Five Mystical Songs

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Song Cycle: Five Mystical Songs
Composer: Ralph Vaughan Williams
Publisher: Stainer & Bell Ltd.
Copyright: 1911

This volume is also available for download at the Internet Archive: Five Mystical Songs

Songs:

  1. Easter
  2. I got me flowers
  3. Love bade me welcome
  4. The Call
  5. Antiphon

Notes:

There are two versions of Antiphon, one for SATB chorus, and the alternative solo version, which is the only one included here. Easter and Love bade me welcome also have chorus in them, which is simply omitted when singing them as solo numbers, with one slight alteration in the solo line in the former.

The Call is a popular number for weddings and church services in the US.

The Messiah

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Book Title: The Messiah
Composer: George Frideric Handel (1685-1759)
Editors:

  • Edited by T. Tertius Noble
  • Revised According to Handel’s Original Score by Max Spicker

Publisher: G. Schirmer
Copyright: 1912

Soloist packets are available for download below.

Transcriptions of the full score and continuo score based on the Chrysander version can be downloaded via the Choral Public Domain Library: Messiah

This edition, plus complete score and other valuable resources can also be downloaded at IMSLP: Messiah

Recits and Arias:

  • Tenor Recit. Comfort ye my people
  • Tenor Aria Every valley shall be exalted
  • Bass Recit. Thus saith the Lord
  • Bass Aria But who may abide the day of His coming? (Originally written for Alto)
  • Alto Recit. Behold, a virgin shall conceive
  • Alto Aria O thou that tellest good tidings to Zion
  • Bass Recit. For, behold, darkness shall cover the earth
  • Bass Aria The people that walked in darkness
  • Soprano Recit. There were shepherds abiding in the field
  • Soprano Recit. And lo! the angel of the Lord came upon them
  • Soprano Recit. And the angel said unto them
  • Soprano Recit. And suddenly there was with the angel
  • Soprano Aria Rejoice greatly, O daughter of Zion
  • Alto Recit. Then shall the eyes of the blind be opened
  • Alto/Soprano Aria He shall feed his flock
  • Alto Aria He was despised
  • Tenor Recit. All they that see Him, laugh Him to scorn
  • Tenor Recit. Thy rebuke hath broken His heart
  • Tenor Aria Behold, and see if there be any sorrow
  • Tenor Recit. He was cut off out of the land of the living
  • Tenor Aria But Thou didst not leave His soul in hell
  • Tenor Recit. Unto which of the angels said He
  • Bass Aria Thou art gone up on high
  • Soprano Aria How beautiful are the feet of them
  • Bass Aria Why do the nations so furiously rage
  • Tenor Recit. He that dwelleth in heaven
  • Tenor Aria Thou shalt break them
  • Soprano Aria I know that my redeemer liveth
  • Bass Recit. Behold, I tell you a mystery
  • Bass Aria The trumpet shall sound
  • Alto Recit. Then shall be brought to pass
  • Alto/Tenor Duet O death, where is thy sting?
  • Soprano Aria If God be for us, who can be against us?

PDF files:
Creating a song post at Art Song Central for each individual recit in this work seems like grand overkill, so probably only the major arias and the recits directly before them will have song posts. However, a young singer should become familiar with the smaller numbers as well. So, here are four PDF files of all the recits and arias in this edition – one for each voice part.

Notes:
This edition of Handel’s Messiah is a rather good one for the era in which it was published. It is also probably the most commonly used edition in the United States due to its low cost and wide distribution.

However, there are a number of (now) commonly performed versions of recits and arias that are not contained in this edition, such as the Alto version of “Thou art gone up on high” or the abbreviated aria and recit for “Why do the nations.” A professional singer should ultimately own an edition with the more commonly used variants. A good choice is the Watkins Shaw edition.

Messiah (Watkins Shaw) - Paperback Edition - sheet music at www.sheetmusicplus.com Messiah (Watkins Shaw) – Paperback Edition By George Frideric Handel. For SATB Choir, Piano. Baroque, Sacred, Choral, Classical. Sheet Music. 264 pages. Published by Novello & Co Ltd. (NOV070137)
See more info…
Messiah (Watkins Shaw) - Hardback Cloth Edition - sheet music at www.sheetmusicplus.com Messiah (Watkins Shaw) – Hardback Cloth Edition By George Frideric Handel. For SATB Choir, Piano. Baroque, Sacred, Choral, Religious. Sheet Music. 264 pages. Published by Novello & Co Ltd. (NOV070137-01)
See more info…

Still, the arias and recits here should be valuable to the beginning singer just being exposed to singing Messiah for the first time. And since Messiah is probably the most often performed oratorio in the USA, it behooves every young solo singer to begin learning it as soon as is feasible.

Individual numbers will be uploaded as song posts are created for them. If you would like me to give priority to a number that is not yet posted, please let me know via the contact page.

Poulenc – Le Bestiaire

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Title: Le Bestiaire (ou Cortège d’Orphée)
Composer: Francis Poulenc (1899-1963)
Publisher: Editions Max Eschig
Copyright: 1920 by Les Editions de La Sirène

Contents:

  1. Le Dromadaire
  2. La Chèvre du Thibet
  3. La Sauterelle
  4. Le Dauphin
  5. L’Ecrevisse
  6. La Carpe

Notes:
This “song cycle” of miniature songs was written early in Poulenc’s career. It is perhaps an extreme case of the disparity between US Copyright law and that of countries which base their copyrights on death dates. Users outside the US should be especially cautious to consult the laws of their own country before downloading these songs.

The edition from which these songs were taken had English words above the staff, and German words below the French. Both the German and English translations were removed for Art Song Central, under the assumption that our users would want to sing the original French, and thus removing a distraction and leaving extra room to write in IPA and/or a literal translation.

Anthology of Italian song of the seventeenth and eighteenth centuries

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Book Title: Anthology of Italian song of the seventeenth and eighteenth centuries (In two volumes)
Editor: Alessandro Parisotti (1853-1913)
Publisher: G. Schirmer
Copyright: 1894

Volume 1 contents:

Volume 2 contents: (Google Books now has a copy of Volume 2!)

Preface to Volume 1:

While in all art a loving investigation of ancient forms is an unfailing bourn whence flow the most fitting resources for the purification of taste, this applies most fully to music, which, eluding plastic realism, can readily derive from grand models whatever it may need for the improvement and development of its productions This assertion appears like, and in fact is, a paraphrase of the well-known saying of our great modern melodramatist, the sense of which may perhaps be more directly and forcibly felt in the original general form. And since the new is no-a-days growing scarcer and scarcer, its place may fortunately be filled by the resurrection of the ancient; the more, because it has appeared for some time as if such a resurrection would interest patrons of art far more than current novelties.

For these two reasons, then, the time seemed to be ripe for the present publication; and it cannot fail to be a source of real benefit to our beloved art of song, to point out a means for certain improvement both on the aesthetic and practical side.

The songs which follow were gleaned from old manuscripts and ancient editions, where they lay in unmerited oblivion. In undertaking this work of exhumation, such an abundance of material was unearthed that the task of rejection, necessitated by the modest proportions of this volume, became difficult and grievous. [Since the above was penned, the very favorable reception accorded to this first volume has encouraged the preparation and publication of a second.]

In transcribing the melodies the utmost care was taken to alter nothing in the originals, and often various manuscripts were consulted to ascertain the most elegant and correct form. Obsolete abbreviations were written out in full, and the melodies so selected that none overstep the range of an ordinary voice, thus making them accessible to all.

Further, in adding the accompaniments and harmonizing the bassi continui, care was taken to insert nothing out of keeping with the words or character of the compositions, or with the style of the author and his period; during this work constant reference was made to the models left by the greatest masters in this style of chamber-music, placed in centuries past at the lofty elevation which is theirs of right.

Having explained the scope of this publication, a few observations on the correct mode of interpreting the music will be offered. The main characteristics peculiar to the composers of the 17th and 18th centuries are clearness and simplicity of form, depth of feeling, and a suave serenity whose grateful influence permeates their entire style. The music of to-day on the contrary, is neurotic, full of startling effects and violent contrasts. In the interpretation of these ancient songs, therefore, a prime requisite is the avoidance of any exaggeration of coloris, of all strained delivery. The singing must be simple, unaffected, tranquil, legato; the tempi quiet, without any precipitation whatever; the embellishments executed with studious attention, to insure clearness and accuracy; words and tones welded to form one indissoluble whole, so that the hearer cannot fail to comprehend their meaning. The whole delivery; in short, should show delicacy of intuition and a thorough understanding of the laws of the good Italian style; it should be at once calm, elegant, correct, and expressive, yet without coldness or heaviness. No unusual powers are required for singing these ancient songs, though they demand an exact observance of the notes and directions; a modicum of good taste, and a genuine love of study, will do the rest.

Rome, November, 1885

Notes:
This is the source of most of the songs in the popular “24 Italian Songs and Arias” collection that is used by voice teachers around the world. While in many cases, the songs have been given over romanticized accompaniments, these are the versions most familar to modern singers. They were also part of the larger Arie Antiche collection by Parisotti published by Ricordi. The first volume of which is available on Google Books.

Songs from these volumes have been uploaded, though some still need song posts to be created for them. If you would like me to give priority to a song that is not yet posted, please let me know via the contact page.

Album of Six Songs by Henri Duparc

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Book Title: Album of Six Songs by Henri Duparc
Publisher: The Boston Music Company
Copyright: 1914

Biographical Preface:

Henri Duparc was born in Paris, January 21st, 1848. Comparatively late–in fact, only sometime after he had left college–did he decide to devote himself entirely to the study of music. Though no particular influence led him to undertake this step, it might safely be said that the prime responsibility for it lies with the piano teacher at the Jesuit College of Vaugirard, where Duparc went to school, and who was no other than César Franck. How this man, who was to dedicate, in 1888, one of his most marvelous works, the Symphony in D minor, to his pupil Duparc, was led to discover in the boy such singular gifts, Duparc himself avowed never to have fully understood. Their contact at the school was but slight and perfunctory. Nevertheless Franck succeeded in acquainting young Duparc with the great classic masters, particularly with Gluck, and saved the spark which he thought to see under smouldering embers. During the time he followed law courses at the University in Paris, Duparc’s frequent attendance of concerts, and an awakening realization of his talents, gradually fanned the embers into flame. Then began a time of serious and prolonged study of harmony, counterpoint, and composition with Franck. In 1869 Duparc published his first work which consisted of six little pieces for the piano. But before that date he had already begun some of the songs upon which his fame rests mainly. They form, together with the songs of his later period, the ripest fruits of his art, and will live long after his instrumental and symphonic works have been forgotten.

Up to the year 1885, Duparc took an active part in the musical life of the French capital. With his friends, Camille Saint-Saëns and Vincent d’Indy, he was one of the founders of the “Société Nationale de Musique.” From repeated visits to Bayreuth he returned an ever more fervent admirer of Wagner. The future lay bright before him, when a cruel malady necessitated his sudden retirement from public life. First at Pau in France, later in Switzerland, he has been living long years of solitude, a proud and resigned stoic, calmly awaiting the end. The whole tragedy of this life is revealed in the following lines from a letter of Duparc to one of his friends: “My songs were all published long after they were written. Eight of them came out in 1894, and the four others a few years later. When I wrote the first ones I had not even finished studying harmony, and all of them have been greatly revised and modified for publication. All I can tell you is that “Chanson triste” was begun in 1868. “Soupir” was done at the same period, and “L’Invitation au Voyage” was written during the seige of Paris. With regard to the others I have no definite recollections. Only one thing is certain, namely that all my songs were written before 1885; for since then I have never been able to compose again. Many people believe that I have a number of works in my drawer. But that is not the case; I have only a few pencil sketches which have interest for no one but me, and which I had jotted down in the hope that some day I should be able to work once more. I live to regret the things I did not do, without thinking much of the little I did.”

But what he has accomplished will suffice to place Duparc’s name among those of the great writers of songs. There is an even more remarkable force in the example which a man sets by accomplishing so much with so little.

Contents:

Notes:
This edition of these songs originally appeared with English singing translations by Bliss Carman. For Art Song Central, the English has been removed, both to avoid distraction, and to allow space for students to write in literal translations or IPA.

In addition, song titles have been reset in a larger typeface.

The French remains in italics, which is less than ideal. Still, this edition should be useful.

Echoes of Naples (Thirty Neapolitan Songs)

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Book Title: Echoes of Naples
Additional Title: Thirty Neapolitan Songs
Editor: Mario Favilli
Publisher: Oliver Ditson Company
Copyright: 1909

Editor’s Preface:

To Gather a sheaf of the songs of mia bella Napoli has been a pleasure indeed. What other city in the world has made its very life — light-hearted, passionate, or sad — so vocal in irresistable melody.

The few canzoni included in this volume are gathered from a field decked with myriad blossoms. Among so many it was indeed difficult to choose.

Some of the songs are traditional and belong to the Naples of long ago. Others are the outcome of the Festival of Piedigrotta, once a true festa popolare, later a religious festival at the sanctuary of the Madonna of Piedigrotta, but since 1860 secularized and become a carnival, noisy with songs that clamor for popularity.

To print a triple text in Neapolitan, Italian, and English was not practicable.

While trained singers are familiar with Italian, few are acquainted with the Neapolitan dialect. The latter, therefore, except in a few cases, appears only in the principal titles of the songs.

Contents:

  • Traditional Addio a Napole (Addio a Napoli) pdf
  • Costa ‘A Frangesa! pdf
  • Traditional Carmè (Canto Sorrentino) pdf
  • Biscardi Chello che tu me dice (Quello che tu mi dici) pdf
  • d’Atri Chi sa! pdf
  • Traditional Dimmi na vota si (Dimmi una volta si) pdf
  • Leva ‘E Spingole frangese! pdf
  • Denza Funiculi-Funicula
  • Traditional La Cianciosa (La Vezzosa) pdf
  • Traditional La Luisella (Luisella) pdf
  • Traditional La mamma de Rosa (La mamma di Rosa) pdf
  • Traditional La vera Sorrentina pdf
  • Traditional Lo Granatiello (Il Granatello) pdf
  • Biscardi Lu Carcerato p’ammore (Il Carcerato per amore) pdf
  • Labriola Lu Cardillo (Il Cardello) pdf
  • Costa Luna nova (Canzone marinaresca) pdf
  • Fassone Margarita pdf
  • di Capua Maria, Marì! pdf
  • Traditional Napole mio (Addio a Napoli) pdf
  • Traditional Nennella vienete (Fanciulla, vieni a me) pdf
  • di Capua ‘O Sole mio (Serenata)
  • Traditional Raziella (Graziella) pdf
  • Traditional Santa Lucia pdf
  • Traditional S’io fosse (Se fossi) pdf
  • Traditional Statt’ attiente! (Bada bene!) pdf
  • Traditional T’aggio ditto (Te l’ho detto) pdf
  • Labriola T’aggio visto! (T’ho veduta!) pdf
  • Traditional Te voglio bene assaje (Ti voglio bene assai) pdf
  • de Curtis Torna a Surriento pdf
  • Traditional Tradetore (Traditore) pdf

Notes:
Many of these songs appear with Italian and English texts only. A few have Neapolitan and English texts.

As songs from this collection are transcribed, we will likely make separate versions of each song in Italian and Neapolitan, if appropriate texts can be located. (And English, if there is enough demand.)

Songs from this volume are already scanned and uploaded, though many still wait for song posts to be created for them. If you would like me to give priority to a song that is not yet posted, please let me know via the contact page.

One Hundred Songs of England

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Book Title: One Hundred Songs of England (low voice)
Editor: Granville Bantock (1868-1946)
Publisher: Oliver Ditson Company
Copyright: 1914

I’ve scanned the low voice version, and will post it soon. The high voice edition is available on Google Books.

There is an extensive text preceding the printed music with detailed notes on each song. I may at some point transcribe that and place it here.

Contents:

  • Traditional Sumer is icumen in
  • Traditional Ah! the sighs that come fro’ my heart
  • Traditional The Three Ravens
  • Traditional The King’s Hunt
  • Traditional The Hawthorn Tree
  • Traditional Westron Wynde
  • Traditional The Woods so Wild
  • Traditional Chevy Chace
  • Traditional Of all the birds
  • Traditional We be three poor mariners
  • Traditional By a bank as I lay
  • Traditional The Carman’s Whistle
  • Traditional The British Grenadiers
  • Traditional Come, live with me and be my love
  • Traditional Green-sleeves
  • Traditional Once I loved a maiden fair
  • Traditional You gentlemen of England
  • Traditional Early one morning
  • Traditional Love me little, love me long
  • Traditional Pretty Polly Oliver
  • Traditional Begone, dull care!
  • Traditional There was a jolly miller
  • Traditional The Barley-mow
  • Traditional Barbara Allen
  • Traditional The Leather Bottél
  • Traditional John Peel
  • Traditional The Oak and the Ash
  • Traditional Love will find out the way
  • Traditional With Jockey to the Fair
  • Traditional Down among the Dead Men
  • Traditional The Bailiff’s Daughter of Islington
  • County Songs King Arthur (Lancashire)
  • County Songs The Cheshire Man (Cheshire)
  • County Songs The Derby Ram (Derbyshire)
  • County Songs The Lincolnshire Poacher (Lincolnshire)
  • County Songs Ward the Pirate (Norfolk)
  • County Songs The Barkshire Tragedy (Berkshire)
  • County Songs The Vly is on the Turmut (Oxfordshire)
  • County Songs The Plough-boy (Sussex)
  • County Songs Lord Rendal (Somersetshire)
  • County Songs Widdicombe Fair (Devonshire)
  • Byrd O Mistress Mine
  • Byrd I Thought that Love had been a Boy
  • Weelkes Cease, sorrows, now
  • Morley It was a lover and his lass
  • Morley Now is the month of maying
  • Johnson As I walked forth
  • Johnson Dear, do not your fair beauty wrong
  • Dowland Awake, sweet love
  • Dowland Now, O now, I needs must part
  • Dowland Come again
  • Campion Shall I come, sweete Love, to thee
  • Campion Never weather-beaten sail
  • Campion There is a Garden in her face
  • Wilbye Flora gave me fairest flowers
  • Benet Weep, O mine eyes
  • Rosseter If she forsake me
  • Ford Since first I saw your face
  • Lawes Gather your rosebuds
  • Gibbons The Silver Swan
  • Lawes Bid me to live
  • Savile Here’s a health unto His Majesty
  • Locke My lodging it is on the cold ground
  • Humfrey I pass all my hours (The Phoenix)
  • Humfrey O the sad day!
  • Blow Tell me no more
  • Blow It is not that I love you less (or The Self-banished)
  • Purcell I attempt from love’s sickness to fly
  • Purcell Nymphs and Shepherds
  • Purcell I’ll sail upon the dog-star
  • Purcell Dido’s Song
  • Purcell Mad Bess
  • Purcell What shall I do?
  • Leveridge The Roast Beef of Old England
  • Leveridge Black-eyed Susan
  • Arne Under the greenwood tree
  • Arne Blow, blow, thou winter wind
  • Arne When daisies pied
  • Arne Tell me where is fancy bred
  • Arne Where the bee sucks
  • Linley Here’s to the maiden
  • Jackson What shepherd or nymph of the grove?
  • Jackson To faires Delia’s grassy tomb
  • Dibdin Blow high, blow low
  • Dibdin Yo, heave ho!
  • Dibdin Then farewell, my trim-built wherry
  • Dibdin Tom Bowling
  • Dibdin The Jolly Young Waterman
  • Hook The Lass of Richmond Hill
  • Stevens Sigh no more, ladies
  • Davy The Bay of Biscay
  • Braham The Death of Nelson
  • Mellish (?) Drink to me only
  • Horn Cherry ripe
  • Horn I’ve been roaming
  • Bishop Bid me discourse
  • Bishop Should he upbraid
  • Bishop Love has eyes
  • Bishop The Dashing White Sergeant
  • Wade Meet me by moonlight

Notes:
Songs from this volume will be uploaded as song posts are created for them. If you would like me to give priority to a song that is not yet posted, please let me know via the contact page.

German, French and Italian Song Classics

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Book Title: German, French and Italian Song Classics (Volumes 1-4)
Editor: Horatio Parker (1863-1919)
Publisher: The John Church Company
Copyright: 1912, The John Church Company.

The following preface appears in each volume:

Art-Song and Folk-Song both make a well-nigh universal appeal to music lovers irrespective of the people or language to which they owe their birth, and, however rich in each kind the musical literature of any country may be, the songs of other nations are always welcome.

French songs have long gone far beyond the boundaries of France, those of Russia are used everywhere, German songs are indespensible to singers in every country, and English speaking singers are perhaps peculiarly dependent upon songs in other languages if they are to gain the breadth of view and degree of versatility which are expected from true artists.

This collection of the most notable lyrics in German, Italian and French has been prepared to meet the needs of our large and ever increasing class of earnest aspirants to true artistry. The songs are presented always with the original text in order that their full flavor and significance may be preserved and because a poem which does not suffer by translation is a thing hardly conceivable.

It is true that in the Italian opera music which was so widely used for study in Victorian days, the text is frequently unimportant to the point of being practically negligible. To cite a single instance: except for those who know it on the stage, the music of the Mad Scene, from Lucia, is nearly impersonal. The text might be pastoral or amatory without being noticeably inappropriate to the music. But in the best art-lyrics text and music are inextricably interwoven, and of such is this collection.

Knowledge and use of the three languages in which such lyrics are commonest is needful to our singers for a proper knowledge and use of their own native tongue in singing. It is therefore not in response to the fashion of singing in foreign languages but in recognition of every singer’s need of broader culture than singing in English alone can give that the original text is uniformly retained.

German songs are most numerous, as is natural in view of the high development and universal appeal of the German Lied. French songs claim a welcome by virtue of a lightness and grace all their own. Modern Italian songs of artistic importance are not easliy found but the old Italian composers have left models for all time in Pergolesi’s Nina, Lotti’s Pur Dicesti and many similar gems which seem to embody all admirable and lasting qualities which songs may possess.

Students, and teachers as well, should remember that of these noble songs each is an earnest of like treasures which will reward any diligent seeker in the fields represented by the collection now offered for their use and guidance.

Horatio Parker

Volume 1 (soprano) contents:

Volume 2 (Mezzo-Soprano) contents:

Volume 3 (tenor) contents: (The tenor volume appears to be identical in content to the soprano volume)

  • Adam Cantique de Noël – PDF
  • Bach Bist du bei mir – PDF
  • Beethoven Adelaide – PDF
  • Beethoven Ich liebe dich – PDF
  • Bizet Vieille Chanson – PDF
  • Brahms Meine Liebe ist grün – PDF
  • Brahms Minnelied – PDF
  • Brahms Wie bist du meine Königin – PDF
  • Caccini Amarilli – PDF
  • Caldara Come raggio di sol – PDF
  • Carissimi Vittoria, Vittoria! – PDF
  • Cesti Interno all’idol mio – PDF
  • Chaminade Si j’étais Jardinier – PDF
  • Delibes Bonjour, Suzon! – PDF
  • Dubois Par le Sentier – PDF
  • Fauré Lydia – PDF
  • Franck La Procession – PDF
  • Franz Für Musik – PDF
  • Franz Marie – PDF
  • Giordani Caro mio ben – PDF
  • Godard Embarquez-vous – PDF
  • Grieg Die Prinzessin – PDF
  • Grieg Lauf der Welt – PDF
  • Grieg Zur Johannisnacht – PDF
  • Handel Frag’ ob die Rose – PDF
  • Haydn Liebes Mädchen, hör mir zu (Dearest maiden, hear my song) – PDF
  • Haydn Stets barg die Liebe sie (She never told her love) – PDF
  • Jensen Margreth am Thore – PDF
  • Legrenzi Che fiero costume – PDF
  • Loewe Edward – PDF
  • Lotti Pur dicesti, o bocca bella – PDF
  • Machault Douce dame jolie – PDF
  • Massenet Ouvre tes yeux bleus – PDF
  • Mendelssohn Auf Flügeln des Gesanges – PDF
  • Mililotti Una Stella – PDF
  • Pergolese Tre giorni son che Nina – PDF
  • Raff Immer bei dir – PDF
  • Saint-Saëns Les Pas d’Armes du Roi Jean – PDF
  • Schubert Ständchen (Horch, horch, die Lerch) – PDF
  • Schubert Ständchen (Leise flehen) – PDF
  • Schubert Ungeduld – PDF
  • Schubert Was ist Sylvia – PDF
  • Schumann Blondel’s Lied – PDF
  • Schumann Frühlingsnacht – PDF
  • Schumann Wanderlied – PDF
  • Strauss Ständchen – PDF
  • Tosti Ti Rapirei – PDF
  • Weckerlin Bergère Légère – PDF
  • Weckerlin Jeunes Fillettes – PDF
  • Wolf Auf ein altes Bild – PDF
  • Wolf Der Freund – PDF

Volume 4 (bass) contents:

Notes:
This is an unusually good selection for books from this era, and songs in this collection which have fallen out of the mainstream repertoire are worth extra attention. In particular, the songs of Raff and Jensen are quite excellent.

The editorial quality of these volumes is generally high, though there are bound to be some errors.

Songs from these volumes will be uploaded as song posts are created for them. If you would like me to give priority to a song that is not yet posted, please let me know via the contact page.

Songs of Travel

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Song Cycle: Songs of Travel
Publisher: Boosey and Hawkes
Copyright: varies by song

The Internet Archive has Songs of Travel Part 2 in the medium key.

Contents:

  1. The Vagabond (©1905)
  2. Let Beauty Awake (©1907)
  3. The Roadside Fire (©1905)
  4. Youth and Love (©1907)
  5. In Dreams (©1907)
  6. The Infinite Shining Heavens (©1907)
  7. Whither Must I Wander? (©1912)
  8. Bright is the Ring of Words (©1905)
  9. I have trod the upward and the downward slope (©1960 – not public domain)

Notes:
There is an entry on Wikipedia for this song cycle.

Recmusic.org has texts and translations for this cycle.

This song cycle presents some odd copyright issues. The last song in the cycle was “discovered” after the death of the composer, and was then included by the publisher with a new copyright. (Conveniently, just as the copyright was due to expire on the original set.) Thus, the complete cycle, as it is now understood, will not fall into the public domain in the US for many years. However, the US copyrights on the first 8 songs have already expired.

The last song cannot be posted here but the complete cycle can be purchased quite inexpensively via the following links:

(In the interest of full disclosure, these are affiliate links, and ASC gets a small commission on sales generated through this site.)

Look inside this title
Ralph Vaughan Williams: Songs of Travel - Low Voice - sheet music at www.sheetmusicplus.com		 Ralph Vaughan Williams: Songs of Travel – Low Voice Texts by Robert Louis Stevenson, composed by Ralph Vaughan Williams (1872-1958). Collection for low voice solo and piano accompaniment. 40 pages. Published by Boosey & Hawkes. (HL.48009639)
See more info…
Look inside this title
Ralph Vaughan Williams: Songs of Travel - High Voice - sheet music at www.sheetmusicplus.com		 Ralph Vaughan Williams: Songs of Travel – High Voice Texts by Robert Louis Stevenson, composed by Ralph Vaughan Williams (1872-1958). Collection for high voice solo and piano accompaniment. 40 pages. Published by Boosey & Hawkes. (HL.48009640)
See more info…

La Mejor Musica del Mundo v.7

Filed under: ASC Sources

This is one of a series of posts about books used as source material for Art Song Central.

Book Title: La Mejor Musica del Mundo, volume 7
Additional Title: Edicion Filarmonica Revisada Y Ampliada
Publisher: The University Society Inc, New York
Copyright: 1918, The University Society Inc.

Contents:

  • Bach Mein Gläubiges Herze
  • Beethoven In Questa Tomba
  • Beethoven Die Ehre Gottes
  • Bemberg Chant Hindou
  • Bizet Agnus Dei
  • Brahms Wiegenlied
  • Brahms Sapphische Ode
  • Chaminade Madrigal
  • Chaminade Ritournelle
  • Chaminade Rosemonde
  • Chopin The Maiden’s Wish
  • Cornelius Ein Ton
  • Debussy Les Cloches
  • Debussy Romance
  • Delibes O Mer, Ouvre Toi
  • Duparc La Manoir de Rosemonde
  • Dvorak Gute Nacht
  • Dvorak Als die alte mutter
  • Fauré Clair de Lune
  • Förster Im Wunderbuch
  • Franck Le Mariage des Roses
  • Franz Im Herbst
  • Franz Widmung
  • Franz Aus meinen grossen Schmerzen
  • Georges La pluie
  • Giordani Caro mio ben
  • Godard Florian’s song
  • Gounod Au printemps
  • Gounod Parce Domine
  • Gounod Serenade
  • Grieg Die Prinzessin
  • Grieg Mit Einer Primula Veris
  • Grieg Ein Schwan
  • Grieg Solvejg’s Lied
  • Grieg Ich Liebe Dich
  • Hahn L’heure Exquise
  • Hahn Rêverie
  • Henschel Morgen hymne
  • Hildach Im volkston
  • Holmès Noël D’Irlande
  • Holmès En Chemin
  • Lalo L’Esclave
  • Lassen Allerseelen
  • Liszt Du bist wie eine blume
  • Massenet Élégie
  • Massenet Bonne nuit
  • Meyer-HelmundThee I think of, Margarita
  • Rachmaninow The Corn Field
  • Rachmaninow Ich harre dein
  • Raff Sei still
  • Reichardt Wenn die Rosen blühen
  • Rousseau Le rosier
  • Saint-Saëns Hear our prayer
  • Saint-Saëns La cloche
  • Schubert [sic]* Voici l’instant supreme
  • Schubert Der Wanderer
  • Schubert Erlkönig
  • Schubert Du bist die Ruh
  • Schubert Hark hark the lark
  • Schumann Mondnacht
  • Schumann Der Nussbaum
  • Schumann Die Lotusblume
  • Schumann Die Beiden Grenadiere
  • Scaramuzza I love a flower
  • Strauss Die Nacht
  • Thomas Une nuit de mai
  • Tchaikovsky Nur wer die sehnsucht kennt
  • Wolf Verborgenheit
  • Alvarez La Partida
  • Bourgeois La Veritable Manola
  • di Capua O sole mio
  • Ferrari J’ai tant de choses
  • Fontenailles Obstination
  • Gastaldon Musica Proibita
  • Lemaire Vous Dansez, Marquise
  • Rothschild Si vous n’avez
  • Tosti Thinking or Pienso (English and Spanish only)
  • Tosti Ideale
  • Tosti Quisiera Morir (English and Spanish only)

Notes:
This appears to be a spanish language edition of “The Worlds Best Music” which was previously published by The University Society. The selections strongly reflect both the prevailing taste at the time and the proclivities of the panel of editors, which included Louis C. Elson and Victor Herbert.

Many of the songs in this collection are essentially unknown to modern audiences, having dropped from the standard repertoire, and often with good reason. Yet, there are also some wonderful songs to be discovered.

The volume does not appear to have been aimed at a scholarly audience, and has some significant drawbacks. Nearly every song has English as the “main” language, even though the prevailing aesthetic (in the USA, at least) is now to sing songs in their original language. In a few cases, the original language of the song is not even included.

Occasionally, other editorial choices were out of line with modern practice.

There are also errors in both text and music, though they don’t appear terribly often.

Nevertheless, the printing is generally clear and readable, and there is a nice selection of well known songs and forgotten gems. Songs from this volume will be uploaded as song posts are created for them. If you would like me to give priority to a song that is not yet posted, please let me know via the contact page.

*The song “Voici l’instant supreme,” here attributed to Schubert, is, according to the Neue Schubert Ausgabe, actually by August Heinrich von Weyrauch.