FIFTY SONGS BY FRANZ SCHUBERT

FIFTY SONGS BY FRANZ SCHUBERT

FIFTY SONGS BY FRANZ SCHUBERT EDITED BY

HENRY T. FINCK FOR LOW VOICE

OLIVER D I T S O N

COMPANY

THEODORE PRESSER CO., DISTRIBUTORS

1712 CHESTNUT STREET PHILADELPHIA

COPYRIGHT, 1 9 0 4 , BY OLIVER DITSON COMPANY Renewed 1932, b y Abbie H.C. Finck, a n d Assigned t o Oliver Ditson Company

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CONTENTS COMPOSED IN

1814 Margaret at the Spinning Wheel (Gretchen am Spinnrade). O p . 2 1815 Hedge-Roses (Heidenroslein). O p . 3, No. 3 Restless Love (Rastlose Liebe). O p . 5, No. I T h e Erlking (Der Erlk'onig). O p . I 1816 Hunter's Evening Song {Jtigers Abendlied). O p . 3, No. 4 T h e Wanderer (Der Wanderer). O p . 4, N o . 1 W h o ne'er with tears has eaten bread (Wer nie sein Brod mit Thrcinen ass). O p . 12, N o . 2 1817 In Praise of Tears (Lob der Thranen). O p . 13, No. 2 Death and the Maiden (Der Tod und das Madchen). O p . 7, No. 3 T h e T r o u t (Die Forelle). O p . 32 1818 T h e Maiden's Lament (Des Madchens Klage). O p . 58, No. 3 1820 Faith in Spring (Friihlingsglaube). O p . 20, No. 2 1821 Mignon's Song (Lied der Mignon). Posthumous works, No. 48 T h e e , love, I greet! (Set mir gegrusst!) O p . 20, No. I 1822 Wanderer's Night Song (Wanderers Nachtlied). O p . 96, N o . 3 1823 T o be sung on the water (Auf dem Wasser %u singen). O p . 72 Whither? (Wohin?) O p . 25, No. 2 T h e Questioner (Der Neugierige). O p . 25, No. 6 Impatience (Ungeduld). O p . 25, No. 7 Morning Greeting (Morgengruss). O p . 25, N o . 8 T h e Favorite Color (Die liebe Farbe). O p . 25, N o . 16 M y Peace T h o u Art (Du bist die Ruh). O p . 59, No. 3 1825 T h e Young N u n (Die junge Nonne). O p . 4 3 , No. 1 Ave Maria. O p . 52, No. 6 T h e Almighty (Die Allmacht). O p . 79, No. 2 1826 T h i n k me the angel I soon shall be (So lasst mich scheinen). O p . 62, No. 3 None but the lonely heart (Nur wer die Sehnsucht kennt). O p . 62, No. 4 H a r k ! hark! the lark (Horch, horchy die LercV). Posthumous W h o is Sylvia? (Was ist Sylvia?) O p . 106, No. 4 1827 Good Night (Gute Nacht). O p . 89, No. 1 T h e Linden T r e e (Der Lindenbaum). O p . 89, No. 5 Spring Dreams (Fruhlingstraum). O p . 89, N o . i£ T h e Post (Die Post). O p . 89, No. 13 T h e Gray Head (Der greise Kopf). O p . 89, No. 14 T h e Raven (Die Krahe). O p . 89, No. 15 I n the Village (Im Dorfe). O p . 89, N o . 17 T h e Stormy Morning (Der sturmische Morgen). O p . 89, N o . 18 T h e Guide-Post (Der Wegweiser). O p . 89, No. 20 T h e Inn (Das Wirthshaus). O p . 89, No. 21 Courage! (Muthl) O p . 89, No. 22 T h e Mock Suns (Die Nebensonnen). O p . 89, No. 23 T h e Hurdy-Gurdy M a n (Der Leiermann). O p . 89, No. 24 1828 Springtide Longings (Fruhlingssehnsucht). "Schwanengesang," No. 3 Serenade (Standchen). " Schwanengesang," No. 4 M y Abode (Aufenthalt). "Schwanengesang," No. 5 Atlas (Der Atlas). "Schwanengesang," No. 8 Her Portrait (Ihr Bild). "Schwanengesang," No. 9 T h e T o w n (Die Stadt). "Schwanengesang," No. 11 By the Sea (Am Meer). "Schwanengesang," No. 12 M y Phantom Double (Der Doppelg&nger). "Schwanengesang," No. 13

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I II 14 19 28 30 34 39 44 46 52 56 60 64. 69 70 77 83 86 90 94 96 100 107 IIJ 119 122 125 128 134 140 140 I52 157 16c 163 168 170 175 178 182 184 188 194 199 J04 208 210 214 217

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Almighty, T h e . O p . 79, No. 2 113 Atlas. "Schwanengesang," No. 8 204 Ave Maria. O p . 52, N o . 6 107 By the Sea. "Schwanengesang," No. 12 214 Courage! O p . 89, No. 22 178 Death and the Maiden. O p . 7, N o . 3 44 Erlking, T h e . O p . 1 19 Faith in Spring. O p . 20, No. 2 56 Favorite Color, T h e . O p . 25, No. 16 94 Good Night. O p . 89, No. 1 134 Gray Head, T h e . O p . 89, N o . 14 157 Guide-Post, T h e . O p . 89, No. 20 170 H a r k ! hark! the lark. Posthumous 125 Hedge-Roses. O p . 3, No. 3 11 Her Portrait. "Schwanengesang," No. 9 208 Hunter's Evening Song. O p . 3, No. 4 28 Hurdy-Gurdy Man, T h e . O p . 89, N o . 24 184 Impatience. O p . 25, No. 7 86 Inn, T h e . O p . 89, No. 21 175 In Praise of Tears. O p . 13, N o . 2 39 In the Village. O p . 89, No. 17 163 Linden T r e e , T h e . O p . 89, No. 5 140 Maiden's Lament, T h e . O p . 58, No. 3 52 Margaret at the Spinning Wheel. O p . 2 1 Mignon's Song. Posthumous works, No. 48 60 Mock Suns, T h e . O p . 89, No. 23 182 Morning Greeting. O p . 25, N o . 8 90 M y Abode. "Schwanengesang," No. 5 199 M y Peace T h o u art. O p . 59, No. 3 96 M y Phantom Double." Schwanengesang," No. 13 217 None but the lonely heart. O p . 62, No. 4 122 Post, T h e . O p . 89, N o . 13 152 Questioner, T h e . O p . 25, No. 6 83 Raven, T h e . O p . 89, No. 15 160 Restless Love. O p . 5, No. 1 14 Serenade. "Schwanengesang," No. 4 194 Spring Dreams. O p . 89, No. 11 146 Springtide Longings. "Schwanengesang," No. 3 188 Stormy Morning, T h e . O p . 89, No. 18 168 T h e e , love, I greet! O p . 20, No. 1 64 T h i n k me the angel I soon shall be. O p . 62, No. 3 119 T o be sung on the water. O p . 72 70 T o w n , T h e . "Schwanengesang," No. 11 210 T r o u t , T h e . O p . 32 % 46 Wanderer, T h e . O p . 4, N o . 1 30 Wanderer's Night Song. O p . 96, No. 3 69 Whither? O p . 25, No. 2 77 W h o is Sylvia? O p . 106, No. 4 128 W h o ne'er with tears has eaten bread. O p . 12, No. 2 34 Young N u n , T h e . O p . 4 3 , No. 1 100

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Allmacht, Die. O p . 79, N o . 2 A m Meer. "Schwanengesang," No. 12 Atlas, Der. "Schwanengesang," No. 8 Auf dem Wasser zu singen. O p . 72 Aufenthalt. "Schwanengesang," No. 5 Ave Maria. O p . 52, No. 6 Doppelganger, Der. "Schwanengesang," No. 13 D u bist die Ruh. O p . 59, No. 3 Erlkonig, Der. O p . 1 Forelle, Die. O p . 32 Fruhlingsglaube. O p . 20, No. 2 Fruhlingssehnsucht. "Schwanengesang," N o . 3 Fruhlingstraum. O p . 89, No. 11 Greise Kopf, Der. O p . 89, N o . 14 Gretchen am Spinnrade. O p . 2 Gute Nacht. O p . 89, No. 1 Heidenroslein. O p . 3, No. 3 Horch, horch, die Lerch'. Posthumous Ihr Bild. "Schwanengesang," N o . 9 Im Dorfe. O p . 89, No. 17 Jagers Abendlied. O p . 3, No. 4 Junge N o n n e , Die. O p . 43, No. I Krahe, Die. O p . 89, -No. 15 Leiermann, Der. O p . 89, No. 24 Liebe Farbe, Die. O p . 25, N o . 16 Lied der Mignon. Posthumous works, N o . 48 Lindenbaum, Der. O p . 89, No. 5 Lob der T h r a n e n . O p . 13, No. 2 Madchens Klage, Des. O p . 58, No. 3 Morgengruss. O p . 25, No. 8 M u t h ! O p . 89, No. 22 Nebensonnen, Die. O p . 89, No. 23 Neugierige, Der. O p . 25, No. 6 Nur wer die Sehnsucht kennt. O p . 62, No. 4 Post, Die. O p . 89, No. 13 Rastlose Liebe. O p . 5, No. 1 Sei mir gegriisst! O p . 20, No. I So lasst mich scheinen. O p . 62, No. 3 Stadt, Die. "Schwanengesang," No. 11 Standchen. "Schwanengesang," N o . 4 Stiirmische Morgen, Der. O p . 89, No. 18 T o d und das Madchen, Der. O p . 7, No. 3 Ungeduld. O p . 25, No. 7 Wanderer, Der. O p . 4, No. 1 Wanderers Nachtlied. O p . 96, No. 3 W a s ist Sylvia? O p . 106, No. 4 Wegweiser, Der. O p . 89, No. 20 W e r nie sein Brod mit T h r a n e n ass. O p . 12, N o . 2 Wirthshaus, Das. O p . 89, No. 21 W o h i n ? O p . 25, N o . 2

113 214 204 70 199 107 217 96 19 46 56 188 146 157 I 134 11 125 208 163 28 100 160 184 94 60 140 39 52 90 178 182 83 122 152 14 64 119 210 *94 168 44 86 30 69 128 170 34 175 77

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From a photograph of the original water-color portrait by Wilh. Aug. Rieder (1796-1880^ Painted in May, 1821;

FRANZ SCHUBERT THE GREATEST OF SONG-WRITERS [BORN JANUARY 31, 1797; DIED NOVEMBER 19, 1828]

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N 1838, tea years after Schubert's death, been laid in his grave two years before. H e lived Liszt referred to him as "the most poetic only thirty-one years—fron; 1797 to 1828. musician that ever lived," and he confessed There was one man who might have helped that his songs, as sung by Baron von Schonstein, him to contemporary appreciation of his genius, had often moved him to tears. and that man was Beethoven. But, strange to say, Widely as musicians diverge in their opinions, although Beethoven lived in the same city as in onething all agree—that Schubert is the great- Schubert for three decades, he did not discover est of the song-writers. But he was not always so his merits till shortly before his death. A friend considered; his music was too original and too brought him some of the Schubert songs, and deep to be appreciated at once. Goethe, for in- after perusing them he exclaimed several times: stance, who always professed a great interest in "Truly, Schubert has the divine spark!" But it music, and who was delighted with the shallow was too late to do anything for his modest young songs of Zelter (now forgotten), not once, in all colleague, who, moreover, followed him into the his numerous books and countless letters, re- other world a year and a half later. ferred to Schubert, who set to music no fewer In those days few concerts were given in Vithan eighty of his poems. A few years before his enna, and it was not customary to sing Lieder death, when Goethe was an old man, Schubert in them. Opportunities were therefore lacking to sent him three of his songs {Postillion Kronosy To make the general public acquainted with the songs Mignorty Ganymede) with this letter: of Schubert. A few families for whom he played, " If I should succeed by the dedication of these and his friend the tenor Vogl sang, knew about settings of your poems in expressing my bound- them; but even they would, no doubt, have been less veneration of Your Excellency, and perhaps greatly astonished if some one could have told in winning some regard for my insignificant self, them that Schubert would be rated a century later I should regard the realization of this wish as the as the greatest of all song-writers. most fortunate incident in my life." It is pitiable to read about this young comOn the day when Goethe got this humble note poser's struggles with poverty. Like many other he also received a quartet from the sixteen-year- men of genius, he was too much of a Bohemian to old Mendelssohn; to him he sent a gracious let- occupy a regular position as conductor or teacher, ter of thanks two days later, but Schubert he ut- andhis compositions brought him a mere pittance. terly ignored. Some years later, it is true, when For his instrumental works there was hardly any he heard the great Schroeder-Devrient sing The market, and for his songs he was glad to get a few ErIking, he kissed her on the cheek and exclaimed: dollars; some of the very best of them, indeed " T h a n k you a thousand times for this grand ar- (included in the JVinter Journey cycle), he sold for tistic achievement. I heard this song once before twenty cents apiece,—and this was toward the when I did not like it at all; but when sung in end of his life! your way it becomes a true pifture." But poor A song-writer needs above all things a good Schubert never heard of this triumph, for he had piano; but Schubert was too poor to own one ex-

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cept in the last years of his life, so he used to call on his friends when he felt like playing and improvising. H e liked particularly to play on the instrumentof Wilh. Aug. Rieder, the painter, who subsequently became custodian of the Belvedere Gallery. But sometimes Rieder was busy and did not wish to be disturbed; so it was arranged that Schubert should come only when the shade of a certain window was up. Neighbors often saw the composer hastening around the corner and looking eagerly atthatwindow; if theshadewas up,his face beamed with joy; if down, he sadly walked on. It often happens, especially in German countries, that a man whose greatness was not understood during his lifetime, is fully appreciated immediately after his death. Sometimes, indeed, the pendulum swings too far in the opposite direction, This was not the case with Schubert. Even after his death, decades elapsed before the majority of musicians and music lovers began to realize that

he belonged in the very front rank of composers, The songs of Weber, Mendelssohn and others, vastly inferior to his own from every point of view, were sung in every household; while Schubert's, with a few exceptions, were negledted. It was a pianist, and not a singer, who at last turned the tide and revealed the abundant treasures of Schubert's songs to an astonished and delighted world. Franz Liszt took a large number of the best Schubert Lieder, arranged, or rather translated them forthe piano,and played them in the cities ofEurope till the audiences "shouted for joy." The singers, professional and amateur, took the hint, and from that time on Schubert's supremacy as a song-writer was acknowledged; but the process of popularization was gradual, and it cannot be said that even now these songs are as often seen on concert programs as they should be. It requires temperament as well as technic to do them full justice; and few singers have temperament

CHARACTERISTICS OF SCHUBERT'S SONGS were many great composers before Schubert; why, then, did it remain for him to praftically create the lyric art-song as late as the first quarter of the nineteenth century? Because Bach and Handel, Gluck, Haydn, Mozart, Beethoven, Weber, and the other great predecessors and contemporaries of Schubert, preferred to put their best melodies into larger works,—operas, oratorios, symphonies, etc. H e was the first who put the very best that was in him into the short songs he wrote; and as his best was unsurpassable, he became at once the originator and the perfefter of the modern Lied, or art-song; which not only, like the best folk-songs, mirrors the mood of the poem to which it is wedded, but which also has a pianoforte part as eloquent and important as the vocal melody itself. Before Schubert, we might say that sunflowers, hollyhocks and floweringshrubs and trees chiefly engaged the attention of all the musical gardeners. T h e humble violet was little regarded, although

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Mozart paid it a pretty compliment. 1 What Schubert did for the small delicate flowers is comparable to what our modern gardeners have done for the fragrant violet's cousin, the pansy, making it a thing of beauty and a joy forever by ereating an endless variety of quaint markings and rich colors which thrill every lover of flowers, And he composed many other kinds of flowers besides pansies! Even if Schubert had not felt a special predileftion for the lyric branch of his art, he could have afforded to squander immortal melodies on his songs, for he was a melodic millionaire,—the most inexhaustibly fertile and spontaneous melodist of all times and countries. It is a great mistake to suppose, as many still do, that Italy is the chief source of melody. Schubert alone utterly refutes that notion. In 1823—five years before he died—the Viennese were so intoxicated with Italian melody that the whole opera season was given over to Rossini exclusively, and no one

Sit the first number in the collection of " Fiftv Mastersongs b\ Twenty Composers**

FRANZ SCHUBERT would then have dreamed of ranking Schubert as high as him; but, as I have said elsewhere/ "what has become of Rossini's melodies? With the exception of the Barber of Seville and a few tunes from his other works, age has staled and withered them; whereas Schubert's melodies are as fresh and as modern as on the day they were born. Rossini's tunes had the ornamental stamp of fashion, and fashionable ornament is transient; whereas Schubert's melodies have the lasting quality of chaste folk-songs, with the added charms of the highest harmonic art. Schubert liked Rossini's music; but his instinft taught him a higher, nobler style which fashion cannot affeCt." Some of the singers who produced Schubert's songs while he was still living used to urge him to make concessions to the taste of his time, and write ornamental passages,—runs, trills, roijlades and other embellishments; but not an inch would he budge from what he considered to be in good taste. This stubbornness retarded popular appreciation of his genius; but hq now has his reward, if immortality is a reward. The fifty songs in this volume will be sung as long as mankind retains its interest in any music written hitherto; and the general appreciation of high art has risen so much that very few music lovers to-day would fail to realize that embellishments of any sort would have marred the glorious perfeftion of these songs. The gift of spontaneous, original melody is of superlative importance to a song-writer; it comes from heaven,and the "infinite capacity for taking pains," which has been miscalled genius, can never give it. But Schubert had other gifts, equally divine; preeminent among them an unprecedented faculty for modulation. A modulation is, as Philip Goepp has aptly remarked, a musical change of scene; "it may be graded or sudden, as in wandering through a plain or over a mountain. Indeed, the quick surprise of new turn of view is just the same sort of pleasure as the charm of sudden shift of key." It has been said of Chopin's Opus i, the Rondo in C minor, that it is "charac1

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terized by a freedom of modulation such as Beethoven seldom permitted himself." Schubert came before Chopin, and he, too, from his earliest years indulged in this freedom of modulation, which constitutes one of the greatest charms of these two masters, and which revolutionized the art, ushering in the modern romantic spirit. In harmonic modulation, even Schumann and the ultra-modern Liszt learned more from Schubert than from any one else; and so did Dvorak and Brahms. No musical historian has yet given Schubert full credit for his tremendous influence on these and other composers, especially from the harmonic point of view; he showed them that there is nothing that more deeply stirs the emotions of educated music lovers than an unexpe&ed yet appropriate change of key. Particularly characteristic of Schubert is the frequent alternation of major and minor keys. This is conne&ed with his minute regard for wordpi&ures and changes of mood in the poems he set to music, and the eflfed: is often thrilling. As Sir George Grove remarked: " I n almost every song some example of such faithful painting may be found. A word will often do it. With Schubert the minor mode seems to be synonymous with trouble, and the major with relief; and the mere men tion of the sun, or a smile, or any other emblem of gladness, is sure to make him modulate." Schubert was the first to show on a large scale that, in the words of his friend Vogl, "the finest poems of our greatest poets may be enhanced, and even transcended, when translated into musical language." There is reason to believe that one cause of Goethe's disregard of Schubert was an instinctive jealousy of a composer whose genius was so great that it made even his best poems play second fiddle, so to speak, to the music. On the other hand, it is most interesting to observe how Schubert's creative faculty was stimulated by good poetry. The editor of the present collection was himself surprised to find that the best seven 2 of the first two hundred and sixty-

"Songs and Song Writers," New York, 1900. This volume uludes a sketch of Schubert}s life. • Including "N'dhe des Geliebten" beside the first six numbersf this colleclion..

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two songs written by Schubert are all based on poems by Goethe. Sometimes, indeed, the paroxysm of inspiration was so overwhelming that he could write first-class music to a second or third rate poem; but as a rule the best poems tvoked the best music. For this reason it is to De eternally regretted that Heine's verses, which are superior even to Goethe's for musical purposes, did not begin to appear till toward the close of Schubert's life. It has often been said that Schubert was uncritical in the choice of his poems; but that is not true. Dr. Theodore Baker says: " A s to his alleged carelessness in choice of subjects for musical setting, the fa6t is that he took seventy-two [eighty] poems by Goethe, forty-six by Schiller, forty-four by Wilhelm Miiller, twenty-eight by Matthisson, twenty-three by Holty, twenty-two by Kosegarten, thirteen by K6rner,etc.—that is, the best at his command." And as Dr. Mandyczewski adds: " I f we take the works of all the poets he utilized, it would be impossible to make better seleftions for musical purposes than those he made." One thing cannot be denied: Schubert wrote too many songs. The Breitkopf and Hartel Edition, in ten volumes, comprises six hundred and three numbers. This includes fifty-two which appear in two versions, two in three versions, and three in four versions, so that the real number of songs is five hundred and thirty-eight. Schubert himself was aware that many of them were far below his high-water mark. Most of these belong to his early years. In 1815, when he was only eighteen, he wrote one hundred and forty-four, and in the following year one hundred and ten. Once he set to music eight songs in a single day. Under such circumstances an editor has his uses. While it is true that Schubert had written about a dozen of his tfest songs (see table of contents of this volume) by the time he was twenty vears old, a large proportion of the other three hundred is hardly any better than the majority of the songs composed before him and now deservedly negleded. A Schubert specialist will find many interesting details (flashes of genius) in

these, too; but the amateur, whose attention is claimed by a score or more of other great songwriters, wants only the mastersongs of each composer. The editor has attempted to bring together in the present volume those which represent Schubert's genius at its very best. Had he written only these fifty Lieder,he would still be the greatest of all song-writers; and it may be said without hesitation that there is as much genius, and almost as much variety, in these Fifty Songs by Franz Schubert^ as in the numbers of the volume of Fifty Mastersongs by Twenty Composers included in this series. The " H i n t s to Singers" contained in the volume just referred to may be commended to the attention of those who take up the study of Schubert. Bear in mind, too, what Schubert once wrote: " T h e way in which Vogl sings and I accompany, so thatfor the moment we seem to beone,\§ something quite new and unexpected to these people." Hiller wrote that" Schubert had little technique,and Vogl but little voice;" yet they moved their hearers to tears because they merged themselves in the music: "Voice and piano became as nothing; the music seemed to want no material help, but the melodies appealed to the ear as a vision does to the eye." Only a small proportion of Schubert's songs was published during his lifetime, and the opus numbers of those printed before as well as after his death are purely arbitrary, and utterly misleading as to date and sequence. They should therefore be entirely discarded. In the present collection the songs have been arranged with reference to the dates of their composition, which was made possible by Schubert's good habit of nearly always writing the date of a completed song on the manuscript. 1. Margaret at the Spinning Wheel— Gretchen am Spinnrade. The first of the great Schubert songs —an epoch-making product in the history of the Lied—is Margaret at the Spinning JVhtel. It is the thirty-first of the preserved songs, and when Schubert wrote it he was a boy of seventeen. W h o had taught this youth to express the deepest feel-

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ingof the human heart—a maiden's love—more Love, Bauernfeld relates that when it was written eloquently in tones than Germany's greatest poet the paroxysm of inspiration was so fierce that had expressed it in words? That is the miracle of Schubert spoke of it years afterwards. With the genius. Goethe's Faust has inspired not a few of same irresistible impulsiveness the singer and the the great composers—among them Spohr, Gou- pianist should reproduce this passionate love nod, Liszt, Berlioz—to write their masterworks; song. but in this case it inspired a boy to create a new thing in art,—the modern realistic song. How 4. The ErIking—Der Erlkonig. Schubert was pidhiresquely the whirling, monotonous figure of only eighteen when he wrote what many judges the accompaniment suggests the motion of the consider the most wonderful of all Lieder ever spinning-wheel! Round and round it goes until composed,— The Erlking, the one hundred and Margaret,—and this is the finest stroke of gen- seventy-eighth of his songs. Regarding its origin ius,—in dwelling on her lover's charms and do- Spaun relates that one afternoon he went with ings, recalls his kiss in a passionate outburst of a friend to call on Schubert. They found him all song. Here her feelings are so overwhelming that aglow reading Goethe's Erlking aloud. H e walked she forgets the wheel, and it stops for several up and down the room several times, book in bars. Then, slowly and softly, the spinning, and hand, then suddenly sat down, and fast as pen a little later the song are resumed—softly, but could travel put the superb composition on paper more and more excitedly, until, at the close, there nearly in its present form, though he subsequently is a relapse into the melancholy, pensive mood made some changes.This ballad by the boy Schubert is as splendidly and realistically dramatic as — " M y heart is sad." anything Wagner wrote in his most mature years. 1. Hedge-Roses—Heidenroslein. Goethe, as was The incessant galloping triplets in the piano part; intimated in the introductory remarks, was not not only impersonate the horse, but conjure up enough of a musician to understand Schubert's the storm.The coaxing Erlking, the terrified child, original genius. ("I am no judge of music," he the soothing father, have all a language of their himself wrote in 1796.) It is not likely that he own, different from the narrative, and the singer would have appreciated a through-composed must modify his tone and style accordingly. The song like Margaret at the Spinning Wheel (in which dissonance of the child's shriek was something the music changes in the different stanzas), for he new, thrilling, terrible, epoch-making in music. was old-fashioned enough to believe that the same (See Songs and Song Writers, pp. 72-76.) melody should be repeated without change in the several stanzas of a poem. There was nothing, 5. Hunter's Evening Song—J'dgers Abendlied. A however, to prevent him from liking the Hedge- lover's reverie, this song must be sung very slowly Roses, for that is of the strophic kind he wanted. and softly. It is one of the songs which Goethe It is simple as a folk-song, yet imbued with the probably would not have liked, because the mufragrance of individual genius. It follows the ac- sic is so much more beautiful than the poem. cents and the spirit of Goethe's poem with charm- Schubert, although he adored Goethe, had the ing fidelity, and must be sung tenderly and courage to omit the third of the four stanzas, which has no poetic merit. naively. 3. Rest/ess Love—Rastlose Lie be. Sir George Grove speaks of " t h e almost fierce eagerness" with which Schubert attacked poems that seemed to him suitable for composition, and of "the inspiration with which the music rushed from his heart and through his pen." Regarding Restless

6. The Wanderer—Der Wanderer. Another one of the early songs that reveal Schubert's genius full-fledged. Were it not for The Erlking of the preceding year, it would seem almost impossible that such a Lied could have been written in a paroxysm of inspiration in one evening by a

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youth of nineteen. It is, and has long been, one of the most popular of all songs, both in the parlor and the concert hall. Its publishers made twenty-seven thousand florins with it in the years 1822-18 61, and to-day more copies are sold than ever; but poor Schubert, when he died,left worldly possessions valued at only twelve dollars.The passage in The Wanderer beginning with the words, "Die Sonne diinkt mich hier so kak," was used by Schubert in 1820 as the theme of the adagio in his C major fantasia for pianoforte. H e knew as well as any one when he had written something particularly good.

her in soothing words not to dread him, since he has come not to punish but to let her sleep gently in his arms, his monotonous, cavernous tones and the strange modulations tell us his real intentions. Note the simple but wonderful modulations from the words "bin nichtwild" to "schlafen." Sir George Grove, who did so much to popularize Schubert in England, refers to those celestial modulations in a letter to a friend: " I am glad to send you the theme, because it is too delightfully mournful to play, and the last three notes (mind you make the turn and catch the B natural) are like an escape into heaven." Schubert himself, who was twenty when he wrote this song, knew 7. Who neer with tears has eaten bread— Wer nie full well that its brief theme was pregnant with the sein Brod mitThrHnenass. Among the one hundred suggestion of countless ravishing beauties. These and five songs of the year 1816, three are preem- he subsequently revealed in the slow movement inent,— Who neer with tears has eaten breads Hun- of his D minor quartet—the most inspired set of ter s Evening Song and The Wanderer. The first- variations in the whole range of music. named is, like several other Schubert songs, based on the lyrics interspersed in Goethe's novel Wil- 10. The Trout—Die Forelle. Still another song helm Meistery being the second of three Songs of which Schubert subsequently utilized as a theme the Harper. It is simple, yet full of feeling. Note for variations in the quintet, Opus 114. With the the unconventional ending—one of Schubert's exception of The Er Iking it is the only one of his songs of which he made four versions. It was peculiarities. written at midnight, and the first manuscript has 8. In Praise of Tears—Lob der Thrclnen. This is a large blotch of ink over its first bars, with a few one of the most tuneful of Schubert's songs — explanatory lines in Schubert's handwriting at the as simple and spontaneous as a bird melody. The bottom of the page: " J u s t as I was about to hurpiano part also is easy, and altogether it is a good riedly throw on the sand, being somewhat sleepy, Lied for singer, player and hearer to begin with I seized the inkstand and calmly emptied it. What in making the acquaintance of the greatest of a calamity!" song-writers. It is probable that the lovely melody rushed into Schubert's head assoonas he had 11. The Maiden's Lament—Des Mddchens Klage. read the first stanza, which sounds like a spring Schiller did not inspire so many mastersongs as poem, for it is less appropriate to the other stanzas, Goethe. Of the forty-four of his poems used by Schubert only one, The Maiden s Lament^ can be which suggested the title of the poem. included among his best fifty songs; but this one 9.- Death and the Maiden—Der Tod und das is a gem, both poetically and musically,—a wonMiidchen. No song ever written has so much gen- derful mood-pidure. Never has the "ecstasy of ius and emotion condensed into such a few bars woe" been more eloquently expressed than in as this. Certainly there is none that conjures up this Lied. An interesting facsimile of one of its a sombre mood with such simple means. After versions, dated May 15,1818, is printed in HeuL the poor girl has begged the "skeleton man" to berger's Franz Schubert , page 2$. The first two pass her by because she is so young, how full of stanzas of Schiller's poem appear in his Piccologloomy foreboding are the two bars leading over mini, A6t I I I , Scene 7, where Thekla sings them to the second speaker—Death! And while he asks to the accompaniment of her guitar.

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12. Faith in Spring—Friihlingsglaube. Uhland's poem is like many others that express our joy at the return of spring; but few spring poems have received so spontaneous and melodious a setting as this one. Its air is like a spring zephyr.

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pianist fully shares the honors with the singer, if he is an equally good musician. Indeed, while the voice adds much to its effediveness, especially at the climax, it also makes a fine piece for piano alone. How admirably the accompaniment refleds the shimmer of the water over which the 13. Mignon's Song—Lied der Mignon. The Miboat glides, and how varied to the ear is the seemgnon poems, in Goethe's novel Wilhelm Meister, ingly monotonous rhythmical figuration! were special favorites of Schubert. Among them there are two settings of So lasst mich scheinen bis The Beautiful Miller-Maid—Die Schone ich werde, which have been strangely negleded Mullerin hitherto, although one of them was a favorite of Liszt, who arranged it for orchestra. The first of THREE song cycles are included in the list of them, dated 18 21, with which we are here con- Sehubert's works. The first of them is The Beauticerned, is so exquisitely musical and spontane- ful Miller-Maidy a setting of twenty poems by ous that it cannot have been dissatisfaction with Wilhelm Miiller (the father of Max Mfiller), it, but simply a delight in the poem, that induced which Schubert: composed in one week— the first Schubert five years later to give it another set- seven in one night! (See Songs and Song Writers, ting (see number twenty-six of this collection) pp. 83-85.) They tell the story of a young man entirely different. Both of them are ravishingly who has learned the miller's trade, and who one beautiful, pervaded by a euphony of melody and day follows a brook that leads him to a mill whose harmony such as was rare before Schubert. owner has a pretty daughter. H e secures a place as assistant, and promptly falls in love with the 14. Thee, love, I greet!—Set mir gegrilsst! At girl. Apparently she loves him, too; but her mind first sight this song seems rather too cheerful for is changed by the appearance ofa gay young huntsa lover's lament that his beloved is so far away. man.The first ten songs present the various phases The key to the spirit lies in the last lines: "Time of the young miller's courtship. In the eleventh he and space cannot affed true love. I am happy at is at last able to proclaim that the beloved maid the mere thought that I am holding her in my is his; but with the fourteenth the hunter aparms and kissing her lips." pears, exultation is displaced by jealousy and 15. Wanderer's Night Song—Wanderers Nacht- wounded pride; and convinced that she is lost to lied. The famous poem on which this exquisite him forever, the young miller drowns himself in song is based was written by Goethe on a Septem- the brook, which in the last song sings his lullaby. ber night in 1780, with lead pencil, on the inside It is not customary to sing these twenty songs wall of a ducal hunting pavilion near Ilmenau. It in succession. Not all of them are of equal value, is one of the briefest poems in all literature; yet . and while it is not possible to admit all the good what a wonderful pidure of Nature at rest it con- ones into this colledion, it must be admitted that jures up before our eyes! Of Schubert's music it about half the numbers of the cycle fall considsuffices to say that it is fully equal in beauty to erably below Schubert's high-water mark. The the poem. Note particularly the ravishing efFed five chosen for this volume will doubtless induce of the climax at the word balde (soon). There most singers to acquire and study the whole cyare only fourteen bars in this song, but they are cle for their own gratification. For the entertainbars of gold, containing more of the quintessence ment of others, it is allowable and preferable to of music than many a long symphony or opera. take a few of the best songs separately; and nothing is lost by so doing, provided the hearer 16. To be sung on the water—Aufdem Wasser zu knows the general outline of the story as just singen. In this song, as in so many others, the

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given. The bond of union is in the poems rather than in the music; although it might be said that the songs are musically united by the sound of the ever-present brook, which is represented by an amazing variety of rhythmic devices, modified to suit the diverse scenes of love and jealousy, hope and despair. 17. Whither ?— Wohin ? On listening to this,the second song of the Miller cycle, could any one fail to guess that he is supposed to hear the babbling of a brook, and the voices of the nixies who are telling the young miller to follow it as a guide to the pretty maid of the mill? Here is aquatic realism equalled only in the opening scene of Wagner's Rhinegold. 18. The Questioner—Der Neugierige. This, the sixth song of the cycle, was a special favorite of the Bohemian composer Smetana, who arranged it for pianoforte. T h e lover implores the brook to tell him: "Will she say Yes or N o ? "

me under the greensward—for green is her favorite color." The pathos of the situation is much heightened by the exquisitely tender and sad music. Note the lovely duo which the pianist's left hand sings with the voice. T h e F sharp in the right hand might be taken as symbolical of green, for it is as persistently repeated as the references to that color in the poem. • •

22. My Peace Thou Art—Du bist die Ruh. This favorite song belongs to the same year (1823) as the Miller songs, being separated from them by only one song. It is, as William Arms Fisher has aptly characterized it, "one of the most spiritual flights in all song literature."

23. The Toung Nun—Diejunge Nonne. " W h o was Craigher, the author of this splendid song; and would he ever have been heard of but for Schubert?" asks Sir George Grove, who further remarks that in this wonderful Lied, which has also the advantage of a strong religious element, 19. Impatience—Ungeduld. The seventh song "the personal feelings and the surroundings are of the Miller cycle is not particularly well named. so blended—the fear, the faith, the rapture, the It does not express the lover's impatience so storm, the swaying of the house, are so given— much as his eager desire to have every tree and that for the time the hearer becomes the young flower and bird proclaim his love to the world. nun herself. Even the convent bell, which in other Nothing could be more superb than the outhands might be a burlesque, is an instrument of burst of passion with which he makes all nature the greatest beauty." Though written in 18 2 5, this proclaim to her: " T h i n e is my heart." song is ultra-modern in declamation, harmony, 20. Morning Greeting—Morgengruss. Number and general spirit—as modern as Parsifal, which eight of the Miller cycle. Lovers generally sing was written fifty-six years later, and which it actutheir serenades in the evening, but here is a morn- ally suggests at the words "undfinsterdieBrust." ing serenade, or rather, aubade, which vies in me- Parsifal was Wagner's last work, and the Schulodic charm and spontaneity with any evening bert songs were among the compositions which he song ever sung by a romantic lover since court- continued to admire most to the end of his life. ship was invented. 24. Ave Maria. Another great religious song fol21. The Favorite Color—Die Hebe Farbe. Num- lows close upon The Toung Nun—the far-famed ber sixteen of the Miller songs. The miller's rival Ave Maria, one of several settings of poems from is attired in green, and he hunts in the green for- Sir Walter Scott's Lady of the Lake made by Schuest—hence green has become the favorite color bert. It was written in 1825, during the summer of the pretty maid whose heart he has stolen. In of which year he had the one delightful vacation his despair the young miller asks himself, "Shall of his life, seeing the fine mountain scenery of I, too, hunt in the green woods in green attire?" Austria, and with Vogl visiting friends and enter"But no," he replies, "my quarry is Death. Bury taining them with his ravishing new music. The

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Ave Maria, being e*sy to understand, was partic- it as a solo song, Schubert set it as a duo, and as ularly admired. H e wrote that his new songs from a quintet for two tenors and three basses. In the The Lady of the Lake had been very successful. version here given it is the best known of his "People were greatly astonished at the devotion Mignon songs. which I have thrown into th H ymn to the Blessed 28. Hark! hark! the lark—Horch, horch.die Lerch\ Virgin, and it seems to have seized and impressed Not a few amateurs consider this the most deeverybody. I think that the reason of this is that lightful of Schubert's songs; like The Erlking it I never force myself into devotion, or compose has also become very popular in Liszt's version hymns or prayers unless I am really overpowered for pianoforte. The circumstances under which by the feeling; that alone is real, true devotion." this serenade was written admirably illustrate the 25. The Almighty—Die Allmacht. Still another spontaneity of Schubert's genius. One afternoon, great religious song, surpassing even the other as he was sitting with some friends in the gartwo in grandeur and fervor. It is worth noting den of a tavern near Vienna, he saw a volume how near together are these three religious songs of Shakespeare on the table. H e took it up and —which may be safely sung on Sundays by the turned over the leaves till he came to Hark! most pious; being numbers 469, 474 and 479 hark! the lark, in Cymbeline. After looking at it a in the list of Schubert's Lieder* Liszt, who was few moments, he exclaimed: " A lovely melody as deeply religious as he was musically inspired, has come into my head; if I only had some music adored The Almighty , of which he made an ar- paper!" One of his friends drew a few staves rangement for tenor solo, chorus and orchestra, on the back of a bill of fare, and Schubert, undisin order to bring out all the sublime effe&s of turbed by the tavern noises,jotted down this maswhich he felt it to be capable. But it can be made terwork. An attempt has been made recently to thrilling with the voice and piano alone, provided cast doubt on this story, which was told by Schuthe singer and the player are endowed with emo- bert's friend Doppler. Heuberger points out that tional warmth and the gift of building up a dra- the manuscript is in a note-book containing sematic climax. The greatest of religious composers veral other songs. But this does not disprove Dop—Palestrina, Bach, Handel, Liszt—at their best pler's story, for Schubert may have copied the song from the bill of fare into his note-book when never surpassed this song. he got home. While generally known as a sere26. Think me the angel I soon shall be—So lasst nade, Hark ! hark! the lark is really an aubade, or mich scheinen. See the comments on number thir- morning song. teen, which is a setting of the same verses—one of the Mignon songs. Some of the poems of 29. Who is Sylvia? — Was ist Sylvia? Schubert Goethe and Heine have been set to music by a composed three songs to Shakespearian poems, hundred or more composers, and in a few in- all in July, 1826. Next in popularity to Hark! stances (including The ErIking^ The Lotos Flower, hark! the lark, from Cymbeline\ is Who is Sylvia^ Thou art like a flower) several, mas tersongs have from The Two Gentlemen of Verona. The third, resulted. But who except Schubert could have the drinking-song from Antony and Cleopatra, is written two mastersongs on the same text? The less interesting. The music of Who is Sylvia, like pianist must be careful not to spoil the climax that of all the Schubert songs, speaks for itself, by playing the chords of the crescendo in the sev- and needs no parsing or analysis to make it comenth bar from the end incorrectly or stumblingly. prehensible. Winter Journey—Winterreise 27. None but the lonely heart—Nur wer die Sehnsucht kennt. Beethoven composed the text of this SURELY the luckiest of all minor poets was Wilsong four times; Schubert five times. Beside using helm Miiller. In 1823 Schubert set to eternal

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music his Miller songs. Four years later he immortalized him again by using his Winter Journey poems as a basis for a second song cycle. These poems were dedicated to Karl Maria von Weber; but a greater was destined to use them. It may be said without the slightest hesitation that the twenty-four numbers of this song cycle include the best songs ever written. Had Schubert composed nothing but these, he still would be the greatest of all song-writers. They are ineffably sad, like all that is best in art; and this sadness is partly the result of his artistic temperament (he had no comic vein), partly of the circumstances of his life, and partly of the gloom that pervades the poems." M y musical compositions," Schubert once wrote in his diary, " are the product of my intellect and my sorrows; those which were born of sorrow alone, appear to give the world the most satisfa&ion." Spaun relates that for some time (in 1827) his friend Schubert had been in a melancholy mood. One morning he said to Spaun: "Come to Schober's to-day, I '11 sing you a cycle of weird songs. I am anxious to know what you will say. They have affected me more deeply than any of my other songs." Spaun went, and Schubert sang the whole of the Winter Journey. His friends were dumfounded by the gloomy mood of these songs, and Schober remarked that he liked only one of them — The Linden Tree. Schubert replied: " I like these songs better than any of the others, and you will come to like them too." H e was right, for, as Spaun adds, " W e soon became enthusiastic over these melancholy songs, which Vogl sang incomparably." The opinion of these songs current in the highest musical circles is well summed up by Heuberger, who says: " We of to-day know that beside the most touching pages in the literature of all times, beside the Book of Job and many passages in Ecclesiastes, the Winter Journey of the thirty-year-old Schubert must be placed as equal in grandeur."

every amateur should possess complete), there are at least thirteen which cannot possibly b* omitted from a collection of the best fifty^Schubert songs. They are Good Night, The Linden Tree, Spring Dreams, The Post, The Gray Head, The Raven, In the Village, The Stormy Morning, The Guide-Post, The Inn, Courage, The Mock Suns, The Hurdy-Gurdy Man. T h e very first of these brings us into a new, bewitching musical atmosphere, even if we are familiar with the other Schubert songs; and in this atmosphere we remain to the end of the cycle. In Good Night, the transition from minor to major at the words "Will dich im T r a u m " is of ineffable beauty. 31. The Linden Tree—Der Lindenbaum. T h e Winter Journey poems (reveries and lamentations of a disappointed lover) do not tell a continuous story, as the Miller cycle does, wherefore they can with even more propriety be sung separately. Schubert himself did not follow the order adopted by the poet. The Linden Tree has long been a favorite in circles where its more doleful companions are unknown. 32. Spring Dreams—Fruhlingstraum. A winter dream of spring and love in which joy and sadness, anticipation and longing, are mingled with Schubert's incomparable art. It is interesting to note that whereas in M tiller's cycle this poem comes near the end (number twenty-one), Schubert, with keener psychologic insight, makes it an earlier number (eleven), rearranging the poems so that those which express the most poignant grief and despair come at the end. ^^. The Post—Die Post. With number thirteen, the Winter Journey songs become more and more gloomy. The Post depi&s the anguish of soul resulting from the failure of the coach to bring a letter from the city where the beloved dwells. This song is in major and rather animated in tempo; yet, as Sir George Grove has remarked, " Even in the extraordinary and picturesque energy of The Post there is a deep vein of sadness."

30. Good Night— Gute Nacht. Among the twenty- 34. The Gray Head—Der greise Kopf. A deeper four numbers of the Winter Journey cycle (which vein of sadness pervades this characteristic song,

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in which the unsuccessful lover laments that the grave is still so far off.

a minor key—a vain effort, disconsblate, like all the others.

35. The Raven—Die Krahe. In this gruesome poem the young man fancies that a raven has followed him from the town in the expectation of dining on his body. For days it has hovered over him — "faithful to the grave." The Raven was one of Rubinstein's favorites.

41. The Mock Suns—Die Nebensonnen. Another doleful song in a major key! Schubert in every bar. What the three suns are is not clear from the poem. Max Miiller wrote to Friedlander regarding his father's poem: " I share your belief that the sun and the two eyes of the beloved are meant. As these two suns shine no more, he wants the third, the real sun of life, to go down too."

36. In the Village—Im Dorfe. Barked at by the chained dogs, the disappointed lover roams the streets while all others in the village are asleep, enjoying in their dreams the things they have not. " W h y tarry among the sleepers?" he asks himself; "have I not dreamed my dream?" 37. The Stormy Morning—Der sturmische Morgen. Blustering rhythms introduce a song in which the unhappy youth fancies that the gray sky and the flying clouds aie simply the refle&ion outdoors of the winter in his soul. In nineteen rapid bars Schubert has here portrayed a miniature storm as perfed in its way as the introduction to Wagner's Valkyr. 38. The Guide-Post—, Der Wegweiser. Sadder and sadder become the poems, more woe-begone the music. The Guide-Post shows us the sign-post which points to the "undiscovered country from whose bourn no traveller returns." It is heartrending music, andone of its sublime touches is the unchanging G of the melody during the six bars in which the lover's eyes stare fixedly at the guide-post. Here is musical realism in the highest sense of the word. $g. The Inn—Das Wirlhshaus. If possible, a still greater miracle of genius and ineffable sadness than The Guide-Post is The Inn. This "tavern" is a graveyard which seems to invite the weary wanderer; but every room is taken, and there is no rest for him. Here again Schubert has written in a major key a song more pathetic than other composers have written in minor keys.

42. The Hurdy-Gurdy Man—Der Leiermann.The disconsolate climax of the Winter Journey is reached in this wonderfully realistic and pathetic song. The hurdy-gurdy is an instrument played with a crank, but otherwise entirely unlike a handorgan, though played inthestreets. It isastringed instrument, and two of its strings yield an unchanging drone-bass of two tones a fifth apart. This drone-bass Schubert imitates by repeating the notes A E (in the original key) incessantly throughout the sixty-one bars of the song, producing an ineffably melancholy and realistic effedt, which is heightened by the equally characteristic melody. Though the music is thus simply a mirror of the text, one cannot help reading into it a bit of autobiography—for did not Schubert, also, sing on incessantly; and did not his tray, too, like that of the hurdy-gurdy player, remain forever empty? Lachner saw him selling some of these Winter Journey songs to a publisher for twenty cents apiece.

Swan-Songs—Schwanengesang

SCHUBERT'S last pen-strokes were made in correcting the proof-sheets of the Winter Journey while he was in bed with typhoid fever. In the time betweenthe writingand the printingof these Lieder he wrote thirteen more detached songs, beside the fourteen which form the Swan-Song cycle and which were published as his last gifts to singers. The title was of course given by the 40. Courage ! — Muth! The lover shakes off the publisher, but it appears that Schubert had insnow, and tries to sing merrily to keep up his tended these fourteen songs, with more to come, courage. But the song, though brisk, is mostly in to form a series, and that their sequence was de-

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termined by himself. There is no connection between these compositions, or between the poems, which are by three writers,—Rellstab, Heine and J. G. Seidl. 43. Springtide Longings—Fruhlingssehnsucht. In 1825 Rellstab seleded some of his lyrics, copied them on separate sheets of paper, and gave them to Beethoven for composition. After Beethoven's death they came into the hands of his friend Schindler. In his house Schubert came across them, and two days later he brought back three of them, including My Abode, set to immortal music. Four more were composed subsequently. T h e third of them is Springtide Longings, one of the most vivacious of Schubert's songs.

a climax as can be found in vocal music. T h e most delightful of interludes is the eight bars following the words "bleibet mein Schmerz." The A sharp (original key) in the sixth of these bars is one of those strokes of genius which make the study of the Schubert songs a source of ever-increasing delight. Only in the white heat of genius could that A sharp have been written.

46. Atlas—Der Atlas. T h e greatest calamity that ever befell the musical world was the early death of Schubert. Ever to be regretted, too, is the fad that Heine's Book of Songs did not appear till shortly before Schubert's death. Heine remains to-day the favorite poet of the great composers; and how well adapted his lyrics are to inspire immortal music is illustrated by the fad: that of the 44. Serenade — Standchen. Of all the Schubert six Heine songs set to music by Schubert, five songs this one is the most easily comprehensi- clamor for a place among his best fifty songs. ble, and therefore enjoys the widest popularity. They are the last of his Lieder, except the last T h e publishers were always begging him to write of all,—Seidl's The Fishermaiden; and they are easier piano parts, and here he seems to have com- as different from one another as Shakespeare's plied with their request. plays, Chopin's preludes, Beethoven's sympho45. My Abode—Aufenthalt. This is one of the nies and Wagner's operas. T h e first of them emcpmpositions which made Rubinstein exclaim bodies the gloomy, tragic, heaving agony of Atlas, rapturously: "Once more, and a thousand times bearing on his shoulders the sorrows of a world. more, Bach, Beethoven and Schubert are the This song is as ultra-modern as The Young Nun. highest pinnacles in music!" It is a song which, Compare the agonizing "brechen will mir das if well sung, sends the cold shivers down one's H e r z " with the Amfortas music in Wagner's back, whether it be heard the first or the hun- Parsifal. dredth time. There is in it as superb an energy 47. Her Portrait—Ihr Bild. H o w utterly differas in The Erlking. T h e pedants by whom Schu- ent from the gloom of Atlas is the tender pathos bert was surrounded (Lachner in particular) used of the youth who, in Her Portrait, gazes at his to annoy him with the charge that he knew no beloved's pidure as in a dream, and cannot becounterpoint; and he had adually made up his lieve that he has lost her. This is surely one of mind, shortly before his death, to take lessons of the ten best of Schubert's songs. Sechter. But if counterpoint is the art of making every voice or part in a composition melodious, 48. The Town—Die Stadt. In The Town the poet where is there a better specimen of it than My fancies himself being rowed away in a boat, and Abode, with its glorious melodious bass, and me- the rays of the setting sun give him a final glimpse lody in every note of the harmony ? Schubert's of the city where his beloved dwells. In this song, genius taught him more about counterpoint, so as Mr. Elson has remarked, " t h e steady plash far as it has any musical value, than a thousand of the oar «f the boatswain and the gray stillness Sechters could have taught him. Of other re- of the waters at eventide are pidured with graphic markable things, note the high G (in the origi- power by a constantly recurring broken chord." nal key) eighteen bars before the end—as grand There is much realism of this sort in Schubert.

FRANZ SCHUBERT 49. By the Sea—Am Meer. T h e greatest of all songs of the sea." Listen," says Philip Hale, " t o the few chords that introduce and close By the Sea. They at once suggest a mood. They speak of the sea at nightfall, and yet how simple the main accompaniment! How simple the structure of the song itself!" 50. My Phantom Double—Der Doppelgdnger. Just as Wagner created not only one epoch, but two epochs in the history of the opera, so Schubert created an epoch in the history of the Lied with his Margaret at the Spinning Wheel and The Erlkingy and another one with My Phantom Double, the last but one of his songs. Heine's poem brings before our eyes a man who goes at night to gaze

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at the house where his beloved used to dwell. In front of the house, to his dismay, he beholds a pale man gazing at her window, wringing his hands in agony; and the moonlight shows him that this other man is his own self—his phantom double. Schubert's music, bar by bar, would fit no other poem but this gruesome tale. The music enters into the minutest details of the scene, not only verse by verse, but word by word; so that we have here an anticipation not only of Schumann but even of Liszt. In declamation, in .harmony, it is as modern as Wagner. It is the most thrilling, the most dramatic of all lyrics; and in penning it Schubert helped to originate the music of the future.

BIBLIOGRAPHY Biography in English F R O S T , ft. F . : Schubert. London, 1881 HELLBORN, KREISSLER VON : Franz Schubert. Translated by A. D.

COLERIDGE.

2 vols. London, 1869

Biography in German and French A U D L E Y , A.: Franz Schubert. Paris, 1871 B A R B E D E T T E , H . : Franz Schubert. Paris, 1866 HEUBERGER, RICHARD: Franz Schubert. {Illustrated) 1902 NIGGLI, ARNOLD: Schubert. (Reclam Edition.) Leipzig, 1889 REISSMANN, AUGUST : Franz Schubert. 1873

Essays and Sketches BACH, ALBERT B . : The Art Ballad; Loewe and Schubert. London, 1890 C U R Z O N , HENRI : Les Lieder de Franz Schubert. Paris, 1899. (Gives a chronological list of Schubert's Songs) ELSON, Louis C.: History of German Song. Boston, 1888 FINCK, HENRY T . : Songs and Song Writers (pp. 40-104). New York, 1900 FISKE, JOHN : Famous Composers and their Works, John K. Paine, editor. Boston, 1891 FRIEDLANDER, MAX : Beitrage zu einer Schubert Biographic (The same writer has in preparation an exhaustive work on Schubert) Supplement to Peters' Edition of Schubert's Songs HANSLICK, E . : Geschichte des Concertwesens in Wien. 1870 LA M A R A : Classisches und Romantisches aus der Tonwelt Musikalische Studienkopfe M A N D Y C Z E W S K I : Revisionsbericht, accompanying the Breitkopf and Ha*rtel Edition of Schubert's Songs REISSMANN, AUGUST: Geschichte des deutschen Liedes. 1874

Articles on Schubert DVORAK, ANTONIN: Schubert. Century Magazine, July, 1894. (Pronounced by Sir George Grove the best article on Schubert ever written) GROVE, SIR GEORGE: Schubert. Grove's Dictionary of Music and Musicians, Vol. Ill, pp. 319-382. See, especially, pp. 371-372 R I E M A N N , HUGO : Geschichte der Musik seit Beethoven, pp. 121-140, etc. SCHUBERT, FERDINAND (brother of Franz Schubert): Biographical sketch. Neue Zeitschrift fur Musik, April, May, 1839 For other articles in German periodicals see Grove's Dictionary of Music and Musicians, Vol. Ill, p. 373 See also article in Wurzbach's Biographisches Lexicon and in Chrysander's Vierteljahrsschrift fur Musikwissenschaft, 1893, PP* 166-185, and Deutsche Rundschau, V.ol. XXIII, No. 5 There are countless editions of the songs of Schubert. The most complete are those of Breitkopf and H2rtel and of Peters. Grove's list 1* now superseded by the lists given in the above-mentioned works of Mandyczewski and Curzon.

SCHUBERT Is there a sweeter note than thou hast sounded? Has life some primal undiscovered chord Strung to the tenser moods of hope, and rounded In that diviner sphere where Love is Lord? WILLIAM J. HENDERSON

FIFTY SONGS BY FRANZ SCHUBERT

MARGARET AT THE S P I N N I N G - W H E E L (GRETCHEN AM SPINNRADE) (Composed in 1814)

(Original Key, Dminor)

From "Faust" JOHANN WOLFGANG von GOETHE (1749-1832, Translated by Frederic Field Bullard

FRANZ SCHUBERT, Op. 2

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RESTLESS LOVE (RASTLOSE LIEBE) (Composed in 1815) (Original

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HUNTER'S EVENING SONG (JAGERS ABENDLIED) (Composed in 1816)

(Original Key, D\>) JOHANN WOLFGANG von GOETHE (1749-1832) Translated by Charles Fonteyn Manney,

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THE WANDERER (DER WANDERER) (Composed in 1816)

(Original Key, E)

GEORG FILIPP SCHMIDT (1766-1849) Translated by Arthur Westbrook

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WHO NE'ER WITH TEARS HAS EATEN BREAD (WER NIE SEIN BROD MIT T H R A N E N ASS) (Songs of the Harper, N9 2) (Composed in 1816)

From"Wilhelm Meister" JOHANN WOLFGANG von GOETHE (1749-1832) Translated by Frederic Field Bullard

(Original Key, A minor)

A d a g l O (Langsam)

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ML-633-5

39

IN PRAISE OF TEARS (LOB DER THRANEN) (Composed in 1817)

(Original Key, D)

AUGUST WILHELM von SCHLEGEL (1767-1845) Translated by Frederic Field Bullard Quasi adagio

P'ii PIANO

i

(Ziemlich

8-

langsam)

\,^-y^Mi

mH sdt

m

i

J $fixfis$ rrprffP &m I&JflS& n^fr 0 f= f

k PÊ k

FRANZ SCHUBERT, Op. 13, N9 2

*£-:

^H ^

^

£ 1. Sun

- ny

show-

-ers,

fra - grant

l.Lau

-

Liif'-

- te,

Blu

e

* ^ g

i

^

^ -

flow-

men - duf -

-ers, -

Spring fe,

a/

and -

le

g^gf jQ

Copyright MCMIV by Oliver Ditson Company

ML-634-5

40

f

g

treas-

^ j=j=£ -

. ure,

Trau -

ben

grow-ing

pleas -

Nek - tar

ran -

1

ure, - hen;

^g^>

Mer fer - ry dan dance

and

jest - er's

l?ei - hen - fan#

und

Spiel

M. igjgjjh|g M M M. i

und

B B B B B H I g=p

BS

p

t

&

rh

2t

art;

Each

Scherz:

was

£ pleas-ance is wtr

die

*$ *EJg|fgff

^

to

Sin - nen nur

^

JUlIf

E

^

m m sens-es:_Can it

the

ge - win*nen: ach, er -

f> [7- ty

sat

is - fy

the

fullt

es ^ je

das

• ^jj |

^

z£

^

*/:

lH

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^

heart? Herz,

SI

^

Can it sat a >h, er - fullt

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ss2p

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- is - fy es

je

heart? the hea das Herz?

mm *=*m i

rftjEJ? Jî^JTPl

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t;

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IT Bife £ 2.When the ten 2. Wenn ^

die

- der

feuch - ten

Si

tear - drops Au -

gen

rtf tfttf I

^g#i

ML-634-5

41

ren - der

Trib - ute to

leuch - ten

von

m

m

m

=#

p

m

$

der Weh- muth lin

-

dem

Thau,

erf &cf $

W

There dann

re - fleet - ed

ent ~ sie -

gelt,

are

de.

drin

ge-

g^£gq

§^g£4e

p^ g

K

wmr

tect - ed Glimp-ses sf>ie - gelt,

£

a sor - row-_ true,

gr~cJr~Jn

sick

of

the heav - en's

demBlick

v:i" flJ fil p

die Him

*

R; f plete - ly

g^

blick - lick

loscht es

je - ,

mels

-

Oh, how sweet

au.

Wie er~ quick

P^g crimen

55

f

"5r

-

ly

-

andcom-

WcA

au-gen-

-«t

^

Wild-er pas -

-

J^ J? J-* I

13

£ biue:

h. theii show-er r p makes O^ the

i

^

- sions then are sped, - p' f

T5r

m

fe

Muth,

m

¥ T

P

#• f

^

its droop - ing der mat -

cXJ&cicrj w

te

42

i

£

head. Muth.

.«•

P' * ' ff

9W-

fpfflpl

33

to *

P

m

i

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f= ^

^

3. Not at 4. End - less

moun - tains' long - ing,

3. Nicht mit 4. Ew' - ges

sii Seh -

- ssen -nen

-t2-:

,

&

&

^Pl m£

Did ProCover - ed

ser . fliis in Thrd

zwang und

zz: our. with.

theus un die star -

-

sen nen,

Proum

tf-Effrari 32

sern. re—

Pî

£ clay,

But with Earth, her

tears. Leim: Welt,

Nein, die

mit in

i J sad eld Thrd Ar -

tears. - er, -

nen; - men

U'. ji So firm

.

the ly

drum sein

im Er.

*4

^ ^ 1

^

P ^

Was floss

^m

ing foun . tains ing, mourn . ing,

&

me - theus wet all the earth

me g-ai

>• JUT

flow weep

SJ cu

E£-

K

-j^j^jj?! f=

W 77

m