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Funerailles 8. Miserere, d'apres Palestrina 9. Andante lagrimoso 10 Cantique d'amour Ballade No. E Major Andante con mot II. D-flat Major Lento placido IV. D-flat Major Quasi adagio V. E Major Andantino VI. E Major Allegreto sempre cantabile Legendes: St. Francois d' Assise. La predication aux oiseaux St. Francois de Paule marchant sur les flots. Gute Nacht [Farewell] 2.

Die Nebensonnen [The Rival Suns] 3. Muth [Courage] 4. Die Post [The Mail Coach] 5. Erstarrung [Torpid] 6. Wasserfluth [Flood of Tears] 7. Der Lindenbaum [The Linden Tree] 8. Tauschung Deception] Das Wirthshaus [The Inn] Der sturmische Morgen [The Stormy Morning] with Im Dorfe [In the Village]. Die Stadt [The City] 2. Das Fischermadchen [The Fisherman's Daughter] 3.

Aufenthalt [Sojourn] 4. Am Meer [By the Sea ] 5. Abschied [Farewell] 6. In der Ferne Lamentazion' [far from Home] 7.

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Gender and the First World War

Standchen [Serende] 8. Ihr Bild [Her Picture] with 9. Fruhlings-sehnsucht [Longing in Springtime] Liebesbotschaft [Love Message] Der Atlas [Atlas] Der Doppelganger [The Double] Die Taubenpost [Pigeon Post] Kriegers Ahnung [Warrior's Premonition]. Two Tales, Op. Sonata in F Minor Op. Sonata in A-flat Major Op. Sonate-Elegie in D Minor Op. Sonata in C Major Op. Sonata in G Minor Op. Marchen-Sonate Op. Sonata-Ballade Op. Nurse and I, No 2. First Punishment. Book I, Op. Capriccio in F-sharp Minor Op.

Three Preludes, Op. Allegro non troppo 2. Andante sostenuto 3. Allegretto 4. Andante con moto 5. Allegro assai 6. Vivace Sonata in G Minor Op. Allegro II. Presto Perpetuum mobile Op. Variations on "Laat ons juichen" by Graaf, K. Magnificat primi toni 23 fugues in the first tone Magnificat secundi toni 10 fugues in the second tone Magnificat tertii toni 11 fugues in the third tone Magnificat quarti toni 8 fugues in the fourth tone Magnificat quinti toni 12 fugues in the firth tone.

Muuet in G major Menuet celebre 3. Caprice genre Scarlatti 6. Cracovienne fantastique Legende No. Allegro molto leggiero e veloce III. Andante In modo d'una canzone con dolre IV. Allegro ma non troppo Affettuoso e rubato Metopes Op. Lile des Sirenes II. Calypso III.

Piano Sonata No. Four Etudes, Op. Suite in G Major, Z. T A Ground in Gamut, Z. T Air in D Minor, Z. T Ground in C Minor, Z. T Prelude in A Minor, Z. D Hornpipe in E Minor, Z. T Air in G Major, Z. T March in C Major, Z. T Minuet in A Minor, Z. T Lilliburlero. A New Irish Tune, Z. A Farewell, Z. Prelude in C-sharp Minor, Op.


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Morceaux de fantaisie, Op. 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 Schu- the 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 se- matic 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 never surpassed this song.

While generally known as a sere- Think me the angel I soon shall be—So lasst nade, Hark! See the comments on number thir- morning song. Some of the poems of Who is 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, Next in popularity to Hark!

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 com- enth bar from the end incorrectly or stumblingly. Winter Journey—Winterreise None but the lonely heart—Nur wer die Sehn- sucht kennt. Beside using helm Miiller.

They are Good Night, The Linden but a greater was destined to use them. T h e very first of these posed nothing but these, he still would be the brings us into a new, bewitching musical atmo- greatest of all song-writers. They are ineffably sphere, even if we are familiar with the other sad, like all that is best in art; and this sadness Schubert songs; and in this atmosphere we re- is partly the result of his artistic temperament main to the end of the cycle.

In Good Night, the he had no comic vein , partly of the circum- transition from minor to major at the words "Will stances of his life, and partly of the gloom that dich im T r a u m " is of ineffable beauty. The Linden Tree—Der Lindenbaum. Schubert himself did not follow the friend Schubert had been in a melancholy mood.

The Linden Tree has One morning he said to Spaun: "Come to Scho- long been a favorite in circles where its more ber'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 Spring Dreams—Fruhlingstraum. A winter songs. His friends were dum- ness, anticipation and longing, are mingled with founded by the gloomy mood of these songs, and Schubert's incomparable art.

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It is interesting to Schober remarked that he liked only one of them note that whereas in M tiller's cycle this poem — The Linden Tree. Schubert replied: " I like comes near the end number twenty-one , Schu- these songs better than any of the others, and you bert, with keener psychologic insight, makes it an will come to like them too. The Post—Die Post. With number thirteen, The opinion of these songs current in the high- the Winter Journey songs become more and more est musical circles is well summed up by Heu- gloomy. This all times, beside the Book of Job and many pas- song is in major and rather animated in tempo; sages in Ecclesiastes, the Winter Journey of the yet, as Sir George Grove has remarked, " Even thirty-year-old Schubert must be placed as equal in the extraordinary and picturesque energy of in grandeur.

Good Night— Gute Nacht.


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  7. Among the twenty- The Gray Head—Der greise Kopf. The Raven—Die Krahe. In this gruesome The Mock Suns—Die Nebensonnen. Another poem the young man fancies that a raven has fol- doleful song in a major key! Schubert in every lowed him from the town in the expectation of bar.

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    What the three suns are is not clear from dining on his body. For days it has hovered over the poem. Max Miiller wrote to Friedlander re- him — "faithful to the grave. As these two suns shine no more, he wants In the Village—Im Dorfe. Barked at by the the third, the real sun of life, to go down too. The enjoying in their dreams the things they have disconsolate climax of the Winter Journey is not.

    The hurdy-gurdy is an instrument played with a crank, but otherwise entirely unlike a hand- The Stormy Morning—Der sturmische Mor- organ, though played inthestreets. It isastringed gen. Blustering rhythms introduce a song in which instrument, and two of its strings yield an un- the unhappy youth fancies that the gray sky and changing drone-bass of two tones a fifth apart. In nineteen rapid the notes A E in the original key incessantly bars Schubert has here portrayed a miniature throughout the sixty-one bars of the song, pro- storm as perfed in its way as the introduction to ducing an ineffably melancholy and realistic effedt, Wagner's Valkyr.

    The Guide-Post—, Der Wegweiser. Sadder and melody. Though the music is thus simply a mir- sadder become the poems, more woe-begone the ror of the text, one cannot help reading into it music. The Guide-Post shows us the sign-post a bit of autobiography—for did not Schubert, which points to the "undiscovered country from also, sing on incessantly; and did not his tray, whose bourn no traveller returns.

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    Lachner saw him selling some the unchanging G of the melody during the six of these Winter Journey songs to a publisher for bars in which the lover's eyes stare fixedly at the twenty cents apiece. Here is musical realism in the high- est sense of the word. The Inn—Das Wirlhshaus. This "tavern" while he was in bed with typhoid fever. In the is a graveyard which seems to invite the weary time betweenthe writingand the printingof these wanderer; but every room is taken, and there is no Lieder he wrote thirteen more detached songs, rest for him.

    Here again Schubert has written in a beside the fourteen which form the Swan-Song major key a song more pathetic than other com- cycle and which were published as his last gifts posers have written in minor keys. The title was of course given by the The lover shakes off the publisher, but it appears that Schubert had in- snow, and tries to sing merrily to keep up his tended these fourteen songs, with more to come, courage.

    There is no connection be- a climax as can be found in vocal music. T h e tween these compositions, or between the poems, most delightful of interludes is the eight bars fol- which are by three writers,—Rellstab, Heine lowing the words "bleibet mein Schmerz. A sharp original key in the sixth of these bars is one of those strokes of genius which make the Springtide Longings—Fruhlingssehnsucht. In study of the Schubert songs a source of ever-in- Rellstab seleded some of his lyrics, copied creasing delight.

    Only in the white heat of gen- them on separate sheets of paper, and gave them ius could that A sharp have been written. After Beethoven's death they came into the hands of his friend Atlas—Der Atlas. T h e greatest calamity that Schindler. In his house Schubert came across ever befell the musical world was the early death them, and two days later he brought back three of Schubert.

    Ever to be regretted, too, is the fad of them, including My Abode, set to immortal that Heine's Book of Songs did not appear till music. Four more were composed subsequently. Heine remains T h e third of them is Springtide Longings, one of to-day the favorite poet of the great composers; the most vivacious of Schubert's songs. 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.

    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. My Abode—Aufenthalt. This is one of the nies and Wagner's operas. T h e first of them em- cpmpositions 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.

    There is in it as superb an energy Her Portrait—Ihr Bild. H o w utterly differ- as 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 be- counterpoint; 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. But if counterpoint is the art of making every voice or part in a composition melodious, 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. 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. By the Sea—Am Meer. T h e greatest of all at the house where his beloved used to dwell.

    In songs of the sea. They speak of the hands in agony; and the moonlight shows him sea at nightfall, and yet how simple the main ac- that this other man is his own self—his phantom companiment! How simple the structure of the double. Schubert's music, bar by bar, would fit song itself! The mu- My Phantom Double—Der Doppelgdnger. Just sic enters into the minutest details of the scene, not only verse by verse, but word by word; so as Wagner created not only one epoch, but two that we have here an anticipation not only of epochs in the history of the opera, so Schubert Schumann but even of Liszt.

    In declamation, in created an epoch in the history of the Lied with. It is the his Margaret at the Spinning Wheel and The Erl- most thrilling, the most dramatic of all lyrics; kingy and another one with My Phantom Double, and in penning it Schubert helped to originate the last but one of his songs.

    Heine's poem brings the music of the future. Translated by A. Reclam Edition. Paris, Paine, editor. Century Magazine, July, Grove's Dictionary of Music and Musicians, Vol. Ill, pp. See, especially, pp. Ill, p. The most complete are those of Breitkopf and H2rtel and of Peters. Has life some primal undiscovered chord Strung to the tenser moods of hope, and rounded In that diviner sphere where Love is Lord? And kiss him a - gam,. S ous wrong! Lit-tie wild rose, wild rose red, satis mit vie - len Freu - den. Said the boy "I'll Ros.

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    Ros - lein, Ros - lein, Ros - lein roth, Ros - lein auf der Hei - den. Lit-tie wild rose, wild rose red, mussV es e -ben lei - den. Hei - den. Kro - - ne cies Le - - bens. Oh, birgst du so bang detn Ge - sicht? My son, 'tis but a u. My Wind. I 3 cross wm the fields with foot - m fall 2. Im wan - deist jetzt wohl still und ist es, denV ich nur an 3.

    When 1 vi - sioned face be hold. The las, I do but dream! Du sich dirk nicht ein mal? Mir nicht, one mxr - scheKn. In Wo hist duy wo hist du, mein ge - lieh - tes Land?

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    TO Geschzyind know. Das Land, das Land so hoff-nungs-griin. Spra - che spricht, o Land, wo bist du? Ye racht sich auf Er - den. A-ban- s -don him. Can it sat - - is - fy the hea heart? When the ten 2. End - less long - ing, weep ing, mourn. Nicht mit sii - - ssen Was ser. Schooss, je - ser heiV- - gem Schooss. Jfljfljfl f? I am still young, A der Kno - chen-mann! Ich noch Jung. Kindheav'n, hear my cry, when to Magd - lein si - tzet an U - - fers Grun, es bricht sich die Wei - le mit wei - ter giebt sie dem Wun - sche nichts mehr.

    And 3. Es rin - net derThrd nen ver - geb li-cher Lauf,. There shall I rest a short still mo-ment, Un - til shall dawn the per-fect day,- Then Dort ruK ich ei - ne klei - ne Stil - le, dann off-net sich der frischeBlick; ich J3. L7 L7. Villanesca dedicated to T. Tasso 5. Andantino, quassi Allegretto dedicated to Alfredo G. Faria 6. Allegretto, poco a poco accelernado dedicated to D. Murillo 7. Allegro airoso in honor of Cesar Cui 8. Assai moderato 9. Molto allegro brillante Largo a piacer Mazurka 2.

    Berceuse 3. Lento con extasis 4. Allegretto 5. Allegro appassionato 6. Berceuse, 2. Eva y Walter [Eva and Walter] 3. Danza de la Rosa [Dance of the Rose]. Four Pieces [Vier Stuck], Op. Andante in B-flat 2. Allegro in F 3. Andante in C 4. Presto in D 5. Adagio in D 6. Vivace in D 7. Allegro in C 8. Andantino in E-flat 9. Menuetto in D Minuetto in F Vivace in F Andante in C. Moderato II. Andante III. Andante con moto III.

    Allegro moderato II. Adagio III. Menuet III. Presto II. Allegretto innocente II. Andante con espressiione II. Allegro non troppo II. Adagio cantabile III. Finale: Tempo di Minuet. Finale: Presto. Overture in Ptolomy [Ptolemy] 4. Overture in Acis and Galatea Overture in the Water Musick Overture in Esther Overture in Justin Overture in Arminius Overture in Atalanta Overture in Alcina Overture in Ariodante Second Overture in Pastor Fido Overture in Xerxes Overture in Alexander's Feast Overture in Faramondo Overture in Berenice Overture in Alexander Severus Overture in Athalia Overture in Messiah Overture in Samson Overture in Saul Overture in Deidamia Overture in Hymen Overture in Parnasso in Festa Overture in the Occasional Oratorio Overture in Belshazzar Overture in Joseph Overture in Hercules Overture in Semele Second Overture in Saul Overture in Solomon Overture in Susanna Overture in Alexander Balus Overture in Joshua Overture in Judas Maccabaeus Rondo in E-flat Major Op.

    Allegro con brio, II. Adagio con gran espressione, III. Finale: Allegro con spirito Fantasy in E-flat Major op. Allegro moderato, ma risoluto II. Larghetto a capriccio IV.