golenishchev-Kutuz0y) . Tpenak Trepak (A, Golenishchey-Kutuzov) ononett 66.1 ‘The Commander (A. Golenishchey-Kutuzoy) 124. 126 128vill Acknowledgments “The main goal of my books for singers on Russian composers is to encourage the performance of this splendid treasure house of vocal literature in Russian, the language they were conceived in. The idiomatic translations 1 provide, therefore, are never Jntended to be sung, Their sole purpose is to enable the singer to understand what the poet and composer are conveying to the listener. ‘Translating the texts Mussorgsky’s songs presented unusual challenges—more so by far than the songs of Tchaikovsky and Rachmaninov, whose texts are by and large in standard literary Russian. Mussorgsky’s, on the other hand, often reflect the speech of Common people of ninetenth-century Russia, even illiterate peasants, and are full of rare ‘words and constructions, interjections, and dialectal forms that even educated Russians of today find daunting. T could not adequately have translated Mussorgsky's texts without the assistance of three beloved friends and colleagues who were willing to spend many, many hours helping me not only to get these dificult translations right, but to put the finished book in as comrect a form as possible. I will always be deeply indebted to Anna Arkadievna Sharogradskaya, who lives in St. Petersburg: Evgenia Nikolaevna Gavrilova, whose home is Moscow; and Dodona Kiziria, my colleague at Indiana University. ‘Their enthusiastic labors on my behalf serve as a testimony not only to the furtherance of Russian culture, but also to one of life’s most precious blessings: loving friendship.Some Comments on the Pronunciation and Meaning of the Name Mussorgsky The pronunciation of Mussorgsky with the stress on the second syllable is virtually unknown in Russia, although not uncommon among older émigré Russians. In Russia the name is pronounced by nearly everyone with the stress on the first syllable. ‘And the g is silent. The Russian pronunciation of the name chymes with ‘looser ski,’ th the first syllable stressed. (“John had a loose ski, but I had an even looser ski.”) ince this pronunciation is no more difficult for a native speaker of English than the one now generally favored in the West, with the stress on the second syllable and the g pronounced, I see no reason why we can’t pronounce the name of this Russian composer as the Russians do. No educated speaker of English would ever Anglicize the pronunciation of Richard Wagner, Ernest Chausson, or Giacomo Puccini. It is high time Russian composers and their language be afforded the same degree of respect. It should be noted also that the composer's name is spelled in Russian with only one s. The doubling of the s in English is explained by the fact that we use the German ‘uansliteration of the name. One s in German would be pronounced z—a mistake that the doubling prevents, That would not necessarily be so in English. But following the German or French transliteration system in English happens not only here, Tchaikovsky is a French transliteration. Rachmaninov is a German transliteration. In English they should be spelled ‘Chaikovsky’ and ‘Rakhmaninoy.’ But in all three cases, the non- English versions are so familiar to us and of such long standing, that itis Logical to accept them as standard. In 1989 there appeared in Russia for the first time a Russian translation of B.O. Unbegaun's well-known work Russian Surnames, which was first published, in English, in 1972." In this book Unbegaun made no mention of the sumame Mussorgsky. But in the Russian edition, B.A. Uspensky, the renowned linguist and semiotician, who edited the Russian translation, added a very interesting section at the end of the book entitled “In Lieu of an Afterword,” where the composer's name is discussed. ‘As regards the sumame of M.P. Mussorgsky, he himself pronounced it with the stress on the first syllable. Here is what A.N, Rimsky-Korsakov (the son of NA. Rimsky-Korsakov) has to say about it: ~.,. he always pronounced it inthe tue Russian way, with the stress on a, Mussorgsky, and cerainly never Polonized it (Polish has fined stress on the next-to-the-lst syllable. LR), as many are wont to do these days—Mussirgsky.” ... The testimony of AWN. Rimsky-Korsakov, who knew the composer personally, can certainly be trusted In any event, we doubiless should pronounce the composer's name with the ‘iress on the fist syllable, inasmuch as he himself pronounced it that way. ‘The ‘decisive and Ginal argument in the determination of how one’s name should be pronounced is always how the bearer ofthe name himself pronounces it The sumame Mussorgsky is derived frm the nickname Musorgs, which was applied inthe beginning of the Fifteenth century tothe composer's ancestor, Prince Roman Vaslievich Monastyrev Musorga > 8.0. Uabegmun, Russian Sumames. Oxford University Press, Landon, 1972. BO. Yuberayn, Ayccrne gunazara Tlepenon cautaniexoro. O6uuis peaani B.A. YenescKoro “Tlporpecc”, Mocks, 1989, erp. 345. ixProfessor Uspensky says nothing about what the nickname Musorga meant. It is, not entirely clear. But any Russian knows the meaning of the root musor, which means ‘rubbish,’ It seems reasonable that the changing of the stress to the second syllable could have been prompted by more than an attempt to make the name sound Polish. There also might well have been a desire, conscious or unconscious, to dissociate the name from the unpleasant root from which it comes. (This would not be without precedent, The sumame ‘Tolstoy has final stress in Russian. If stressed on the first syllable, it would mean “fa.") ‘The suffix ga in Russian is not uncommon. Brodiaga, formed from the verb brodit’, "to wander,” means ‘hobo.’ Bedniaga, formed from the adjective bednyj, ‘poor, means ‘pitiful person.’ Modern slang zhurnaliuga, formed from the noun zhurmalist, ‘journalist,’ means “unscrupulous, sensationalistic journalist.’ But Russians of today are puzzled by the word musorga. The association with musor is elear; by how is the word to bbe understood? There is a verb in Russian, musorit’, but it means ‘to strew rubbish about, to litter.” *Literer’ seems a highly unlikely nickname for a fifteenth century Russian prince. But it happens that in the dialect of the Pskov region, where the Mussorgskys lived, the verb musorit” has another meaning: ‘to use foul language.’ It is therefore quite possible that the composer's ancestor, Prince Roman Vasilievich Monastyrey, eared for himself the nickname Musorga, “Garbage-Mouth,” which provided the basis for the new sounding suffix —sky was added. surname to which the aristocrxt Key to Russian Phonetic Transcription for Singers VOWELS The vowels of Russian are pronounced essentially like Italian vowels, with the exception of [y]. The vowel [y] is an [i] pronounced mid-high and central, rather than high and front. It is always preceded by a hard consonant. It is not in any way diphthongal. It is just as much pure vowel as [i], but is pronounced lower and farther back. (Russians sometimes pronounce this vowel with a slight rounding nilation ({y}), but only after labials (b,p,v,f, m). Foreigners should avoid doing so, because of their tendency to over-do and over-extend this optional, slight assimilation.) Russian has both open [e] (French 2) and close {e] (French ¢) Russian schwa, [2], common in speech, has a restricted distribution in singing. It equates to English about, lemon, circus, sofa, element, etc Nearly all Russian consonants can occur either as palatalized (soft) or tunpalatalized (hard). Palatalization is symbolized in transcription by a little hook on the consonant letter: [}), [pl [4]. It] etc Palatalization is a salient characteristic of Russian phonology. It is the releasing of a consonant in the palate, accomplished by arching the tongue up into the palate and "squeezing" the consonant sound down from above. The place of consonantal palatalization is precisely where the vowel [i] is located in the oral cavity Palatalization is therefore also characterized as "i-coloring” of the consonant. Another characteristic of palatalized stops (b,d,g,p.t) is that they take on a fricative quality, a kind of "slipperiness,” an extendibility that stops otherwise lack Foreigners should avoid substituting consonant + sibilant release for palatalized consonants: [ts] instead of {f], [dz] instead of [d], etc. Even worse is the substitution of hard consonant + English y for palatalized consonants: d+va instead of (da], Leyu instead of (Jul, btyo instead of [kol, etc. Such mispronunciations are often the direct result of working from a transliteration rather than a transcription, and strike the Russian ear as very un-Russian and very ugly. Some of the symbols used differ from the usual IPA representations. They are instead the symbols familiar to all scholars dealing with Slavic languages. For a variety of reasons, the author considers them more practical for use here than their IPA equivalents. Note the following: le] English azure, pleasure. Always hard. 1] English sure, ship. Always hard. Ie] English tsetse. German zu. Always hard. [24] Long, soft [2 {81 Long, soft 8]. fl English church. Always soft.i] German ja, jung [x] German Bach. I¥]_ Voiced [x], or [g] rendered as a fricative. Spanish agua. This sound occurs only when [x] is followed by a voiced consonant. (See ASSIMILATIONS below.) faz] Voiced [cl]. This sound occurs only when {¢] is followed by a voiced consonant. (See ASSIMILATIONS below.) Tg English judge. This sound occurs only when [6] is followed by voiced consonant. (See ASSIMILATIONS below.) [h}_ Just as in English. This sound occurs in Russian only in a few interjections [w] Justas in English. This sound occurs only in the Latin words used in the text of the song The Seminarian Hard consonants in general are pronounced much like their English counterparts, except that voiced consonants get heavier voicing than in English, and there is no aspiration of stops. Russian hard [I] merits special mention, since it is much harder than even English final "dark | and affords, by its mispronunciation, one of the most common giveaways of a non-Russian singer. Hard {l] is pronounced with the tongue in the eine contour as in English r: earn, earth, etc. A good exercise for practicing Russian hard Lis to say English grr, then hold everything in place except the tip of the tongue, which moves forward only far enough to make dental contact, and say girl with the | jn the throat, as if gargling with it, and hold onto it as long as breath allows. That's Russian hard [I]; and the substitution of a “continental” | for it sounds comically wrong to the Russian ear. When a consonant in transcription is followed by the diacritic” (4, f, etc.) this indicates that the consonant in this environment is not released. (The first t is English nitrate is released; the first tin English night rate is not.) NB. The author is aware that the conventional way of indicating length in phonetic transcriptions is the use of the symbol : . But experience has also made him aware that singers tend to ignore the symbol : after another symbol. Length is much more likely to be realized when the consonant symbol is doubled. Therefore the symbolizations [22] and [§§] indicate these consonants’ lengi, and not doubling. There is no danger of confusing these symbols with the actual doubling of the consonants [2] and [8], since these sounds are always hard and would lack the palatalization markers. ASSIMILATIONS Voiced: Bl fl fl MM Bl Bl ddd dey yD Voiceless: f) ft Ki ff & BH fH @ WW ‘As in German, final Russian consonants can be only voiceless. Words ending in a voiced consonant are therefore pronounced with the final consonant devoiced: [p] for graphic b, {t] for graphic d, [k] for graphic g, and so forth. Thus, pa6 [rap], pox(rot), apyr [druk), etc. However, devoicing of consonants does not occur if it violates an even stronger phonological principle of Russian, namely, consonant assimilation. When two or more consonants are pronounced together without pause in Russian -- whether within the same syllable, over syllable boundaries, or even over word boundaries they must all be voiced, or they must all be voiceless. Thus, not only must one sing onka as [vétka] and npocs6a as [progbal, but also: pa6 aya [rab_duil, pon 6x11 [rod_ byll, apyr >xan [drug_zall, etc. Such non-devoicings of final consonants are marked in the transcription with a ligature: _ . The singer should devoice the consonant to the left of the ligature if he decides to break the phrase at this point. The same ligature is used to indicate vocalic assimilations. Close fel occurs in Russian only before a palatalized consonant or a front vowel, [il or [el. Elsewhere only open [el occurs. Consequently, if word-final -e is followed without pause by a word beginning with a palatalized consonant or a front vowel, it is transcribed as [e] and is followed by a ligature: _- The singer who opts to break here, however, must sing the -e as [e]. Similarly, the vowel [y] occurs only after an unpalatalized, or hard, consonant (explaining why this sound could never be initial). ‘This positional variant of /i/ is therefore the only vowel realizable after a hard consonant, whether reflected in the spelling or not. A hard consonant cannot be followed by [il; and a soft consonant cannot be followed by [y]. Thus, sor # o# [vol_y on]; naa um [dal_ym]; x Mpe [k_yze]; etc. Should a break be introduced at the point of the ligature, the vowel after the break would then be pronounced [i] N.B. The symbol # has been used in the literal translations to indicate that a Russian word does not translate. It therefore has no correspondence in the English translation N.B. The user of this book will note that sometimes the title or first line of a song cited in boldface at the beginning of each selection may differ from the corresponding translated words in the text of the song itself. This has been done because many of the songs are already known in English by conventionally accepted titles that may differ from the translations the author has decided upon. In the absence of opus numbers for many songs, the singer might encounter difficulties in finding the music for a given song if it were identified in this book by a translated title or first line different from the established one. Ihave retained the English titles of Mussorgsky songs that are used in the best known edition of his songs in America, unless I considered that the title there is incorrectly translated. In that case I have changed it. I feel that accuracy outweighs any confusion that these changes might cause.IOHBIE POsBI YOUTHFUL YEARS Boxavemnsit umes A Voral Cycle 1, Dae Tu, snésx04Ka? Where Are You, My Little Star? (N. Grekov) Tne rat, se8sn0uxKa? Ax, me Ti, cuas? logé ty zyézdagka éx gdé ty jésnaja] ‘where you star sh where you clear Where are you. litle star? Ah, where are you, shining one? Vie sarnouracs, TyveH —uépHo%0, [1] zatatiasa tage) g6rnaju or have-{you}-been-ecipsedby-cloud black Have you been eclipsed by a dark storm cloud, ‘TyseH sépnow, TyseH rpostio;? [tigej gérnaju tigej gréznaju by-cloud black ——_by-cloud threatening By adark, threatening storm cloud? Tre Tm renmma, rae mat xpacias? {agé ty déyica ggé ty krdonaja) ‘where you maiden where you beautiful Where are you, maiden, whee are you, lovely one? Vins normmyna —apyra sanoro? [4] pakinula driga pflava] or have-forsaken fiend dear Have you forsaken your dear friend, JIpyra. saxoro, nexaraaaworo? [aréga flava’ genoa} édnava fiend dear adored ‘Your dear, adored frend? ‘Tysa wépnaa expsina snéyouny, [tiga Gérnaja skrfla zyéedasku) loud black concealed star ‘A dark storm cloud has concealed the litle star. Seman xnaman manna nena. [ yom] xlécnaja yzalé déyicu] cath cold took maiden “The cold earth has taken the maiden.ta. Tne Tet, snésno4Ka? ‘Where Are You, My Little Star? (Bropas opxecrponan peaaxien) (Second orchestral version) (N. Grekov) Tne Tat, snsnowxa? Ax, me rst, xpactas? lode ty zyézdagka Gx odé ty krésnaja) where you star th where you beautifal Where are you litle sta’? Ab, where are you, beauifil one? Vin sarmnracs rysel séprow, [i] zatpfiasa tiigej gérnaju) or _bave-{you)-been-cclipsed by-cloud black Have you been eclipeed by a dark storm cloud, Tysell parnoio. Ine Ts, xesumm,rae Tit xpacuaa’ [tGej mréfnaju gdé ty déyicaggé ty krésnaja) brycloud gloomy where you maiden where you beautiful By’ gloomy cloud?” Where are you, maiden, where ate you, beaut ane? Hap moxmiyna ——pyramuvtoro, menaraammoro? [] pokfmula, —driga flava nenag}édnava} er have-fyoul-forsaken friend dear adored COrhave you forsaken your der, adored friend? H 8 cropectm, comotott tocks, [1 16 zg6regti sajut6j — tagkt) and I out-ofsorrow out-of biter grief Filed with sorrow and biter rie, Tlotay wo none, noxe wucroe; (pod vépa}e pile Fstaje] Ievil-gointorfild field bare Lwill go forth into the open fields. He yauxxy am scHoi axtsa0uxH, [peuyizu Ji jésmej zyézdaGs } Lwvillnotsee # bright star ‘But will Tce the bright ite star? He noscrpeay aut xpactoft esi. (nepatgyrspu }i kréones géyiey) I-wilrooemect beatiful iden ‘Wil find the bem maiden?Tysa —wépwan cxpsuia sntsgouxy, [tifa Gérnaja skr¥la zy6zdagKu) loud black covered = star ‘A dark storm cloud as conecaled the lite star Sema xagmnan Rana ‘ACBHLUY. [zom]& xiédnaja yzalé géyicu) cath cold took maiden ‘The cold eath has claimed the maiden 2. Been ac Let Us Be Merry Sacromuzaa nec A Drinking Song (A.KoP'sov) Aaitre Goxanst! afire nwa! Pazocrs —rnionerse; neitre 0 nha! [date bakély déjte yind rédazd mgnayénje — péjt_ dadné] sive | glasics give wine joy instant rink — to-bottom Bring glasses! Bring wine! Joy lasts but an instant! Booms up! [pomxue necan Tpanpre, apyspal Tycty nac nectmux sanar sapal lorénbije_pégai grénte druzja pist nas yegélyx yfqid zard) loud gg SEE boom-out friends let us meny see’ dana ‘Boom out the loud songs, friends! May the dawn find us will merry Heme mupyem wonocrs wa wac, Hue Beceme, panocrs y acl Infgepirijen jGnag} nagés ngngeyes6]Je rédag Unda) now weft youth for-hour now merriment joy withas "Now we can celebrate our youth for an hour, now we have merriment and joy! Sanrpa, aro Gynet—sna10 1, Apyseal Tlycrb nac pectmux sujar sapal (alftra ato biged zndju} “drugsG plist nas yepdlyx yigid aya] tomorrow what willbe know] fries let us meny ace dang How could Lknow what tomorrow wil bring, my fends! May the dawn nd w stil mery Mlycre sac vectabx nmumr saps! [lattre Goxami! Jlafire uaa! (Ppt nas yesslyx yigid aard dajte bokély ddjte yind) ie, meny, me dawn give glasses give wine ‘May the dawn find us sill merry! Bring glasses! Bring wine! Panocrs~sruosee; meftre no nual TpomKme necrm rpamsre, apysba! [rédagd monayénse péJte dadné grémki je péeni apdnte druzja] ey instant rink’ to-bottom loud songs boom-out fiends Joy lasts but an instant! Bottoms up! Boom out the loud songs, friends!Tiyers mac pecémax aur saps! Ilysano, pasrymsno nofire, xpyabal Ipdgt nos yes6lyx yigid zayé Stma razgijna poste druz/4] Te us merry see dawn nolsly wildly sing frients May the dawn indus still merry! Sing loudly friends, doe’ hold back! Tle#re wGoKans Gonsiue sunal Hy-re x, nce pasom ntimbem 0 sal [16j¢e vbakGly b6}Se ying nated f5é —rézam vypjom dang] into-lasses more wine well everyone atonce_let-uskink to-bottm Fill upthe glasses! Together now, everyone! Bottoms up! Tiycrs wae sectasx ewer sapsl Jlaitre x Goxams, aaitre weal [past nas yegSlyx yidid zaré déjtez bakély aéj¢e_ ying] It us meny see dawn give glasses give wine May the daw find us sill merry! Bring glasses! Bring wine! Paqocts—Mruopense; nefire 0 ana! Tpomxne nec rpaubre, mpysba! [rédazd_mgnayéyje péjte dadné grémisije_pégni gyémte druzi4] py inatot, drink tobotom loud songs boom-out frends {oy Iss bt an inant! Betts up! Boom out the loud songs, fends! Tiyers wae necE.amx nue sapat [pss} nas yesSlyx yidid zara] ket us merry sce awn ‘May the dawn find still merry! 3. Actas mymeam yuns10 ‘The Leaves Rustled Sadly Mysnixambeif paccas A Musical Story (A. Pleshcheev) Jiwcrss myMesi YMELTO B AyEpaRe HOXOIO OPON, (igta Suné}i ungla vdubréye najndju paréj) leaves rustled sadly in-oak-grove atnight time ‘The leaves were rusting sadly in the cok grove at igh. Tpo6 onycram —»Mormny, Tpo6, oxapéuuni ayHol, (arép opugtS]i ymagflu grép azarénnyj 1undj) coffin [they}owered into-grave coffin tit by-moon ‘A coffin, illumined only by the moonlight, was lowered into the grave. Twxo, Gesninaya, -SaphIH HYsAMCBCe | MpOM,, {rina bespléja zarfli i udalflis fo —prdg] ‘quietly without-weeping buried und withdrew everyone amay Silently, with no tears shed, the burial was completed, and everyone withdrew.TombKo, ckonsch Han MorWIOH, MHCTEA MyMemH BCID OUD, [t6}ka sklané nadmagilej 1fstja Supéli fou né3] only leaning over-grve leaves rustled all night Only the leaves ofa tee bending over the grave rustle the whole night through, 4. Mntoro cers y meus Tepemon m canon I Have Many Palaces and Gardens Powanc Romance (A Kofisov) Muoro ects y Mens tepemos caon (méga Jést uponé yerenét_y sadét] many are byeme mansions ~and_ gardens {have many mansions and gardens H pasuonbitax nonefi n npemyuux econ. [i razdé]nyx paléj i gremigix Jes6t] ‘and spacious fields and virgin forests ‘And spacious fields and virgin forest. Muoro ecrs y Mena mxewsyronn — MexoB, (mnéga jés} umend Zengug6t_y gex6t] mmy arc by-me pearls and firs ‘have many jewels and firs, Pasmouperabix onexx, paronemmnx Kospos. [raznacyétnyx agéSt dragacénnyx kavrét] ‘mubicolored garments precious carpets Richly colored garments, precious carpets Muoro cers y Nea. sua mpon cepebpa, [mnéga 565} upend dlapirét gorebré) much is by-me farfeasts silver have much silver for my feat, Tas Gecen —_xpactnsx cop, puis necenss._ sua. [glabegét —krdésnyx 8160 glayesé}.ja ind] for-conversations beautifal words for-meriment wine Many beautifil words for conversation, much wine for meriment. Ho a suao, aso 1paB pommeGunx my; [no ja zndju nats trét valééonyx 1366) tut 1 know forswhat herbs magical I} eck ‘But know what itis that seek magical herbs fo.Ho a naw, owM cam cco” rpyUIy... [no ja znéju én sim ssabéju grag) but [know —about-what (I}imyself with-myself moum js that makes me so sorrowfal when lam alone, 5. Monmrsa Prayer (M. Lermontov) 51, Marepp Boas, ate c mozTBO1 pet TBomM oGpaa0m, (46 méter bé¥yja nfpe sma}itvaju prettvaim Sbrazan} 1 Mather of God now with-prayer _beforethy image Mother of God, witha prayer I come before Thy image, Sipkim cummem. He3acpow Mom Ayuly nyCTEEHyT, [iérkim gijénijem pezasvajé sali déSu pustfnmuju) ‘wight radiance notsor-my-owm (I}-pray soul desolate Scoradintlyfillant. I pray na for my own wretched soul, 3a ayy crpaMHuKa, 8 mupe Gespomoro... [zadu strénpika vaSpe bezrédnava] for-soul_—of-wanderer_in-weld without-kin “The soul ofa wanderer, utrl alone inthe word. Ho a spywirs xouy aymy nesmmyn Ténrot sacrynmume [no ja vruéit xafi diigu peyinnuju f6plej zasttipgice_) ‘out 1 tocntrust want soul innocent to-warm intercessor Instead, I wish to entrust an innocent soul to Thos an intercessr aglow with warmth ‘Mapa xononuoro. Oxpyact cuactem —cuuacrsat_locroiiayio, [gira xalédnava akruzy SpGgtijem §agtja dastéjnuju of-world cold surround with-happiness happiness worthy Inacold world. Surround with happiness this child so deserving of happiness Jai eff conyTHHKos, DOAHBIX BHMMAFHa, MONOMOCTD CeTTYWO, [46j 56) sapitnikaf pSlnyx ypindpija méladagt gyétluju) ‘ive her companions full of-atenton youth radiant Grant er attentive companions «radiant youth, Crapocts noxolinyw, cepauy wesnoGHomy wp, amp ynopamma. [stérast pak6jnuju gértou yezlébnamu mir wir upavénija) old-age calm torheart forgiving peace peace of-hope ‘And a rangul ld age, and to her forgiving heat peace, the peace of hope.©, Mareps Boxus, Te6a woo! [6 néter bé%yja fobs mali) © Mother of-God Thee (I-implore (© Mother of God, I implore Thee! 6. Orvero, exaan, ayma xennna’ Powanic emia, dvica] maid Orero, cKmxn, yma [atgev6 skazy dud why say darling Dear maiden, tell me why Tx cums teneps, mpuropionnaace, [tf gigi tepér prigardntiag) you sit now grownead You sit there so dowahearted H, Geawomuas, a zopoxersey [1 bezmélvnaja_ nadaréZenku} and silently atroad Ani sen a the rood Tell Me Why, O Maiden Fair Romance Ta, BoDOXHY®, rama, we macMorpHMcs? [tf vzdaxntv ¢ you having-sighed gaze ‘You keep gazing and sighing? Haw cro60H, npn ree nery muroro, [1] stabéy pritens nétu flava) © with-you nearyou ~is-no dearne as your lover left you, Haus ocrama —Béw xponb ropauaa, [{} astgla vaéa kréy garééaja} oF growmcold in-him blood hot ‘Or has he lst his passion for you, Jodi" penaanétrigea] canno-look-cnough Hm ma emy yx macxysuvna, Ui ty jens @ — nasisigiia) or you torhim already bave-become-boring ‘Or have you become tiring to him, "This text is in folk dialect.Hwy 2aGsin Te6% mom cepaesmsit pyr? [i] zabjl yob@ tv65 gerdégnyj ark) ot forgot you your ardemt fiend Oras your beloved forgoten about you? Her, moti samt mpyr me 206m mens, {nét’ moj wily} drdk nezabf yond] no my dear fiend no-forgot_ me 'No\ my beloved has ot forgtten me, Ho weto memnT cepmie Gennoe. [i peté —Somfe.——grtco_bédnaje) ‘and ivienotshat causes-to-che heart poor That isnot what causes the pain in my heart. A & MmnOTO B MIbRY CTopony, {a 36 gflove vddinu stérana] bu "1 dewrane to-ditant place It is rather that he is going away. Banyrs-nopoxensxy mposoxan 5, [fpidcdaré%enku — pravaz4ju j4) ‘on-way aad accompany I 1 am seeing him off on along journey. A a mauioro n maasay cropony, [a §@ flava vdéjnu stéranu) but 1 dear-one to-distant place ‘Yes, my beloved is going away, Bnyre-Ropomenbxy cHapaxar 5. [fpid-darézeqku — snaraz4ju 34] conway road, exuip 1 ‘And I must prepare him foe the road. Yro nam enona m06su? ‘What Are Words of Love to You? Powanc Romance (A. Ammosov) ro Bam cosa su06ne? But Gpenom nasonére. [tS vém lava JubyS vs pyédam nazayéte] ‘what to-you words of-love you ac-ravings will-name ‘What are my words of love to you? You will all them madness.Gio cats sam Mou? Hi cats Ba te noftwére. [5t6 glézy vin maf 1 glés vj nepajndye) jist tears to-you my also tears. jou will-nct-understind ‘What are my tears to you? You won't undesiand them, cities, Ocrapire x mie Mens. Hi cnonom 4 HH Barasnow lastafte? ané mogtf pislévan i pivaghédon] leave fome dreams neither-by-word and_nar-by-look ‘At Tea leave me my dreams. Please do net, ther with a word look, Cepaemoa Tennorm: we orpanaatire aon. Igerdégnoj teplaty peatrayl4jte jédan) cordial warmth do-not-poison with-venom Contaminate my heartelt ardor. TiwG0 ee onmy, KaK 203K MOK, KaK cxet, moGmo. Uubhi Jo)6 dnd kag Z%en maj kak syét lubldy love her alone tke fe my like “ght [THleve owe only er, as Howe my ifs ove the ight JhoGino, Kax Timmy wowx ovaponannt Gup}i kak $48ynd mafx aaravénsj) UWylove tke quiemess of'my fancies ove her as I ove the tranquility of my fancies Orso moneKoH Toms x Baan —Heuyn puyen fodzléj Jutsk6) talpy ja vdél — pendiju rvéea) fromeil_ of-people throng 1 o-ditince mute lunge 41am drawn fom the hearts throng into the distant sence Ho kuef na xpromex nym aanexo ynomyca! (i kpéi nakr$}Jox din daléka unaséea) and toher on-wings “of thought ferway {ll-am-caried-ofl ‘And am bore fr off to her on the wings of my mind 8. Mywor nerpus, nerpss Gyfiuuie” ‘The Winds Blow, the Gusty Winds Tecest Song (A. Ko’tsov) Ayor serpet, verpir Slime; xonst tym rea, (asut yétry yétry bijnyie xédat 1661 Sanyo] low winds winds turbulent go stormclouds dark ‘Winds, wild winds ae blowing. Dark storm clouds are gathering, “This teat isin folk dialect.Henusare sqUx, He Busate — cpeTa Gerona, Tpeyiday— wpix geyiddt, greta Bélaval otto-be-seen in-them not-to-be-scen light white “The light of day cannot be son through them, He nmars nex Genosa; Re BANETL | BMHX CONTIN KSCHONS, tneviaey pix pélava yeyidt pix sénea Genaval reepescen imihem white noeto-bescen f-them san red oct ight of day, tthe aint 30, Consua, comma xpacnosa. Bo cuipofl BO MIste, [sénca sénea Krésnava vosyr6) vang}é} oo am Tel in-damp —_in-eloom ‘The beautiful, radiant sun. inthe dank gloom, 3a ryananm,TOMbKO HOSKA HI TepHEETES. [zotuninani té}ka ndgka YE Gergéjetca) ‘eyond-mis only night alone _‘Tooms-back Beyond the mists, only black night looms. lyr verps, myiot Gylimne; xonsr TyH — TEMEBIE. fagjut yétry aGjut bijnyse xégat t6gi —— yoanyde] low winds blow turbulent go stormclouds, dark \Wild winds are blowing, dark strm clouds are gathering. 9, Ho ecam Gus € r06010 If Only I Could Meet a nerperuTsca mora” with You Again Pomanc Romance (V. Kurochkin) Paccrasuice TopRO Mbt; HH CIOBOM, MI CIE3010 [rossté}iz gorda mf pislévan — pigiez6yul parted proudly we ncither-by-word_nor-by-tear Wepmrtd proudly. With neither a word nor a ear SL rpycra mpwsnaxa TeGe He MONAT. [ja ordgti prfznaka Yebé pepadalé] 1 ofgrief sign you didnot give Did I give you any indication of my grief The speaker ofthis text is a woman," Mar pasomuce tarex... Ho cen 611 706010 (my razad]ig nayék no jégli by stabéju] we pated forever but if only withyou ‘We parted for good. But ifonly SL netperimsca wornal Bea cnés, 623 xa7106 [Ja fetrépitea maglé pess]és bez24lap] 1 meet could withouttears without-complaints 1 could se you again! Without tear, without complaint J cxTOMMact npex cyaBGo1. He suai, [Ja sklaniiag pretouddsju nezndju) 1 bowed befre-destiny [I] lowatknow 1 yielded to destiny. I realy dan’t know, Cyemae Mie Tak Muloro B xaEUH a, [zdélaf ma tok mndga vigzi 214] having-done tome 0 much inlife evil Having dane me s0 many wrongs, ThoGwi aH Ta Mews? Ho ecm Om c10G00 [ubil i ty yond no jég1i by stabsju] did-love # you me but if only with-you How you could ever have loved me. But ifonly SI wetperumses Mors Ja fytyépitca magla] 1 meet could | could see you again! 10. Ax,3aew Ton raasKa nopow Oh, How Your Eyes Look at Me Sometimes Powane Romance (A. Pleshcheev) AX, 380M TpOM [a3KH MOpo!o Ha Men TAK cypono rane — (dx zabén tval gléelht paréju napend tok suréva gladét] ah” why your ever at-imes atme so stemly gaze (Oh, why do your eyes sometimes gaze at re so sternly? Homme acon nymy TocKowo — Troi xononmti, enackonmit mors? [1 tamét maja dda task6ju tv6) xalédnyj geléskavy} vzalét] ‘and wearies my soul with-sadness your cokd indifferent glance ‘And why does your col, emotionles gaze so sadden my heart? FSU MUSIC LIBRARYLL R Bes ynuGxu «© Bropaom Moiambe Ts MpOXomMMD, KaK TeHb, Meno MHOW. [beculfpki i vg6rdam malgGqje ty praxédis ‘kak 6p predamdju) ‘withoutsmile and in-proud silence you pass like shadow before-me In proud silane, unsmiling, you pas in front of me like a shadow. H wayme sarausum —cxpaxanse, 1 pesuuso cnexy 20 T0608, [1 vdusé zataftéy straciénje ja yevafva g]eZ4 zatabss] and in-sul _having-harbored suffering 1 jealouly observe afler-you Keeping my suffering to myself I observe you jealously, Pesunso ciexy 3 ToGoW. [yevpiva sez zatabsju) jealously observe after-you 1 observe you jealously. Tw moGoen10 cHoelt osapaa, Kak neckoll, Mou 1pycTiiie nim. [ty Jubsyju svajéj azaraia kok yesn6j maf grésnyje_dat] you withlove your illumined as in-sring my sad days ‘Once you lit up my sad days ike springtime with your lve Tipwracxait axe mews, Kax Gxisat0, JTacko!t mpo¥b Mow rpycrb orroumn. [prilaskaj zemend kag byvala léskej préé majG grist adgani} caress # “me as formerly byraffection away my sadness repel Just hug me, as you used to. Drive away my saines with your affection Save xe THOM rasKM nopow HaeHsi TaK cypowo ram? [zajém Ze tvai glégki pardju nayené tak suréva gladét) why your eyes attimes atme so serly guze Why, why do you lovely eyes somtimes gaze at mes sternly? 11. Hlecus erapna ‘The Old Man’s Song (From Wilhelm Meister by J. Goethe) Crany xpoMHo y Mopora, THKO ByepH A OftAy; [sténu skréana uparéga tixa vdyéri ja vajd] {M-willtakestance meekly by-threshold quietly into-doors I ill-enter 1 will stand meekly by the doorway and then quietly enter. Kro nogact mme, paxx Bora, cHopa jaiee nofizy. [kté padést mge radi béga sndva déleje pajdi] ‘who will-give tome forsake of-God again farther —[I}-willgo fanyone gives me alms, Iwill thankfully o.on my way.Cxactams xro nepes co60 yspir Gesmoro Meus; (HiGg}ir kts peretscbsju grid bédnave, pend) happy who beforosclf wits poor Be tesed is theman who sees miserable me bere ha, Onnonnaver nao MNO, @ owe, He ana 9, (Sn popléet nadaméju a aféa — gezndju 56] he will-veep over-me but about-what donot-inow 1 ‘He will shed tears atthe sight of me, but [n't understand why 12. Taps Caya King Saul Thecus Cayna nepen Goem SauT’s Song before Battle (Hleprast pestis) (First version) (Lord Byron trans. P-Kozlov) 0, noxgn! Econ netier ‘Ha LOT Moo (6 vozgi jég1i wiget nad6lu maja) oh leaders if” emerges onto-t ny (Oh commanders! Even ift should lor lot Tlpen rocnomm naporos noruGent, Ipredgaspédin narédam pagibel | beforeLord’s "people demise ‘To perish before God's people, Tlorufens Goro, we ewymatirecs! B Gwray wuure caenett! (pagtbe} voajé nesaussaites vbivvu idfte spel6)] Simice _ imgambat donc-betroubled into-atle go bedly To perish in combat, do nt fie. Go boldly into haer Tiyers ysnaor spar cumy —ssaumx meu (nip urnéjut vrogf gfiu nasyx 0863] let __cissover enemies strength ofcur swords May our enemies learn ofthe might of eur swords Tet Recyutit sano MoH yk mM Moi mrt, (8% peotiigij zamndju moj 16k i mo} §3it] you bearing bchindeme my bow and my shield ‘You who eary my bow and shield Fem volicko Moé or mpara noGexir, (69]4 vojska majé ctvragé pabez$t} if ae MY mY from-enemy rns ‘Should my army fee frm the enemy,mmm ©, nena —nepexwT Me Tor Mur poKonoil, [6 edéj port mpé tot ik — rakav6)] ch donotallow to-survive tome that moment fieful ‘Ob, donot lt me outlive that fsteful moment! Tiyers ympy #, cpaxémmuit raocm — pyxofi {pigt umré ja srazénnyj tvajéju ruk63) Ta willdie slain by-your hand Rather let me die, struck dowm by your hand! ©, moti cum, Moi Hacriegamx! TloGena uac xuett [6 moj afm moj naslédqik pabéda nok 246+] ‘oh my sony heir victory us avaits ‘Oh, my son, my heir, victory awaits ust Beps, wrmnac Topxectsa wrth MHF macTaer, [yér lands torkestvé Giday) gfk nastajot] teitve fous oftriumph wondrous moment is-oming Have ath thatthe time i ip for our wonderful triumph Beps, 70 caayow eHonb mam SACDETHT BeHEIL, [yép Sto slévaju vn6f nab zapyéyit yonéo) Tie that byelory smew out _willlight-up wreath Have faith that our victor’s erown once again shall shine forth in glory, Vin cT0G60i, Kax Goiitnt, Mbt CBO BCIpeTHM ‘Kone! [6], stabs) kog pasos ag svoj fetyétin kanéc} er withyou like” warriors we our wilmest end Ct we shall mest our end together, like warriors! 12a. Laps Cay King Saul Tiecun Cayaa nepe 6oem Saul’s Song before Battle (Bropas peaaxsots) (Gecond version) ©, soxam! Eon mato wa tomo MOK {6 vaidt 6g] pala nad6}u naj6) oh leaders if hasfallen onto-lot_ my ‘oh commanders! If thas fallen to my Lo TIpex rocnommua waponom Gecenantio noruGuyr » 60%, (predgaspédzin narédom yesaléyna pagtbnuy vbaié] tefre-Cod's people imominiously torperish _in-combat To prith ignominiousy in bate before God's people,He cxrymaitrecs! BOmray mure cmeneit [peomuggaitos vbitvu idfte 9mol63] donat-besroubled ino-batle go boldly Do not ier. Go boldly ite bate! Tiyers ysnawr pparn camy nam mevett, [pGgt uzndJut vragi gflu néiyx megéj] et discover enemies strengih ofour swords May ur enemies ear ofthe might of our swords Cary mammx TaxKUX Meveil! [gfu nédyx $48kix eGéj] strength of-our weighty swords ‘The might of our weighty swords! Tu, HecyLmi 22 MNO MolMed mM —-Mod NTT, [t¥ yesiGGij zamndju moj 6G i moj §§it] you bearing behind-me my bow and my shicld You who carry my bow and shield: can solicko mot emyrantt crpax nopasir (369}3 véjaka majé omitny3 stréx parazit] if amy my dark terror shouldtrike frm army should succumb to dark terror, Eom apormer ono @ ormpara noGexcmr, (489}4 drégqet oné i atvragd pabezie) if should-ferit and fom-enemy shouldun Fit fers before the enemy and es, 0, Henaii epee me ToT MET —poKoBOM, (6 peda poresft me tot afk rokavé)] ch donocallow tosurvive tome that moment fief ‘b, do ot let me outlive tha fate moment! Tycre ympy , cpaxéumnit Ta0eKm — pyKort! [pigt unr ja sra%énnyj tvajéju ruk6j] willie T slain by-your hand Rather let me di, struck doum by your hand! ©, Mofi cum, Moi maccremmt! [8 moj sfm moj naghédaik] ch my son my heir ‘Oh, my son, my heir!ee ey eal aS Sem Vd fee | 16 Ya x Gurpe 908 TO XOMIMAM MIponete:t [ukgbitye 26f paxalnin pra}oyél] already to-attle call droughills has-lown ‘The call to arms has already resounded through the hills Hoonmp wan cyt, xpopapuiit mp! pir nom sujit kravévy pir] ‘and fort tous promises bloody feast ‘And promises us fens, a bloody feast! Ter muy 1%, nemape nat ene 9acHst [ty yigis Ji) feldye nad yonédz xasijéi] you see ineglory our wreath has-tegun-toshine Bho, cu victory seemed imminent, mam nporeypumm cravom Mew para sacnepKa [1 naddrégnutéym sténom eg vragé zapyerkél) and overfaltering ‘figure sword. of-enemy has-begunto-lash When over te filen figure the sword ofthe enemy flashed. ©, of cui, To aatuac wae nocaeaRm, crpanmtstt nacran! [6 m0} sfn to glands fas pag}égpij otrdinyj nastél] oh my son it firs hour last terible tascome (Oh, my son! Our dreaded inal hour is upon us! 13, How Night Powanc-asrraana Romance-Fantasia (Hlepaaa penaxca) First version) (A. Pushkin) Moft rooc, ia TeGa mM stacxonsiil Tox, {moj gélos dlatebi i léskavyj i témnyJ) my voice for-you both Joving and. languorous “My voice, for you both loving and languorous, ‘Tpepoxarr nosaee Momwane Hoan sEMHofL [rpevezyt pbzeje malganje ndgi ténno] {ijjatams te sileee of night. dark Alarms the late silence of the dark night. [Baw noxka Moero newanbuay cpewa TopHT; [plizléia majevd yeGé|naja yoda garit) nea-couch omy sad candle bums Reside my couch «candle bums sorowfully.Mon cona, ciinasch a oKypua, TERT, maf slavé glivéjay i Zurgé — Yekit) my words fusing and murmuring. flow Minging and murmuring, my words low forth, Texyt pysmn soGsH, nom ToGot [yekit rugji Jubyf palny tabéj] flow streams oflove fill of you Rivers of love, of love for you Bo swe HoMHoM THOM T1434 GamcTaoT npeno MHOH, [vatmé nagndj tvat glazé plistéjut predanndj] in-gloom noctumal your eyes shine beforo-me Inthe gloom ofthe night your eyes shine brightly before me, Mane ysmGaorcs, 4 anyKH camuny 5: [ane ulybéjutea i zviki sljsu ja) tome [they}smile and sounds hear | ‘They smile at me, and hear them sy «Moll apyr, Mo nexkimitt apyr.... m0Gm0 TeGH.... Tos» [moj drik moj néinyj drék lub] tebd tvaid] my friend my tender friend [slove you [aml yours My darling, my sweet darling... Tove yout... Tam yours! 13a, Ho igh usrrasua Fantasia (Bropas penaxus) (Free reworking of a poem by A. Pushkin) ‘Troll oGpas ackopsift Tax nomIH oNAponanDs, [tvoj bras léskavyj tok péln agaravén ja] your image tenderlis) so fill of charm Your loving image iss fll of enchantment, Tax manmr KeGe, Tax Gomer, [tae manit kgebé tak aba §Sajet) 30 entices to-you 0 seduces So draws me to you, so entices, Tpenoxa con MoH TaxHH Bac MOAMON GesMoBHON, [yevéza s6n mo) t{xoj f$42 pélnadi pezmélynej] alarming slesp my quiet athour ofmicnight muto Disturbing my quiet sleep a the hour of sien midnightHo .smres, meremb ru. Tsom caosa, caunasch M 2Kypua [i mftca Séped tf © tvat slavé ghivéjap i Zurdé) and seons whisper you your words fixing and_ murmuring ‘And it seems I can hear you whispering to me. Your words, running together and murmuring sofly, Uincrot crpyfixoll, mayo mow » MowHom Tamm nrpawT, [gfetoj etrGjkej nadaméju vnajnéj 189 igréjut) sspure team overme—_in-nocturna silence play Flow over me and teasemme in a pure stream, disrupting te quiet of night. Tlommut mo6pi, nome orpanss, [palag Joby{ palnf atrady) [ere] fall oftove fall of joy Filled wih Nove, ile with joy, Toma voefl cum ap nomme6uoit ner sa6peHBs. [palng fy6j sily g@r valébnoj négi 1 zabyénJa] full ofall force ofcharms ofmagical bliss and_ofablivion Filled wit ll the captivating power of mysterious rapare and oblivion, Bo Tage HOOlL, B Hoo Hac, [vapé najndj fpalndgnys $s] ingloom noctumal stmidnight hour Toon raza Gamcrawt pero MH. [twat glazé blistéjut predamnéj) your eyes shine before-me ‘Your eyes shine befor me. Mue yorsGavores, a seyxe cmamy [me ulybéjuter i zvéki sifu J6] tome (theyFsmile and sound hear I “They smile at me, and I can bear them sey «Mol pyr, moll next apyt! [moj drak moj pézny) drék] my friend my tender fiend “My darling, my svest daring! ThoGano te6a... THOR... TBO, tvajé tvajé] re you [Lam] yours yous Toye you! fam ous.”14, Kanmerparyuxa’ Kalistratushka Smog 8 HapomHom crivie Etude in Folk Style (Tlepeas penaxims) (First version) (N. Nekrasov) Hano muoft nenana — waTymxa, KomGens Mow KaXia1ouH: [naodamné pevéla métudka kelybé] maji katdjugi] ‘over-me —_would-sing mother cradle. my rocking My mother used to sing tome while rocking my cradle: «Gyneum cuactam, Kasmerparyuixal Bygews urs TH mpmmenatorn» [biges — BHaglif “ka}istrétusha bided Zt"ty — pripevdjuss] Lyou}-willbe happy Kalisrausika willie you humming “You'll be happy, Kalistrstushkat_ You'll live a carafe life!” H cGsinocs, no nore BOxHeA, mpenckasamse Moet MaTy™CH: [i bylég avis bé¥yJo} pretskazinje majéj mdtudki] snd has-come-tue by-will ofGod prediction ofmy masher ‘And by the grace of Ga, my mother's prediction has come tue: Her cmermpell, ner npmroxeil, wer mapanelt Kaaucrparynmn! [pet SHopliye) pét prigdze) pét nayddnej kalistrétuaks } thereismone happier none -more-ttractive none matter [than] Kaliswatushca ‘There is no one happier, or more attractive, or more nattily dressed than Kalistratuhka! Kavowesof sonmueit ywsmawes, nstepnéii —vewy ponOcemMEKE; UkJugevéj vagice) unyvéjusa paterdj eS valdsyghi] with-spring water [I}-wash-myself sith-fvefingers [Icom hair | wash myself with water from dhe spring, I comb my hair with my five fingers Ypoxaio noxWMOCH CHesanaXaMHO nonOCKNBKNL, ¢ HesANAxaMIOH! (urazdju dazydéjusa snezapéxanne3 paléeyyki spezapéxanne)) harvest [I-antiipate ffom-unplowed patch fom-unplowed ook forward to rich harvest fram my poor, unplowed parden patch A -XeHa Moa SaHMaeTea Ma HarWx, Ha HarHX jleTUMeK CTHPKOW, [a Zené majé zoninéjetoa nanagix nmagiy get {sek st irkaju) tat wife my —busies-herself for-naked for-naked kids with-laundry ‘And my wife keeps busy doing laundry for our naked, naked kiddies Tyme myaxa napsxaetes, wocmr samt —_¢ noxKOBLIpKOW! [ptgge mize narazGjetea nésit 1épti spatkavfrkaju] ‘more than-husband adoms-seif wears bast-andals with-double-soles ‘She adorns herselfeven more lavishly than her husband in her double-scled bast sandals! This text is in folk dialect.20 Jia, 6yncum — cmmetaus, Kanncrparyama, [ad vides FGg]if kapiotratuskal yes fyoubwiltbe hapry Kalish ‘Ye, you'll be happy, Kalsatuhka, Jia, Gynet xaerb Ts. upanenarocm! [64 biged 2942ty pripevdsuyi) yes will five you humming Yes, youl Live a cares ifel 1a. Kanmerpat” Kalistrat (Bropaa penaxsus) (Second version) (N. Nekrasov) Hano Moi nesaia = Matymmka, KomNGem MOK) KA“aIO"H: [nadamné) pevéla nétuaka kalyh6} majé kad4jugt] cversve _would-sing mother cradle my rocking ‘My mother used to sing to me while rocking my cradle: abysem, — cuactaua, Kanuerparymxal Byemb xcHrb Th, upanenaiown!> [hddes FRGyLIf Ka}istrétuska bids 29¢ ty pripevGsuyi) Tyoup-vil-be happy Kalisratubha —willlive you uring “You'l be happy Kalistratashkal_ You'll lve a care Lie!” Hi c6nuiocs, 10 Bone Boxneii, mpeackasanse Moeli MaTynixw: [i abylég pavd]e béayjo) pretskaztnje maj6j métusisi) ‘and hascametiue by-will ofGod —prodicion ——ofomy_muther ‘And by the grace of God, my mother’s prediction has come te Her ometiuselt, vet mparoxel, Het tapauuuel Kayuicrparyumcn! Inet Spay]iyes pet prigéso) ét napédge) kajistratusst) there-is-none happier none meresttractive none atic than} Kalisrashka “There is no one happier, or more attractive, or more natily dressed than Koistratushka! Ox! Her napaqweft Kasmcrparymncu! [6x yét nagédze) ka}istrétusies] oh there-isno-one nattier ——than-Kalstratushka ‘No, no ne is more natiy dressed than Kalisatushlat Karowesof pouueli yunmnawes, nvepitf ell BostocbiM XH; [elugevj vagice) umyvajusa paterg6) eS valésymii] vwith-spring water {U}-wash-myself_with-fve-fingers[1}-comb hair 1 wash myself with water fom the spring, Icom my hair with my five fingers, This text is in folk dialect.Ypoxaro noxumaiver cHesanaxannoR nonocMHEKH, ¢ Hesanaxantoi! [uradéju dazyd4jusa spezapéxannoj palésypii snezapéxannej) harvest [U-antieipate fom-anplowed patch from-unplwed | ook forward toa rich harvest from my poor, unplowed garden patch. A mena Mo sanu@eron Ma HArNX, Ha HATH ZCTHMIEK crupKow, [a Zend maja zapindjetea nanagix nanagiy gotfsck gfirkayy) but wife my —busievherself fraked fornaked kids —_with-lundry And my wife keeps busy doing lary far or naked, raked kiddies. Tyme myxxa Hapmkaeres, HOcHT stamTH —_¢ nonKonsipKow! [pigge mize narazéjetca négit 1épti _spatkavrkaju} ‘more thanchusband adoms-seif wears hast-sandale with-double-soles She adorns herself even more lavishly than her husband, in her double-sled bast sandals! Ja, Gysemm — cxacrams, Kasmcrparyma, [44 bides —-SSg]if kalistrétuskal yes {you}-willte happy Kalisratushka ‘Yes, you'll be happy, Kalistratuska, (Ox, 6ynem 2xuTS TH mpHnesaioun! (Or pigez 2i¢Lty pripevajugi] oh will five you humming Oh, you'll tive a caret ite 15. Ompepxennan The Outeast (Ouuir pesurrarnpa) (An attempt at a recitative) (1. Go!'ts-Miller) Hecmorpa waneé rat cmpespernem, OrceGa e€ —mpoub He roHM, Igesmajrf naneJé ty sprozrénjem atgobd 306 prog yegani] omotlook omer you with-sontempt from-yourself her away domnot-dive Do not regard her with contempt, donot east her aie. Jlyaue paymy e& — ccomaremen H cysacmmem rnin wars! [1GtSe vatsu joj soakalénjem 1 sugégyijem yéplym yzglan’] better int-soul her with-compassion and with-concem warm glance Rather look deeply into her soul with compassion and honest concer___ _ 2 Tocmorpu ckomKo 8 Hei nepexHTo Byps 2xecroKux Byrony cyms6e; omnatyi skéjka vps) perezfta bg eatdhix vugédu sudbé] ook how-many in-her have-been-survived tempests cruel tomplease_fite ‘See how many tempest she as survived in the hands of eral ft, Cromixo cnt — moaoabix 8 nett y6nt0 Bescnesa 1 Gessicxonnoii Gops6e. {ské}ka 9f1 — naladgx vaéj ubsta esg]edé vbezysxédne) barbé] hhowmany strengths young incher_have-been-killod without-race in-endles struggle How many hopes have been utterly destroyed in her unrelenting struggle. Anatol ayme savepcrvexof H norpannemioit sro xpos, Io 1 vétos dusé zagergtyélej i vatréylennes étej Kray‘) for and in-his soul hardened and in-poismed this Hood Fein this hardened sulin this poisoned heart, Beps, modons Gs emé saxunema... Ho ne niieTh RaaMMnoi mo6un, [yép Yubéyby — J0§$5 zakipéla no eyfgod venta) Jubyi] teliovelove could still boihap —but_notio-bescenrequted love Xow tat love could again swell up. But how could se, baving no prospect of being loved, Boway canmmars onHm smuub mpoKagTua, [fgédu sl¥éay dpi 438 prak}6t ja] crenheretobear alone only ces Hearing nly eres from al sdes Bowmy = ACTPeTHTS mpespenua Barna, [teidu— fetr6yit prezrépija veg}at] cverywhere tommeet ofcontempt gaze Feeling only hateful stares from everyone, how could she He mers, Korma saoGno Garis Packpunaet om nm passpar?., (i pepégt kagdé zldona abjétja raskryvijet adin 148 razvrdt] snd nott-ill when maliciously embraces pens ‘alone nly dcbauchery Nt fl, when wicked lst affords her the only opportunity fr tendemess? Heemorpu x naneé mw cupespensem, OrceOa ec —_mpouh ne ron, [nenmajri2 nape6 ty spregrénjen atgebé joJ6 prog negagi} onotlock on-her you with-contempt ffoe-yourseifher away do-not-drive No, donot regard her with contempt, donct cast hr aside. Ayame anymy e& ccomaremsem Hi cysacruem Ténmum noramnn! (tse vdGsu Jej6 soakalenjem i sugéstijem {éplym vaglani] better into-soul her with-compession and with-concem warm glance Rather look: desply int er sul with compassion and honest concer.2 | 16. KomiGemunas necus* Lullaby (Hlepeas peaarauia) rst version) (From the play Voevoda by A. Ostrovsky) Bao, Ga, Maun nxysoniowex, Ta. crm, yomu, xpecTuanicnnil cu, Meas bajG efl mugénagek’ ty gpf' upp’ yest Jénake) of] lullaky lullaby dear itte-grandson you sleep goto-sleep peasants son “allay, hllay, dear tle grandson, g0 to sleep, goto sleep, ite peasant child Baw, Gav. Jonpex» nena we panama Gems, Gexa npamuia, Ueasd bajé dapred gédy seyidéli ped bed prisiéy lullaby tllsby formerly grandsthersdid-net-see trouble trouble Sone {allay allay, Inthe od days, your fers never sav wouble. But roule hes come, Za Sexy piven cwanacrava, na © nponacran fda edi priyelé snepégtami da sprapdéstami ] and trouble brought with-misfortunes and_with-abyoses And even more roubles have followed, with miseries and calamitics, Crnpanexcanu Gena, ct — cnoGomnn, Isprayez@mi edd $96 spabéjami) with-torments trouble always with-beatings ‘Tortuous troubles, with many beatings. Baw, Gav, mua pHysonowex, ru cu, youn, XPECIBAHCKHH cin, Ueajd bajé fl vaugénajek’ ty spf vai —krestJénske) fe] lullaby lullaby dear timle-grandson you sleep go-to-sleep peasant’s son ‘allay liby, dear litle grandson, got lep, got slep, ite peasant ed Hawn Geny 3a paboryinKod, 2a HeMALIO#, wy2xoH, HeTDOKRaNHON, [iztyy6n pedi zarabétuskej zayeptlej Gus) yepcklédnaju) {ve}-witlovercame trouble a-york atunloved —for-others without-etup ‘We will overeome trouble with our hated, unrelenting til fr thers, Bexoscwnion, :01, erpariowo. [yekayéénaju 215ju strédnaju) emal vl oppresive Endless, evil, oppressive til Baw, Gao! Cu, yom, moxon» uxt Gexy; UhGju baju spf ugpt — aks} izzyyém bead) lullaby Tullaby slexp go-tosleep until [we}-overcome trouble lay, lullaby. ‘Sleep, go to sleep, until we overcome our troubles. "This text is in folk dialect.m4 Tope muxierca, noxons Bor mpocrar, maps cxaamrcs. [géye ginetoa pak6} béx pragtit or Z24}itca] ‘woe wilkpass until God wilhforgive Tsar wil-havemerey (Our woes wil end, God will rant pardon, nd the Tsar wil show merey. Baw, Gao, Gao. Bem tensuem exw a moneuKe, (baju baju béju pélym téjcem e895 v}GLegke] lullaby ollahy lullaby as-white litlo-body (youblie in-litle-radle Lalo, lullaby, ulaby. Your pale ite body lies inthe eral, Twos aymennxa nweBecax ner, [tvajé digegka vpobeodx Jotit] your titlesoul im-eavens fies ‘But your litle oul lies through the heavens ‘Teoit Tuxsil con cam — Tocnoms xpanr, [tv63 $$x03 96n sfm — gaspdy xranit] your quict slocp Himself Lord preserves The Lord God Himself guards your quiet sumber, TloGoxam ctost cers anrems, cromr amrenw. (pobokém stajét gyétly Gngely otasét éngely] st{your}-sdes stand fair angels stind angels ‘And beside you stand radiant angels, adant angel. 16a, Cun, youu, kpeersanexuil cotm Sleep, Sleep Deeply, My Peasant Son KomiGensnaa necua Lallaby (Bropaa penaxmua) (Second version) (From the play Yoevoda by A. Ostrovsky) Bayo, aio, MKT BHYYONOWEK, TAK CIM, YemH, KPECTBAUICKHH cunt [bajé bajG mf1 vnugénagek ty gpf ugni keg} JGnskej fn] Tullaby lullaby dear itle-grandson you sleep go-e-sleep peasant’s son Lullaby, lllaby, dear litle grandson, go to slep, go to sleep itl peasant child Bao, Garo, flompexe zemst ne swmanami Geni, Gena mpmunra, [bajé bajG dapré% dédy _neznavéi hedf peda prisl4] lullaby lullaby formerly grandfithers did-notinow trouble trouble came Lallaby, lullaby. Inthe old days, your fathers never knew trouble. ut trouble has come,Ha Geny mpmmena c manacrauy, uae uponactanu., [a pedi priyel4 onapégyagi da sprapag tami] snd trouble brought with-misfrtanes and with-abyses ‘And even mee troubles have followed, with miseries and calamities, Cpazexasa Gera, net ec moSoamn. [sprayedéqi bedé {96 spabSjami] withorments wouble alvays withteatings Torturous troubles, with many beatings. Bar, Gan, aun anysonovex, rs cm, youl, — xpecrometHl cam. (basi baja mil vaugénagck ty gpk ugni krestJénskoj sin] lullaby utlaty dear title grandson you sleep go-t-slep peasan's 00 Lullaby, lllaty, dear tle grandson, go to sleep, goto seep, litle peasant child Hezomém si Geay sa paoTymxod, sa nexit0i, wyxof, HenoKaNHIOI, Lizzyyén ny bedi zarabétuskej zanemilej §uk6j gepaklédnaju) will-overcome we trouble a-work atunloved —for-others without-letup ‘We will overcome trouble with cur hated, unrelenting til for others, Bexovewnow, 31010, cTpanHoW. Bemsn TexbueM — aexKING B mOAeIKe, [yekayéjnaju 216ju strédnaju pélym ¢éleem ei$5. v]Gledke] temal evil oppressive as white litle-body [youf-lic_initle-cradle Endless, evil, oppressive tol. Your pale litle body lies inthe cradle, ‘Teoa aymensxa 6 HeGecax evi, [tvajé diSenha vgebesx letit] your iftlesoul insheavens flies But your itl soul fies through the heavens. ‘Teo twxuit con cam — Tocnoan xpaumr, [tvé5 pixej sén sém gasp xrant] your quict slecp Himself Lord preserves The Lord God Himself gurds your quit sumer, TloGoxam cron caer aurenbi, cromt — anrenwi, [pabakém —stajét gyétly dngely stajt éngely] a{your}-sides stand fair angels. stand angels ‘And beside you stand radiant anges, radiant angels.6 17. Teens Basteapma Balearic Song Ha rmpy, n canax Tammmsxapa ‘Ata feast, in the gardens of Halimkar, wp onepis «usuew» [CananGo»] from the opera The Libyan (Salammibo) (M. Mussorgsky after the novel by G. Flaubert) BoGuarbax ness mononoit, JloSsamen -xry'mm pacnaémmt, [vabjatjax gévy maladéj labefnjen ZgiSim raspalénay)] invembraces ofimaid young byckisus —tuming inflamed Inthe embraces of young meiden,inflared by her baring kiss, Trans xapxoro crpyéli, Bpockoumoti were ynoéumusit, [dyxénja Z4rkava strujé) vrosk6ine} nége upajénnyi] ‘ofbreathing hot ——‘by-sream in-luxurant bli intoxicated By the trea of her passionate breathing, intoxicate by this hasuran bliss, Toa ménor cmagocrmax pevell 1 saGnmam anyx Mevett [patSépat slédasnyx e%6j ja zobyvéju zvik 90965] towhisper ofsweet utterances | forget sound of swords “Enraptred by her sweet whispers, [forge the sounds of battle BoGsarnsx nentivexnof A sacuma Geawsrexno, # sacnmav. [vabjét jax dévy néinej Ja zosypéju bezmatézna ja zosypéju] inembraces ofmaid loving 1 fall-asleep peacefully 1 fall-asleep Inthe embraces ofa young maiden, Ill into a peacefl sleep, I slumber... SaGyay nb 06pa3 nensr MIO, Sa6yny m GnecK c& one {zabidu} Sbraz_gévy gfe) zabGdu}] bl ésk Joj6 a$6j) Ll-wil-forgct# image oF maid dear [I}-wilkforget # shine other eyes Shall forge the image of this der maiden, shall] forget the radiance of er eyes? Hi uuor cnapocrusx pevelt, Cpeab aayxon mupmecrsa urppisx, [1 Fépat slédasnyx re§6j gredavikat piriestva igrfvyx] and whisper ofsweet —uiferances amid-sounds offeast'_ playful ‘And her sweet whispers, amid the boisterous noises of the feast? Toa wénor caagocrapix pevei 1 3a6niBa10 3ByK Mevell. patéépat slédasnyx yexéj ja zabyvajn zvGk gegéj] - towhlsper ofswect terns 1 forget sound of swords nreptred by her sweet uteranes, forge the scans of battle BoGesrosx seus wexHol A sachmao Geawrrexuio (vabjatjax dévy yéinej Ja zasypaju bezpatézna) inembraces ofmaid loving filhasleep —pesceflly Jn the embraces ofthis loving maiden I fll into peace sep,H, nenanxow cue —moGossio yroeumsh, (i felétkam gné Jub6yju upajénny,j) and in-sweet slumber by-love And, drunk with love in my sweet slumber, toxieaed Tow moGoss, Heat uyanyo Kpacy, Ho pesy uyanyIo Mow, (raja Jubsf i dévy Gidnuju krasd i dévu SGdnuju majd] Using oFlove and maid's wondrous beauty and of maid wondrous my {sing oflove and the wondrous beauty ofthis maiden. Ising of my wondrous maiden, 18. 2Kenanme cepana My Heart’s Desire (Bussian text D. Usov) TlactowKe nerko pessurses, Beutel pbumune cxonssrT. [iéstadke jexks rexyitea fginej vyyné skalzit] forswallow easy tovfolic —incblue heights to-loat How feel the swallow frolies and floats in the bie heavens! Byabm # xpsoravok mune, 3am Ox a, xyna — eneumers. (bat 4 J& krylétes pficej andl by J& kudd gpedgt] were ond winged bird know would T to-where tonish Thad the wings ofa bird, know exactly where I would speed away to, Ham ne cyxutena c ToGo Panocrs muipuoro ream, [ném yesuédené stabdju rédagt mirnava gnezdd] torus notdestined with-you joy ofpencefil nest ‘You and Tare not destined to know the peace of having our own nest Bot ake mute ano cyms60m Bepuna Gums TeGe poerma. [196 Ze mpé dané sugodju yérnym bft sill # tome isgiven by-fite tue tobe toyou always Nonetheless Iam fated to be true to you forever. ‘Ta pam, % 270 naw, Ho moé xe TH mae GaEDKa, (49 vda}i ja éta znéju no f95 Ze tf me bliskd] you inclisance I this know but till # you tome close Your are faraway, I know, but sil ou seem very near to me. Beepae ayy mira, Ore6e os Toca. [fgértce dimu ja pitéju ateké majé taské] imbeart thought I nurture about-you my melancholy In my heart I nurture thoughts of you. You are the sole reason fox my melancholy,8 Axl 91 awan 6s cuacrie parm, Byab eBoGoaMoit mramxol a (ax ja zndl by spe vifeni bit svabédne} ptéske) 34) sh 1 know would happiness inlife were fee bind ‘Atv how I long for some happiness in my lf! IFT were as ce a bird, Tlomsanca Gs Korasue, Tne Th 2«iub, moGoEs mos. [pamgélea by ja katéizne ge ty 2465 usp maga] rush would 1 touned-homeland whereyou wait love my 1 would fly away to my hameland, where you, my love, await me. Tlacrosxe nerxo pessurscs, Beaneii shimme cKobaiTo... [léstazke Jexké yezyitea feine) vy8yné ska}zit) forswallow eaxy torolic —in-blue eights to-float How freely the swallow folcs and floats inthe blue heavens! Byabu 9 xpsviarolt nrmmefi, Suan Ont, sua, Kyla cTIeMINTE. [bat i ja krylétej pticoy znél by znél kudé spe} were and winged bird ‘ow would know so-where to-rush fT had the wings ofa bird, know exactly where [would spel xway to I wecy pasnyxn Gpems, H orpast ay norac. [jo pesé razliki ppéma i atrédy 16¢ pagés) 1 camry ofscparation burden and ofjoy ray _has-gono-out [mus bear the burden of our separation, and the light of my joy has gone out Topomucs, 0, wpe, mpema, Hi yexoph 2kessamubiit sac. [tarapis 0 yrépa ypéga i uekSr Zelénnyj 4a) ‘muy oh time time and hasten desired hou ass quickly, ch time, pass quickly; and hasten ome, ch Tong-awaited how. 19. 2Kenanne Desire Powase Romance (Heine trans. M. Mikhaylov) Xorea Gk pemmHoe cow Acorn Mow rpyerh H neva.th, [xatél by vjedinaje sléva ja 9}it maja grigt 1 pega] Tike would in-single word I torpourogsther my grief and_ sadness How Itong to merge all my grief and sins in a single word He Gpocim, 10 ciovo wa nerep, Yro6 netep ynée ero Blaltb... [i brégitzto sléva nayéter Stob yéyer unés Jevd vdé}] ‘and tothrow this word towind —sothat wind bore-off it intodisance ‘And cast it into the wind, so thatthe wind might cary it away...H nycrm 6s To como neuanm Ilo werpy x te6e onecocn, [1 piiggby to sléva peg4]i payétra ktehé dapeslée} andmay # this word ofsadness by-wind to-you_be-bome ‘And may that word of sainess be borne by the wind to you, Hi nycrn 6m ncerna u monciory Ono x re6e neepane aNnocK; [1 plgq by feegdé 1 pafptdu and Kyobé feértce j1169} and may # always and everywhereit te'you intorheart flow ‘And may it always and everywhere resie in your heart. He ceam yerane om Comanysiter nox rpésoit nosnoi, [1 J6g}1 unedlyje 661 sankndjig padgrézoj naénds] and if tired yee clove der dram notumal And when each night you lose your weary eyes in stumber, ©, nycTs 6x70 cHono MeyaTH Soysiano nocne wax TBO! [o pligg_by to sléva peg4]i zvugéla vagné nattebs)) oh let this word of sadness sound in-sleep_shove-you ‘Then may that word of sadness sing eu to you in your dreams. 20. Tomax” Hopak (Hlepnas penartia) (First version) (From the poem Haydamaky by T. Shevehenko trans. L. Mey) Toi! Ton, ron, ronaxa! Tomo6wna xasaxa. (a63 xép xSp xapaké palupfla kazaké) hey hop hop hopak [I]-came-totove Cossack ‘Hey! Hop, hop, hopak! I’ve fallen for a Cossack. Tomo crapuit ia neswoxcil, Tosbxo pana, NeyRmoxit (t6Ika stéryj da nogdiy3 té}ka rf2yj youk}Gzy3) nly old and unwellfone] only retheaded clumsy [one] But e's od and sick, redheaded and clas. Bor ona noi noxa! Toi! [voy d6la fe poke 9631 that jus [ny] fate whol for-now hey And that's just my fie for now! Hey! "This text i in folk dialect. The speaker is an old man whois mimicking his wife,30 Tons cxeao 3a tockow, A Tet, ctapni, 3a B07000, [ad}a g}édan zatask6ju a ty stéryj zavadsju) fatc following after-grief and you old fone] for-water A fite that resulted ftom previous pri And you, old man, go for water, A. cama-to a pimmox Jia xpauy ce6e xpiouox. [a seméta ja fByndk da xvaSs ggbé krui6k] and myself totuyem and grab tosell drink-of- vodka While 1 goto the tavern to get mea vodka ‘A TOTOM BOE YOK sta HOR, BCE YOK a WOK! [a patéa fzo Sg. da §6k feo S6g da 6k] ‘and then all dink affer drink all drink afer drink And hen another, and another, nd ancher, and anode! “lapKa neppan KoOM, A propa coKONOM. [arka pérvaja kalén a ftardja sckalén) dink Gt tkestake tat second ike-Blom ‘The fr drink is like stabround, but the second slike breeze: Ba6a nase nonuia —xonen! A sane mozonen! [béba fp]és padlé kanéc a zanéju malagéc) womun into-dance began end and afler-her_young-man ‘Now the woman saris dancing. Isl over! And afer her comes young man. Craps, pox GaGy xamer, Tomo GaGa xYKum Torer: [staryj ravi babu k]iget t6]ka baba kikis t9Get] ‘eli redheaded man] woman calls only woman fig gives The old man calls to his woman, but the woman just gives him the fig. «Kors xeunsca, carama, JJoGswalt xe wie nmena. Bor Kak! [k6] Zepflsa satand dabyvaj Ze mné pend vit kd] since [youpmanricd sit gst me somnesmille that's how “Since you're married now, Satan, go fetch some millet. That's what! ano gerox oxaners, HaxopMars am mpwogers. Bor ro! [néda gétok pozalét nakarmit i ppiadéf vot st6] needed children to-pity toveed and to-dress. that's what Have some sympathy fo the kids, who have tobe fed and dressed. That's what! Hobwsaii, emorpu— Gurrs xyay, [dabyvij smatyS byt ida] sti] seotofit]_ be tronble You'd better fetch it fast, or there be hell to py!A we 70 cama nobyay. Crs ru! Ia pe té sam dabidu slga tg) and not that (I}myself will-get hear you ‘And if you don't come throvgh, then I'l doit myself. Hear me? Ao6swalt xe, crapwait, panxuti, [dabyvaj Zc stéry) rfzyj) aet[it] old fone] red-headed fone] Go fetch it, you old redhead Todusaii cxopeit, Gecersvxui. Yro, past? [dobyvés skaré; beastyzyj 3t6 yz4l) Belfi] fast shameless fone} winat_ got [i] Fetch it fast, shameless! Wel, have you go it? Tomo, craps, we rpenm, [té}ka " stéry3 pegreas] ‘nly old fone]. do-notsin ‘Oldman, just do as you're tod. KomGensx# xosibumm, oT Tax! Uxalypéysi kalySy vot~téic] cradles rock that’s how Roc those cradles, that’s how! KomsGensiu, craputt, Kom, nor Tax! Ukalypé}ki staryJ kalysy vét2edk) cradles od fone} rock that’s how Rock thove cradles, ed timer, that's how! Kex 61a a monogow aa yroammer, (keg bylé jo malad6ju da ugédnsceju) when was 1 young and pleasing ‘When 1 as sil young and good-looking, 5 momecim nepewmux wax oKoHHANER) La payégila pepédgik nadckéngiceju} 1 hung apron overswindow T would take offmy apron and hang i up. HW moxomeuxo xusaw, Baoambuax ménkom mamma. [1 vakééegka kivéju fpGleax S6lkan vy8yvéju) ‘and into-window (I}n0d —on-tambour with-silk [I] embroider | would Jean out the window and nod, and I would embroider with silk on the tanbour2 Toit, Cenémt, sul, Hamu, Haneuaftre-xa xadrrant {63 gonény vy ivény nagevajteka kaftény) hey Semyons you Wvans—puton kaftans Hey, you, Semyons, and you, Ivans, put en your fine katans Jla co mHo# ryaaT noautemre, Jia mpuestem, sano€Mre...» [da sonndj gulét paldémtc da prigégem zapajémte) nd withme forstroll Ie-usgo and Ietursit, Tetursing [Andis gofavea good time togeer, We'lla seat nd do some singing.” Tos! Ton! Toa! Tos! To, rof, roi, rol, rok, rot {9631 hey Hey! Ton, rom, ronaxa! TomioGuia Kavaxa [xép xép xopoké palup(la kezcké] hop hop hopak {I} came-o-love Cossack Hey! Hop, hop, hopak! ve fille fr a Cossack, Tomko craps fla nemo2Kui, Tompxo panKufl, HeyKTOAH, [tothe stérys da pegilys téyea rfZy) peukyiavs) cetyl and nw one] only rabbeaded cry [ne] Bue’ ld and ick, redheaded and clumsy. Bor « mpanta en woxa. Toit [vét_y prévda fe poké 961] that jut wth whole fornow bey Amite theta ofthe mater for now, Hey! 20a. Tomax. Ko6saps" Hopak. The Kobza Player. (Gropan opxecrporas penaxumus) (Second orchestral version) (From the poem Haydamaky by T. Shevchenko trans. L- Mey) Ton! Ton, ron, romaxa! Momo6nia Kasaxa. [263 x6p x4p xapoké polub{la kazaké] hey hop hop hopak (I}eameso-love Cossack Hey! Hop, hop, hopak! I've fallen fora Cossack This text isin fk dialect. The speaker is an old man who is mimicking his wifeTonbko craps na Memoxnil, TombKo PLOKH, HeyKuOKHil [té}ka starys da nedézy) t6lka rfiyj yeuk}izys] enly old and unwell fone] only rei-headed clumsy fone] But he's old and sick, redheaded and clumsy. Boru ona pea moxa! Tot! [vét_y g6}a fea paké 964) ‘that [is] just [my] fate whole for-now hey ‘And that’s ust my fate for now! Hey! Jlons cneom 3a Tockow, A Tb, crapsiii, 3a BoROW, aéla g1édom zatask6ju a ty stéryj zavadésu) fate following afte-grief and you old [one] _for-water ‘A fate that resulted from previous grief. And you, old man, go for water, A cawa-ro a nutnWoK Ta xway ceGe Kprowox. [a scméta ja fyndk da xvagi gebé krugsk] and myself 1 totayem and grab to-self drink-of-vodka While T go to the tayem to get mea vodka. A moToM Be YOK 2a sox! fa patém fo G6q.da ida 6k) aod then all dink after drink all drink after dink ‘And then another, and another and another, and another! apa neppan Koo, A sTopa COKOAOM.. [Zérka pérvaja kalén a ftardja sokalén] drink fist ‘like-stake but second like-faloon “The first drink is ke astabwound, bu the second is likes breeze BsGa sna noua — xonen! A saneKo mouonen! [biba fp]és pad kanéc a zap ju malagéc] ‘woman inio-dance began end and. aflerher _young-man [Now the woman tarts dancing, It'sall over! And fle her comes young man. Craps, poral 6a6y Kmmier, TomKo GaGa yx raver Istéryi ravi babu k1iget té}ka biba kikis old red-headed {man] woman calls only woman fig ‘The old man calls to his woman, but the woman just gives him the fig. «Kors xcexwnen, carana, JloGsman xe Mue nmewa. Bot rol [k] Zepflsa gatand dabyv) 3c mné piena vt t6) since {you}married satan get me seme-mille that’s how “Since you're married now, Satan, go fetch some millet. That's what!ne Py Hayo nerox noxaners, Haxopwuts 4 mpuouers. Bor xax! Inéda gétak patalét nakarmft i ppiagéy vot kak) needed children to-pity treed and to-dress__—_ that's what Have some sympathy for the kis, who have tobe fed and dressed. That's what! ‘flo6ureafi, caorp — Gurb xyzy, [dabyvéj smatrf bjt xiidu] get [it] seeto[it] be trouble ‘You'd better fetch it fst, o hee'l be helt pay! A we 10 cama noSyay. Comm ri [a pe t6 sand dabidu clfS t9] and not that [I}myse willget hear you [And ifyou don't come trough, then I'l doitmyself. Hear me? ToGsiwalt xe, craps, paoxi, [dabyvj Ze stéry) rféys] get] # —cldfone) redheaded fone} Go fetch it you old rechead Tlobsinat cxopes, Geccrunxuit, “ro, wut? [dabyv4j skayéj besst§iy) §t6 yx4l) et[it] fast shameless fone] what got [i] Fetch it fst, shameless! Well have you got it? ‘Tomko, craptili, He rpeum, [télka | stéry) negreS9] only aldfone]_donotsin Oldman, just doas you're tld KomGenses xo, por Tar! Tralypéys kaly’y | vét 26k] rales tock that's how Rock those eras, that’s how! KomuGenbxn, crapiifl, KOH, BoT TAK! [halybélii | try) kalysy vot=tak) rails ld fone] rock that's how ‘Rock those crais, od timer, that’s bow Kak Gnima 1 MOMOZOIO fa YyTOAHHIEIO, [kag_byl4 ja maladéju da ugédnjceju) when was 1 young and pleasing When [was sl young and gor-ooking,A nosecua nepeAKHK Hag oxoMUED [ia payégila pepédaike nadakéngice ju] 1 bung apron overawindow {would ake off my epron and hang i up. H soxomeuxo Kusao, B nambnax ménKoOM Bima. [4 vakédegka ivéju fpélcax S6Tkam vydyvéjul amd_into-nindow [I}n0d —_on-ambour_with-sik [embroider | would len out he window and nod, and T would embroider with silk on the tambour, Toft, Ceméuni, noi, Meant, Hanenaiine-ca xadpraust [065 sen6ny vy ivény nadevéigeka kaftény) hey Semyons you vans put-on keftans Hey, you, Semyons, and you, ans, put on your fine kaftans Aa comsoa ryante nofinéwre, Ja mpacanem, sano8re...0» [da sams} gu} pajgéate da prigéden zapajémte] and withsne focstrll lupo and letursit— letussing ‘And lets go havea god time together. We'll a seat end do some singing...” Tost Tot! Toit! Toa! Fos, roi, rovi, roi, roi, rofl, (065) hey Hoy! Tou, ron, ronaxa! TlomoOnma Kasaxa [xép xp xapaké palub{la kazakd] bop hop hope [1] came-to-love Cossack Hey! Hop, hop, hopak! [ve fallen for a Cossack. Tonsxo crapsill aa nemoxuti, TonBKo paoxnit, neyrmonxni, [télka staryj da yedizy) t6]ka rfdy} yeuk} zy) only, old and unvell fone] only redheaded clumsy [one] But he's old an sick, redheaded and cas, Bor 4 pana sea noKa. Toi! fvét_y pravda fi poké 963) that fis] just ruth whole far-now hey ‘And that's the rth ofthe matter for now. Hey! FOU MUSIC LIBRARY21. Ha cas momx ssipocto moro Many Have Grown from My Tears Powanc Romance (H. Heine) Vs enés MoHX BeIpocio MHOTO YMIHCTEX H sPKHX nIpeTOR, [iss]6s nafx vgrasla méga duifstyx_y jérkix eyetéf) from-tears my —grew-out many fragrant and bright flowers From my tears have sprang many fragrant bright flowers, A noxH MoH nepesmict 8 noxynOMEH xop co.1oMKée. {a vad6xi aaf perel{lig fpalGnaggny) x6r salayéf] and sighs my overflowed intomidnight chorus of nightingsles And my sighs have oveflown into the midnight chorus of nightingales Hi ccm Meus Tu: nomoGHmn, mamoTKa, UBeTONKH TBOM: [1 J6p]i pend ty polGbis malftka cyet6iki — tvaf) and if me you willove —_itde-one flowers [will-be} yours you will but love me, my litle darling, the lowers will be yours H saysmyo nec nox OKOMMKOM TeGe, MoM apyr, cHOWT coTORBH. [i zviignuju pégn padak6skam tebé moj drék spajit salayj{] snd resounding so0g under-window to-you my friend willsing nightingales ‘And under your window the nightingales will ing thei vibrant song jst fo you, my sweetheart 22, Coerux Canmuma* Light of My Life, 5 (M. Mussorgsky) Cer woft, Casimma, Coxon scncntxai, [syét moj sdyigna sékal jésnenkoj] light my Savishna —falson clear Darling Savishna, my fair beauty, Tlonou mena, nepasyunona, paronyOn MeHa, ropemerHona. [pa}ub{ gon nerazianava prigaldp yené garemfgnava] love me foolish caress me wretched Please ty to love stupid me, please be kind to wretched me. Off m, coxom Mol, coKO sicueHBACH, [of 1i s6kal moj sékal jéspepkoj] oh # falcon my faleon clear Oh, my sweet, sweet sweetheart, * This text is in folk dialect.Coerux Capauma, cnet Hanosua, Hik sdyigina gyét_yvdnavna] light Savishoa light ~Ivanoyna My darling Savishna, my dering Ivanova He no6pesraii Tm rome ronow, [nepabrézgs) ty g6}ju gélaju) o-notshrink you from-poverty naked Do not sri fom my ptf poverty, Becrastamow moet zonew, (hestalénnaju majés d6Jeju] from-hapless my fate From my miserable fate ‘Yponwica, pam, wacmex moyam 5, Turagftsa’ yf " négpex Jédam 52) wavbam yous foraughter peoples I 1 was bor for people to lah at dent yon see? Tipo saGasy ja 1a norexw mv. (prazabévu da napatéxi im) formusement and fer-fin tothe For their amusement and fin Konruyr, Casummia, — exop6rnne [k}igut séyigna skéronym [they] call Seishin fe} sorrow ‘They ay my mind is pitable, Savi Besar, cmt Bane Boxnum, Tye}ig@jut 198 veges 0 (hey mame me] do-youcar Vanya of God They call me Vanya, God's foo Coerux Canmmma, exer Hanon [gyépik séyiéna’ gyét_yvénavna) ligt Savion ight ~Ivanowa Dating Savisha, darting vanovna H xaor — mmxon Bane Boxseny, [1 dajét pink6? vine bézjema] and [they] give Kicks to-Vanya of God ‘And what Vanya of God gts fom them is kicks.