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ALBAN BERGJUGENDLIEDER

BAND 1/ VOLUME 1(1901-1904)

23 AUSG EWAHLTE LIEDER23 SELECTED SONGS

H erausgegeben von / Edited byC hristopher H ailey

UE 18143

UNIVERSAL EDITION

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PREFACE

The Alban Berg collection in the Austrian NationalLibrary's Music Manuscript Section includes a sheaf ofmanuscripts whose folder bears the following inscription:

Songs by Alban Berg, composed autodidacticallyin his early youth. He expressed the wish that theyshould n eve r be published. I ask that thiswish be respected. Helene BergIf posterity tends to pay little heed to such requests,

then this is less a mark of disrespect than the outcomeof an understandable desire to learn more about theearly development of a great artist. It goes without say-ing that the work of a young, musically untutored andsomewhat effusive dilettante cannot be measured withthe same yardstick as the output of a seasoned musician,let alone the mature creations of an outstanding com-poser. On the other hand Berg's early compositions - al-most all of them songs - are so intriguing and so in-herently self-legitimizing precisely because their formand content are attuned to his gifts, his skills and hiswide-ranging interests at the very beginning of his careeras a composer. These songs; then, provide valuable in-sights into his early approach to music.

This approach to music - and indeed to art as awhole - had been moulded to a significant degree by thedomestic and social milieu in which Berg grew up. Hisparents, who ran a bookstore and art shop as well as animport-export business, were supportive of their fourchildren's cultural and intellectual aspirations and them-selves moved in artistic circles in Vienna. Both in thecity and at the family's summer estate "Berghof" be-side the Ossiachersee the young Alban Berg was broughtup in an atmosphere which was highly conducive to thepassive and active pursuit of the plastic and performingarts.

Music appears to have played a particularly prominentrole in the Bergs' family life. Alban's brother Charly(1881 - 1952) was an ardent Wagnerite but was alsofamiliar with the contemporary musical scene. He had apleasant baritone voice, although his renderings ofoperatic excerpts and songs by his favourite composerswere notable more for their enthusiasm than for theirvocal finesse. Berg's younger sister Smaragda (1887 -1954) was an extremely gifted pianist (she is said to havestudied with Theodor Leschetitzky) and frequently play-ed piano duets with Alban or sang to his accompaniment.Alban himself received his piano tuition from a lessaugust personage - his governess - and showed nogreat aptitude at first, although he shared his sister'sdeep love of music. That he did not begin composinguntil relatively late is indicative both of his slow de-velopment and of the great diversity of his interests,which embraced every manifestation of art, literature

and technology. At this age, as in later life, he devotedhis leisure-time to the indulgence of his intellectual pre-occupations.

It was not until early 1901, shortly before hissixteenth birthday, that Berg appears to have been per-suaded by his friend Hermann Watznauer to try his handat composing. Watznauer, ten years older than Berg, hadmade the latter's acquaintance in 1898. He was himselfan avid though untutored music-lover. After the deathof Berg's father in March 1900 he came more and moreto assume the role of a paternal mentor. Because it washe who sought to cultivate Berg's evident musical pre-disposition and thus exerted a decisive formative in-fluence on him, Watznauer may be regarded as the youngBerg's "teacher" in an intellectual and aesthetic sense.

The songs contained in the present selection date from1901 - 1904, during which Berg attended the sixth andseventh classes of secondary school (he had to resitboth). These were years in which he grappled with asuccession of bodily ailments and bouts of depressionsomewhat reminiscent of the tribulations of Goethe'sYoung Werther. It is worth noting that his first real pre-occupation with music coincides chronologically with theonset of his academic and health problems. During thisperiod music will have been a source of consolation andescape for him but was probably also the root cause ofhis difficulties.

It would seem that Berg initially regarded his song-writing merely as dabbling. The first three works werewritten in the spring of 1901, a further seven duringthe spring and summer of the following year". In thecourse of the 1902/03 school year and the summer thatfollowed he composed fourteen songs, while anotherseven date from his last year at school, 1903/04, at theend of which he at last passed the matriculation ex-amination. The summer of 1904, a final respite beforeprofessional life was to weigh him down again, saw thecomposition of three songs, the last of which, "Grab-schrift " (written in August 1904), bears a dedication toHermann Watznauer.

When Berg took up a post in the Lower AustrianGovernment Office in October 1904, a new phase of hislife began. But the same month brought an occurrence ofinfinitely more far-reaching consequences - Berg's en-counter with the man who was to guide him back tomusic and far beyond the world of his early songs:Arnold Schonberg.

Because most of these early songs are undated, special im-portance attaches to Hermann Watznauer's Berg biography(1927), which the composer himself corrected together with thecatalogue of works.

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THE SONGS

If Berg turned to the genre of the song for his firstessays In composition, then this can be explained byreference to a multitude of factors not only in thehistorical context but specifically in Vienna, where thetradition of the piano-accompanied 'Lied' had establisheditself even before Schubert's day and remained a stock-in-trade of concert programmes during Berg's lifetime.The 'Lied' also featured prominently in domestic music-making and, like piano duets, poetry recitation and play-reading, constituted part of the typical middle-classentertainments of the day. That the composers livingand working in Vienna at the turn of the century - menlike Mahler, Zemlinsky, Schonberg and Schreker butalso Kienzl, Bittner, Lafite and Marx - devoted astrikingly large proportion of their output to the 'Lied'is indicative of the degree to which this genre wasfostered here.

The three dozen or so songs which Berg composedbefore he began studying with Schonberg provide clearevidence that he was aware of and receptive to thevarious impulses being generated by his musical environ-ment. These works contain motivic and harmonic featureswhich can be traced back to Berg's Viennese ante-cedents - Schubert, Wolf, Brahms and Mahler - andthere are occasional reminiscences of Schumann, Tchai-kovsky, Grieg and Strauss. Despite this unmistakableeclecticism, however, Berg seldom lapsed into the directplagiarism or posturing which so often prove a pitfallfor younger aspiring composers. On the contrary, thesesongs are remarkable for the sheer diversity of theirstylistic ambitions, and they attest to an exceptionalfertility of invention. Clearly Berg had already assimilatedsuch a wide range of musical impressions that he wasarticulate in his predecessors' language and idiom, evenif his use of it was not unfailingly original.

The songs written up to 1904 are for the most partthrough-composed .or in a much-abbreviated ternaryform which Berg varies and adapts in numerous dif-ferent ways. He makes frequent use of changing timesignatures. His harmonic idiom displays a certain sophisti-cation, although it is at times rather self-conscious; andover the years chromaticism, which first appeared in asequential guise, became an increasingly prominentfeature of these songs. From 'the very start Bergomitted key signatures, but this is more the result oforthographic inexperience or a certain nonchalance inhis approach to notation than an anticipation ofatonality. The early songs are without exception firmlyrooted in the tonal system. In several of the songs,though, Berg makes use of continuous modulation or, onoccasions, of a tonality which evolves in the course ofthe piece, pursuing a goal which turns out to be a remoteand barely anticipated key (for instance, in the alterna-

tive ending to "Vielgeliebte schone Frau "). In generalBerg appears to have encountered the greatest dif-ficulties in the endings of his songs; they producedineptitudes which were sometimes to mortify him later,like the closing bars of "Am Abend", above which hewrote his own comment in the autograph: "Bad!"

Berg probably composed his songs improvising at thepiano. The technical demands made on the pianistseldom exceed his own capabilities, although here andthere the fingering or the notation suggest that heattached greater importance to the elaboration of amusical idea than to the exigencies of idiomatic writingfor the piano. Almost from the start we can observeBerg's concern with allocating a certain motivic si-gnificance to the piano's accompanying figures, de-veloping them through variation and rounding them offin interludes and postludes. Explicit onomatopoeic de-vices occur seldom (one exception being the thunder in"Grenzen der Menschheit"). But Berg is extremely adeptat using motivic transformation to lead into newphrases or sections - as for example the augmentationof the principal subject in bars 29-31 of "Spielleute " orthe harmonic and rhythmic elision of a cadence to markthe return of the introductory figure in bar 8 of"Schattenle ben".

While the piano part is the dominant musical partnerin the very earliest of the songs, the vocal part soonbegins to develop a rhythmic and melodic independencewhich is far more reminiscent of Hugo Wolf's de-clamatory, recitative-like style of songwriting than ofBrahms' judiciously fashioned melodies or of the quasi-folksong cantilene practised by some of Berg's Viennesecontemporaries. On occasions Berg's expansive dictionsounds almost operatic or symphonic, but with the ex-ception of "Liebe", whose accompaniment takes onsomething approaching orchestral dimensions and co-loring (the "third hand" from bar 18!), Berg never losessight of the genre's dramatic and declamatory limitations.

Where Berg's choice of texts is concerned, it wouldbe fatally easy to weigh up the poetry that has survivedthe test of time against that which posterity has con-signed to oblivion and to detect .early signs of a dis-cerning literary taste. Yet such conclusions are alwaysquestionable, and never more so than in the case ofmusical settings. The composer tends to select whatsuits his purpose. Although Berg chose mainly con-temporary poetry, the verse is suffused with the ethos,the diction and the attitudes of the romantic age. Theworld it evokes is one of vacillation between ethereallonging, a morbid fascination with death and ecstaticoutpourings of love - a world, then, which exactlymirrored the spiritual and intellectual patterns of Berg'sown turbulent youth.

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Berg was later to dismiss his early songs as beingof no lasting worth. But precisely because they werecomposed without the slightest trace of a guidinghand they are valuable documents of his spontaneousand as yet unfalsified approach to a musical genre

which enjoyed a high standing in his native Vienna.In his earliest songs we can gauge the degree towhich Berg had been moulded by his musical en-vironment - at a stage when he had not yet begun toreverse the process.

THE PRESENT EDITION

Some eighty early songs by Berg have come down tous. Eight (the first version of "Schliefse mir die Augenbeide" and "Sieben friihe Lieder") were published duringthe composer's lifetime. The present selection consistsof two volumes containing 23 songs each. Volume I ismade up of songs dating from the period before Berg'sencounter with Schonberg (1901 - 04), Volume II ofsongs written during his studies (1904-09).

The present edition is based primarily on the auto-graphs in the Austrian National Library's Music Manu-script Section (F 21 Berg 2, 3). Manuscript copies - eitherby Berg himself or by Hermann Watznauer - exist ofsome of the songs. When textual problems arose (for in-stance in passages emended or changed by Berg) theeditor consulted these copies. Where there was a choice

between two readings, the alternative reading is givenin the form of a footnote. The orthography of Berg'searly songs betrays a lack of tutoring and experience.Obvious errors like incorrect or omitted clefs and keysignatures occur fairly frequently and have been silentlyemended. More significant additions on the editor's partare printed in square brackets. Where the song texts showminor divergences in the autograph from the printedoriginal they have been corrected; only cases of obvious-ly deliberate changes to individual words or the punc-tuation have been left as Berg wrote them. Where Berg'sorthography is questionable or idiosyncratic, it has beenbrought into line with standard modern practice.

Christopher Hailey

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2 Jugendlieder(1901-1904 )

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fI, .e J . . . . . . . . . . . . . . . . . . " c . . -p gleichnuifiig r r i f~ . , . . , . ~ . , . . , . l' . , . . . , . . , . . , . . , ., .. .2

pp

4 6, )e J . . . . .Wenn der,e J vc.. ,!1i w r [3J--' 3 . , v,"" ~.f f p~ . , . . " , . . , . ~ f u 9 . . fF ; . , . t\ b~ . , . .,. 1 .11; . , . . , . - . , . . , . . , . . , . . , . .pp

einfach stringendo7 If 9,

e J 1I" . . . . ~. . . . . . . . -ur - al - te hei - Ii ge Va - ter mit ge - las - se - ner Hand 'aus,. , . . . . . . . . . . . . . . . . . --- b~~ " r O !~pp ~~.,. - =J > e - ~~e- . , . . , . . , . . , . . , . . , . . , .r itard,

1 0 /I - - = 12 - - = = = .e J , , - . . .. 'I- I Irol - len -den Wol - ken seg - nen - de Blit - ze ii - her die Er - de, I Ie J . . . . . . . . . . . . . . . . 'V~ ~ I"'" -f if

at ~I n )n b~g: at .---!!I . , . . , . .,..,. l' . , . " 1 " 1dump! . , ' 4 i marc. )mlrc.dump!s c.::: .. ; .... ~= : : . , ' _ - .~ .s.~ E:' :-: :..:; ~-

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ts = = = = -\ - 4eJ sat. dann kuss' ieh den seiaum - nes, I I it- J.I~""" , ~~ .eJ c.:.J " 1 D L " 1 D I vall - - - - - - - - - - ~ ~--:---.... ~~ - . . . . . . . . . V - - - ._ _ _ _ - - - . . . . . . . . . J

15

17 18 - = = = = =kind Iieh - en Sehau - er t reu In der Brust.

19 20 lebhafter, -eJ . . . .-:

Denn mit,---~e J I IJ~ - = -

P t9 ~B f:::9. . ~ . . ~ . . 1'" ~ . . . .n1 J r.~ " 1 )D1 J gleicluniiflig ~- .-&- - - - -

'I

22 f 21 '4J - . IGiit - tern soil sic h n ic ht mes - sen ir - genu em1\ I I I

e J U1 ~1~IU1 t U " 1 ~U " 1 ~ ~ " 1 ~) \~~n ;f L r I J " 1" "

UE 1S143

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1 7drdngend

=r----, 26illl {J1 F

\ lensch . Hebt er sich auf - w.ir ts und

27

~ 1 r c r c r t ~~ ~~he - riihrt mit dern Schei tel die

II ~ ~ . _ . ~, b . t : : ~ b i.. .e l p~ f; . : - . . . ~1 ~ ~ ~ ~ ~ b ~ ~ e . ~ ~ ~ ~~ ~ ~ ~ ~ ~..

sostenuto! _ 2 8I~ ~r 29 J 1 1I JSter ne, nir gends haf - ten dann die un - 51 - chern

32 ,----3 ---, 3.1 34

Soh len, und mit ihm spie len Wol - ken und Win de.

markig35 36 J7

er mit fe sten. mar ki - ,I!en

lE I' I..J

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, 38 3\ 1 -In

el - .- .- .- .- II '* '* . . . 41 - '*no - chen auf der wohl - ge - griin - de - len dau - ern - den Er - de.~~,.!: ~ = = . . _ ~~ I > ~ : : b . . ~~ , Ibf; e"I - - - - - - - - -il l~~~~ ~ b~~ ~~11'" _ . . , . . . . . . . . . ,. , . . .~ ~~ ~ . . , . .p 1 > : ~ -

41 3 4 43" ,-- --, 2. , # vreicht er nicht auf. nur mit der Ei - che 0 - der der Re - be

J I I I. , V(r) Uc : . . r D c..r D ' ~ ~ l.....J II W ~marc. lb.- I I ! - ~ ~ * " .. . . I... II.,. 44 45 46" .. , l' II' I I rr

sich zu ver - glei - chen. Was un - ter - schei - det Giit - ter von Men - schen?I I I . -el L . . . . . J ~ v~ D c : . . r ~ "t::. .. r D ' ~~# 1)# I1 w jro" q 4 _II,. -- I" ~ 1 /

, 47 .. , . , ~. I I' rDaB vie - I e Wei - len yor .Ie - nen wan - deln, ein,

. , ~~ ;. b i I~~1i 'i . . b V" .- . . !t n..~ ~ * " ~ 11'" ~ -I-It)

UE IS 143

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19

50 5 1_1 .- 53 .eJ I I

e - wi - ger Strom: Uns heht die WeI - Ie, ver -- I .j I ~ I"~- ~ , . .f1 P""'" I fI '-e J ! f ' t I c:.I I D InI .Dn 'I J fI'- fI '- ~ ~ ~ ~~-.

I - - ~ - - - ---....J54 55 56 57.

e J - - " 6- . .schlingt die WeI - Ie, und wir ver - Sill - ken., f:) I n - I " . ~ .J - ~ I . . ._.....r1 'f I '- 'fI '- ~ ~~ ,J) ~ ~~ ~ ~~ . . . ~~

~ - 4 J ~

58 69 0 61

, . . . . . . b . . . . . -.f . . i~~- . t _ . . . J I . . ..*~.. 7 b = t _ 7 -Ein klei-ner Ring he - grenzt un-ser Le - hen, und vie - Ie Ge-schlech - ter rei - hen sich dau - ernd

19 - b f ' : ) 19 - ~n 19 - bn L I b J ;~; ~-I I

~~ ~ V ~ -0 CJ

62 63 64 6I 5 66 .e J ., - - - - - - T T Tan ih - res Da - scms un - end - Ii - c he Ket - te. f':\

~ a~I= e ~~ -I.H. 1 '1 n ~ n: ," '~ # J ' - = ~ - - .7; n J .1 ( d \ )) r~ :! nl)dJ'I.D . D"1)J~~.~. ~ \ " 1 r .) li-) ~ --sN : J ) ~ ~bt- - .r r . 6 J . ~ . . . \;.I

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8 . Vielgeliebte schone Frau( He inr ic h He ine ) f - _ . . .Andante

" . 3 4.> Spat herhst bel, kal te- nc - -

, I I, eJ - - - - - - - -1\ ~ I ' " I '" I ~ "t .r r r r r

5

bewegter6 7 8 I 9 to /I

J I I'Trau - me ii - her - flo - ren Berg und Tal;

~ .>: - > -,j I 1 F . . . . . - I r;;I f lr~rrrr > > - - - - - - ~ --------- I. " "- I ~ 1\ ' " r r r r r r

2 21 '2

CoOyroghi 1985 by UnIversal EdItIon A.G_. W,,,, UE IX 14J

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21

, 23 24 25 26 27 28

eJ "tr.i - n e n g leich - sam schut tclt er sein g r ii -nes Haupt.I ~ ~~ -.. >

e l . . _7I . .~ . . . 41- I . . b r r : . , , - - r -olto c r e s co .'if1 0. 1 0. I ~ I I\. L t . b a . . . L ..A ~ ...v r r r r > ~ -~ritard.f 30 - = = = = = = = = = ff = = = = - - - = = : : : : : : : : = = ff = = = = - 31 32 p zart33

Ach m ein Ilerz gleich t di e ser Wild - nis ulld der Baum, den ic h dort sch au ' som-mer - gr iin, das

*) ritard.3

LargoII 4 '0 '0.e l . . . .ist dein Bild - illS, vie I - ge -I ieb - te schii - ne Frau.

{.\.II _ , I . , I I . . . . .~. ~n. ..eJ 1 1 _ ~ flf : : : : : = = - -= - = p - = = : : : : : : :::::=-ppp

I f\ ~ " 1 i I f\ marc . . . . . 1 \ . {.\.r f t F " r " 1 - -

35 1 6 37 38 (.\...---..... ..---..:.:::...

*) Eine andere [spa tere P] Lesarr lauterIn a different [later?] reading'

ritard. Largo 17 38 r.,

I" 34 35 36 ~ ~.0) . .ist dcin Bild- nis. viel gc-licb tc SChli nc Frau

. , . . . . . . . , r.,~ .11oJ b J : .,; - - f = = = = - p - = : : : : : : : : : : : : : : = - P I' PI" ;:, 0 1 ' : r.,

r ~ ~ F ' + + r II ; - -, , - -I I I = " ~ ,, 1. .. 1 ~

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22

V 9 . Sehnsucht II( He inr ic h He ine )Langsam, ruhig, - -.

.J Mir traurn rig und diete: trau - schau - te der Mond, trau - rig schie - nen

,I ..e) - ) . .. ) ) Ipp - = = = = -pI I

.J . . . . . . . . . -

2 3

ritard.~ 4 5 6 7eJ ISter - ne: es trug mich zur Stadt. wo Lieb - chen wohnt, viel hun - dert Mei - len

j J J J I I I I I Ij . , :> ~ :> K ~ 1 . H'--' "-marc. '--j,eJ . . . . . . . . . . . . - - - . . . . . . . . . . . . ..,; ..,; >> .......

a tempoj 8 , _L - -el fer Es hat mich zu ih rem Hau ge-fllhrt, .' h kiiI3 die Stei derne. - - se IC - te - ne

, I I .i. 1 I I -I IJ - . . . . . . .- ill pp immer leidenschaftlicher - -. . . . . . . . - ~ Jla_ b . .I I t " "

9 10 II

Copyroght 1985 bv Un,,,eual Edillon A.G.W.. n UE IXWJ

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23f dimin, ritard.1 2 14I - 13~ 15

e JTrep - pe , die "ft ihr klei - ner Ful.l be - riihrt und ih - res Klei - des, : ; ; : - > I I j I

e J I I I I 4....:.4 . . ., ]_ . . 11i ' - ..- r ~U~> nicht zu stark = -P - ~ - J. . . . j,~ 10 L.Tempo I, 6 .

e J I'" I'"Schlep - pe , Die Nacht war lang. die Nacht war kalt. es wa - ren so kalt __ die_, J -m ..eJ . . . . . . . . . . . . . ~ .... Ipp

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24

10. Stemenfall( Ka rl W i lh e lm )

Langsam, 3. .. , IMei - ne Sehn - sucht ist zum Licht In die Nacht em - pOT - ge -

I Imarc. I I I It . .. , p r r r D ~ r r r ~ 7 r r r ~t '1 J ; ; ) I I I 1 '\ J I. J ~.

'U lUI

2

_l 4 5 ~- 6 _ . - - - - - - - - . . . . . .. .. ,stie - gen und sie wan - delt scheu und sacht, __

J I I I ~i I I I r = i l I. . . , r r r D " I I I ~ I I T D1 0 ' , ~ ~ a ~a, -

7

Tempo I8f 9L _ _ _ . . . . . . ~ .

el . . . . -o im blau - en Meer_ der Nacht ih - re gold' - ne n_l_~

--"!!!! I.,...-"'1 - - - L. . . . : . J ". - I 41 -- f~ __ ~~ ~--~~, 3 . . 3

@)Copyright 1985 by Universal Edillon A.G .Wien

UE 18l4J

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25

I 10 1/ - - - 12.e J Tn - seln lie - gen.

" . . .e J ~ . . :& ~~ . . . . . . . . . . . .~~~ ~ -fL ~ ~ ~ marc.I 3 J 3 ~.~ 313

mf schnel ler, 14 15eJ I'" " "Mauch-mal lost SIC mrr LUI1l G ru - Be el - ne Sil - her - fa - ckel dro - be n_ . . . . , - , . . . . . . . . . - ,. .eJ ~ . . . . - ~ - - : r J . . . 1'''1 - - ." ~PP ,. . . . ~ ,

16 i f I7P 18 PPfl . .eJ . . . . . . . . . . r ~ r I'"

mc - de r zuckt ih r grii - Bend Lich t, se - lig heht sidi mem G e - sicht unci ie h w in - ke stum m nach, a- . _l f.'.. , . . . . _, , . _ _le J I I I ,. ,. ' . . . . "~ . . . ~if b. ~. f.'.. , = = - - = - - I 1 r - -" 1 9 20 11 }.. , f.'..

eJ hen.-II I " - I ~ . . f.'... . .. . .e J ?:f~r;J I 'U'. - - I--'UJ~~ -fL --r:. ~f ~ PPP3:;;... ~ J - - - ~ i I .

LF l'I-lJ

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26 11 . S ehnsucht III(Pau l Hohenbe r g )Lento, , ,

eJ -,----,...".;j: 1 1 n -~ .. ;j: .~ ~\Venn _ die Nacht sich i. i - her die Welt senkt mit denI

eJ T1'U' .... ;j: 1 1 lU ,. .., ;j: ~j _ b ~ d I J fl. _ l i d I..\ -

J 4

6~J) } I J J 8I J J J

seg - nen - den Schwin - gen, dann er - wachr das Seh - nen in

' " -. I I.It 6-' 'U~ r~ r ;r f ~-e- 'J~J _ b n II 11 If - = i - .'-- ~. I I . . ~

immer schneller und starker

I rmr. ~:".licht mehr kann _,.--3---,

">~ ~ ~ ~ ~ Iieh's he - zwin gen. Dann er - wacht' _ das Seh-nen in, - -

el -& ., '* ~ ~________~~~!7______________Ur ~ ~! : > " " ! > -t- --t-'- -

4 1; 1 1 . . 1 1 . . ~ - " . . ~ff l e idenscha f t l i ch15 JV~r' ~ I [' ~~ ~~ ~ Ila gen. wo ic h dcr Lie-he Leid und

1.11 ' . i t~ t J ~ ' ~ J d~> > > > ~~d- --ill ~F- 11~ ~ ~ r _ , . . , . . . .~ ~r ~ ~ ~ ~ ( - ~ ~ P I ' P I' \I' ~3 _I . . . . . . . . . . . , . . , _ f ~. 1 r 1 b 1 ~ o~ = :1- ~ . - . : ; ; ~~ ~~

@CoPYCIght 1985 by Uruver sal Edlt,on kG ..W,en[IE I~143

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27

1l_ 16 17 " " " " ' " 18.eJ Lust ~1 1 1 dern Her - zen ge - tra - gen., ~t:J t J ~ifJ '1 j ~H~ ~ J ~ k~~ ~e) (~.~~~ ~ (..~.i . . ~ ~ (_ II-*~ '" ~ . . , . )'~~ 1r1(J~n 1r"1':J~l!~u ~ !+-~ P'

ritard. Tempo Ip 23 f19 20 21 22

Ii ~pq~~~~~~ - #~"... C7 .-r:JJ : ' : J ~ ~ . r . 1 . : 1 ' : ] Wo ich cin leuch - ten - des Ster- nen - paar sah, ~)) ;; ~ . . . . , ~ ~S " " .r .H. p - = : : : : : : : : : : : : : - p .~;;J.mf = r"'1r r11:1 r:1~J ~ .H~ r H~ I "I * r " r 'I .r

, 24 25 26 n 28.t ~ ~ .,~ ~ II" II"

in mem Le - ben schei - nen, teu - res Liebl Wenn ich da - ran den - ke muss ichj ~ I I Ie) .~. ~ -. t ~~-.~ . . . . ~ ~ J ~?;r .- ~r1I> >> ' ~ d I I .. Ju 1 9 - . Ir

= = = = = = = = = - p r itard.pp2 39 () 31 32 33 ... . . . . . . _ _ . ~ .- ~ ~- ~wei - nen, so bit - ter - lich wei - nen. t:\, .l!.~. . ;;~ - - - _ _.~. - ~ ~.rlciCht_.. I - - ' j J~ ill _ . , . ppp t:\ . . ~ i ~ ~ 4- - ~-9 . _

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28

12.Ich liebe dich!(Ch r is ti an D i e tr ic h Grabbe )

Ziemlich langsamII -. , - ' ; : / - ; 1 . / ' " ,.

Wie ein Gold - ad - le rmarc. , : , :.La. .

~ . , . ..~. I . ,. .f pol terndlkI

- . . . . i D_ i : : : ; i : : : ; . . 4 . . . . . .4 5 6

. , . .reil3t del' B litz sich lo s vorn Gip - fel des Hirn-rne!s; de r..- - - - - - - - . 8- - - - - - - -. . , b~: , : ~ . : . :I ~ . : ..~:j . . . ... , I V~ marc. p~ ~~~!t~t: I/l_ _l_t 1~ i .ctfi "1;- ... - > = > . , = ~ :: ~ :: . . .. . ~ . . . . .

8 9 10 II

el I "- . .Eich - w ald s tu rzt v ( ) r ihm z u Stlllh_ 1I1ld f l.unmt d.. - hei em - por 1 1 1 se - Ii -IJ: ~ . : 8----------" bil: . : bil: f:, , : b!i'-' ' ; . . 1=-. ~ t ~ .. , p

~marc. i f i f ~fe : ~ e : ~ ~t- t ; ; ; , - _ r- ~ ~ b. , . . .l!. _ _ . l-. ~ - .= - bj i i > i > ~i > ii >~

@)Copy"ght 1985 by Univer salEdItIon A.G .. WienUE 18 a .u

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2912 13 14.,

g e r Ver - nich tung. So sink ich hin zu, ! : ~l: b~; b b f : : r L 1 2 :. . . ~ ~: 1 1 - . . .xf ,~ b~ e ~~ ~~ ~ r: ~~ ~ -,L b; r- L I;: l-> b i ~ . . . . . . . ~ . . . . . . . . b~ ~ " " ' ~ ~c : . , . . . . . . .

/5 16 17

.l . . ". . * " * ~. . . .dei - nen Fii - Ben, Weib, und jauch - ze laut, daB~t ~ J . ' " I 1 \ ~:. .l /~. " ~ b~ b~ klar marc .b~ I . . ~. . . . -b~ ~ - ~ - . . ic : , . . . . . - -

1 8 /9 20,dich liech be. 8- --:

I ... ~ .. II\". . : ~. " ,: " . : . . ~ . . ~~ ~~ ~ # ~- D #~ ~ # - = - -~ i n_ i i # ~ . j : t I I . . . . i__/t~ -

rit.21 )) 23 '4" - - -, -#!~: , , ~ : .L L ~#J: I I_: 11~~ . . . .~~ # i r j: # ; : # ~ ,, - f T _ .~ r--~ f -. . _ . J . . L _ 11 r-- - _ jJ , _

4--......! " tf- Ii- i " " ~. # ~ . ,8 .J

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30

13.F erne L ieder( F ried ric h RUcke rt)

LargoI 1 2 3 4.. , . . . . . . . . _ _ . ~

Ro - sen! E in Zy -, I

(I . ,~~ ~~ &4 J J ) &4 J J ) ~J_ ~),r~l.r r-~U - - - - - - - - - ~ p = = = = U, ~ ;:- - - - - - - - - - - - -

, 5 6 7 8.. , .. - - - . ~ . . . . . . "pres - senhain t al - te Brull - nen f1 ie - Ben. Auf dem M eer In A - bend-,, . , - & 4 t . , r r~- ~}_ ~I'I ~ ; - . . . . ,. . " 1 &f I }I . .~--- -~~. p . f:; ~. ~ " 1 ~. ~. ~.

ein wenig schnellermf

rit.

[a tempo] 10 1/ 12, I 9 ~ I schein schw ar - ze Schwal - he n schie - Ben._l vall >I . , . . L _ r . ." 1 ..r1 " 1 . J i "1 J J & f .~ ) . . J J & f 1-----. r F-. r r ~ r ~ ~. i ' ! "@Copyright 1985 by Univerul Eciolion A.G .Wien UE ._

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31/J 14 /J 1 6

sanft~ ~ ~!:-

r - f .n p & f J J ~ pI '1 J J ~ ~ r .: -lJr----l,f c.-~ . . . . -

gehalten17 18 19. -us der w ei - Ben V ii - la dringt . .D - 3~ ~ ~ ~ ~ ~~ ~ ~ . . . .

]- :1 f ~ ' l IIIr . . . . L ~ ~ V

rit. etwas lebhafter}O 22I. 21 13-3--,. .I" - - - - - . . . . -ei - ne sanf - te K ia - ge : E i - ne Frau . d ie sp ie lt L u nd sin gt

t Ii i ' I I " 1 t t.~~~~ t .I

~ 71 -1 ~J.. I I " r i~ e ~ I J- - t..-~ *' t_..J..---rit.

24 '5 --==--20 '7.. . . .. -ie - der an d - rer T a - ge .jD~J )) ~ ~171 1\~ > > > I I pp~Q J ~ ~ ~ J ~ 1 ~ _ . J } ~~r ~ ~~~ . . .

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32 [a tempo]pp2 8 31I I - ,. , . .__../ '- . . . . #Ei - ne gra - Be Stil - Ie spinnt. die Fan - tli - nen stei - gen.,

I . , /', ~ t.., ~~p J 4 ) . ., . J . - ~) 04 Lf Lf , . . ,.. , ,r=----~ ~. U 1=- ' ~, I;: ~'~----. -----I-- ~, ~, ~,32 c : : : : : : : : : 33

maes toso3 4 ff 35sehr ritard.

. , y .... . . ~. . . . +1-' , . , . - i t'U'Und die fer - nen Lie - der sind Laut ge-word" - nes Schwei -

j I ' l l o l,I , ~ ~ r1 ~ . . 4 . . . it- IT I + ou04 I .U .~ . , . . . . . . . J I l l . . ~ ,1 I I I~ . .. ,F ~ : f ~: + I ~ I~ ~ ~ ~36 P 3~ I 37 38 9. , ~C7gen.

~ ~ ~ . . I I I -I - = ~ e. . . , . .. ,. ,. , iii- . . . . .: ~ - - -

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33':-14. Ich will die Fluren meiden( F rie d ric h RU cke rt)

Sehr maBig1 4 i J P 3 . .. j- I l l ,} I J . J } #~Ic h will die Flu ren

\I

do lce .> ~ . . n ~ 1 I [ I I 1 1 [ 1 1 ~ I"~~ ~ n " - 4 ! I ~ . .j J .} ~ J J J;. . .., " r I "~~----r I I : : : ; : : : : ; - --marc.

rit. a tempo" .J 5 - = - ---6- tf ~ " , . .mei - den mit mel - nem tri.i - ben Gram, daB

/.H'I~'"- - - l. '\II ~~:: : : H t ! ' I I ! ' I i ' ! ' J .~' 1 ' 1 .~ I. ... ~--fJ ~r " r I ~ 1 > 1 1 1

9 . . . . . . = : = = = = = = ifI 7 l._"---"""'_ -- 8 _ -." I I> "nicht der Lenz_ muf __ schei - den, \\'0 ich zu na - heji~ bl : 1 ~f l II : ~.~" Ii~ 1 !1 1 ! b .. . . ~I~ b~ - - - - I.... r 1 ~.1- 1 > * " r - r 1 b . . _ - - - - - -

nach uno nach lebhafterf" J m /I IJ /'"i'. - . I> " -arn: daB nicht der Quell zu sprin - gen, zu

moira espr. , . " r - . , II ~ P a ~ ! ,~ ~ . . . . . : ~~.~:~? = . : : . _: ... I = = - - - - - -> ~ # e* z->: ~ - - - - - - .I-. . " . i ~ yr 'r I. I I-

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lebhaftI /3 ~- 14 pp 15 -=:::: .. , ,. I ' "b1i.ih'n der Blu - me Herz, die Nach - ti -gall zuJ ~- I pp I . , II " ~~ TT l I r " " I r IT T I .~ 1 _ r _ I ~- - - .. . . . . . . . . . . _ ~ I ~ I ~ I ~ I ~ I ~ I. . r I I I I-

ritard. molto rit.1 6 17 18- - - . .. . .. , - , .sin - gen ver - gisst ob mei - nem Schmerz, ob mei - nemI ppp-J. ~I ~ ~

~ ~r" T T l r" I _ r ~.~. W~ r '" I~~~ .~ ~ !"1'~~jp : J >~ J I .J I . . . I I J . . . . I I : : : ; hI T T l I ~ ~ ~ r : _ " f "I I ..J: : : : : : - - - -'"

1 9 J 1 'Tempo I

, 21. .el Schrnerz. Ich will die Flu - ren

d o l c e, ~ 11.. , n;~ ~ ~ Ir! ~! ";~ ~ ~> j_p . . . . J J~

,, - ~ . . 1 f l r I I ~arc . ~

20 pp

ritard., n 23 - = : : : : : : : : * 24 pp 25. . ... , - - ~. . I ~mel - den mit mel - nem trii - ben Gram.I .>: l + Il ~ . .,;~:~ ft- - .__. r ~i ~ r - -= = v r '1j~ -u 1 p~ ppp.

"---(I ~t..l~ " r --------r , =i"") Tiefere Note sparer hinzugefiigt.Lower note added later. UE 18143

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35

15 . Gelieb te Schone(He in ri c h He in e )Nicht zu langsam

I 1

eI

I, . ,b- - . . - ~ . .r. .I .(7

~ ~

3 4

j 5 6 7 8

4 " * " * " * - -Ernst ist der Friih - Jing. __ sei - nejj4 - . J . . -~ . . . . b- - . .r. . L

C7

~~

~

p

9 ., " * - - - - -rau - me sind trau - - - rig. je - de~ II . . b r - ~. . - ~ nr - - _ _ b _ . _ J..h....._ _ . _.j r r J b r - !)~~

10 1/

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36steigernd

, IJ 1 4 15 16 pp. .. , 1 1 ". ".Blu - me schaut von Schmerz be - wegt. es

.~ "11 &fl~ . . . . . . . . . -eJ - r p - 1 ' " .1,. 1 1 , 1 , . 1 i L . J ~. r I ~4 ~ii r _

wieder langsamer wieder steigernd, 17 18 19 ~ ~ 20. .eJ '" 1 ' " ".bebt ge - hei - me Weh - - - mut irn

L J "j ~ ~~ ~j] L - - - - 1 ~i !)41. b i b~ b. " . .!I!b i iTempo I

.1 21 22 23 24 25. .eJ ,

Nach - ti - gal - len - taut.~ I. r---. I I ~-1 I ) " f "1 " . - I " . . ..,-1 J....- ~ , , ~ J . . . . . - . ~ ~~b~ b '" - " . ~ ~b~

ruhig wid innig, 26 - - .eJ " . . .O! tach - Ie nicht. ge - lieb - teI. I. - I ~. 1* , , ~ h.II - - . . . . . " ~ b J jib . " " 1 " 1 " b

1 I .,~ . . . . . . ' 1 b " . . . .

2 7 30

(IF III 143

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37zunehmend, 3 1 32 33 34 35_l -.

., S h" freund " '. heie a - ne, so - hch - ter, lach - Ie nicht. 0'~~ ~~, . - - ",.. ~ ~ . . i f : :.,

~ ",'

., ~tI tI . . 'II I # : t :t j :t # : t :t 1j ~~1 I 111 ~~ 11t36 --===--l 37 8 39

til Iwet - ne lie - her, wei - - ne~~ ,,:-------_ ~,._~ - - - - - -

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16. Schattenleben(Mar ti n G r e i f)Durchaus gefiihlvoll und langsam

, 1 2 3 4 5

e J

I 1.H. I r---,I e J = = = ~~ e = ~ ~~ ~. . . ~. . . . . . . .pp . . . . . : : : : : : : : : :..

'* '* '* 4- '* '* '* 4- 4-

" 6 7 8 9 10 .tI - -Still ist's, wo die o-s - ber, f ".. , :T T L..J r ~ ifi~ _ y : ~ ;: W ~ ~ ~

I J. .r - r . . '* '* '*FII 1 4-

I( Io_ .e) . . . . . . .. . . . . . . . r"

sind mei - ner Lie - be, nur bis - wei - len klagt der WindI.H. I I I. , b r r U~. ill L r r1: g '* '* . . r

Copyright 1985 by Universal Edition A. G. Wlen

1'1:' Ut .... 1:

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39

~ 15 16 17 --. 18. - " Ibang und tru - be. Seh' die Schat - ten -I " " " " " -~ -

. . I T I f . . . . ~. . i . . .~ -.i ~. .I J ] . . . . . . r I 1 - 4I 19 20 2 1 22 23. .e l I TOwelt auf Er - den rings ver - geh'n , fUh - Ie~ r - - - . . . . . . ~ r - - . . . . - -e l . . . . . . . . ~ . . ~ ~ ~ '.

I I -I~ (~ T I~ . . . . 11j 24 25 26 .e l Ial - les spur - los wer - den,.. ~ l # ! ~ !~!~~#: I~~:t_ 1 f t . .- - -I I

~ = . : : : : :: #~ ,, - "I . .t .. i 11

27

28 2 9 30 3 1. . Iund ver - weh'n. I.H.I ....-=. I

8- -~- ,(i - - - - - - ~. . . . ~4 '~"" ~ It-pp ad libitum- - . . ~ ~. . "' . . , ; '

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17.Am Abend( Eman ue l G e ibe l)Ziemlich bewegt, doch empfundenmf

!I I I I 2 3. , . . . .r:'l I I I

Du feueh - ter (Friih )- lings - a' - bend, wie hab' ieh dieh so' . J a". , . . . ". ~ . P. ~ ~~. e. , n r f ~ ~ ~ ~ ~~~~ ~~-~~~~ . . . ~ . . ~~ . . ~~ . .L. -5 6 7

gem! Der Him - mel wol - ken-ver - han - gen, nur hie und da ein

moho ritard., 8 1 .. , Stern.I ~~~~: ---------- I ~ J I .L. , t > f -~~ 1 , . . ~ ~ ~ ~ ~~ _b._ ~".- ~ ~ J .. -: ~ - - ~I I I V I I

9 1 0 11

I 11 13 . . 4 L. , . I ....__.-Ein lei - ser Lie - bes - 0 - dem hau - ehet so lau die Luft,_ es

II I 1 _.l 1 ~ .1.. .. .., '1~' ., .,. IO U I r I -Jpp J J . . l l l . . b _ J . . J . . J. . I I I V I I I I H' -&

[Tempo I ]pp lang-15 1 6

@ Copyroght 1985 by Universal Edition A. G..Wien

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41,sam anschwel lend,17 1 8 19 20 ~ 21 .

e l . . Isteigt aus al - len Ta - len em war - mer Veil - chen - duft:_ es steizt aus al - lenI I I I I I 1 I t\ I I..e l H I r - u . r 'I : D i i- - - ~,._~~~~. ,. - - - ~ fL ~ , . _.

C . J . - ~ C J . - I - - I ~ - - . . . . . . .d,( rrtar .warm d iminuendoI 22 jJ, 23~ _ . - - . .. . .. , 24 - 25 ..-- 26. , . .

"~ .. ~r;,

Ta - len em war - mer Veil - chen duft,_ eln war - mer Veil - chen duft._ fch, j J , J I 1 0 J r- I . . . I I I I -.el ~ T r ~rI I ~ J ~ r = - -. ~ .!711 F b. L

~ ~ ~ r i ' DTempo I ritard.

~ 27 .e J ' " - - IT Irnocht' em Lied er - SIn - nen, das die - sem A - bend gleich. und, - . . . . . . - .~- - ~ . . ~. .. , " ' - - - - I ~.~.fIL._ . ~. fIL ~fIL . _ . ~ , . _ ~ . _ .

~ - - -28 29 30

rita rd.c r e s c endo 32langsam I Ivoll33 ;I a tempo~ 34 = = = = = = = = = = = ; 3 : = 5 1 ' : ' \ = : : : = - -, 31 , . . _ ... , I I ~.

kann den Klang nicht fin - den, so dun - kel, -,- mild __ und weich.

~e~-hc(J I ~ . p.' 1 0 J ~*'~" ~ 1':'\~ j J , ! o t . . . . . . .: . . I ~ - - -. .e J ~ - - - r I I I# . : .t: f # J . ~.J .. ~f~ ,. [~lJ .".~. /~ I~~~ I r I J _ :::.- -- . . . . : . , .~ . . .

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18. Voriiber!( F ra nz W is bac h er )

Nicht schleppend~ 2. , -.I

Die Luft is! kiihl und trii - be, der Fruh - lingj

f . , i -,j .= J I ~i .= -. ; .: : i1 11 1 1 1t,l frostigI # 4 4 4

p 3

pp = pwarmer

, 4 5 6 7. , ~ . . ' -rief A - de! So sehei - de! aueh die~ , . . 1!:_ ~ ~l ~ .f'- b~. . , . ~~ ~ .IL I J q ] weicher. .

# D# - . . . . .~F irit.I 8 9. , . . . ~. . . . . ~

Lie - be naeh kur - zem Won - ne - weh.. . . . ~. . b .. ,Io!. - ... .~ : . . . . . .f

.# _.. . . = ... . . 4 1 - ~

/0 II

i r fCopyright 1985 by Un,versai Edit ron A.G,. W,en

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43

-

el . . .Es ist em al - tes Lei - den, was Lenz und Lie - h e

, >-l . . . . . . ~I f *- .J"* . . -p _ . 1 * - I - - "..~ . .

a temporesigniert

1. 3 14 15

, 16 17 8 - - I'" I'" -raubt: 0 hat - ten wir den bei - den, mem Herz, __ doch __I

el . . . . . . ~ -,; . . 11 1 > ' 1 1 . . . .~ ~ 1 \ ~ ~ ~ ~ t\ ~ ~ ~ t\ _h _h _1 " ~ ~I I I r

19

21 22 23 24I 20 .. , - - -nie ge - glaubt!zart

innig - - - - - - -. . i~--------- - -el b J i f ." . . ~ . . ~

h ~ ~~; .l ~.J J r - - J, 'f "..r I

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4

19.Schlummerlose Nachte(Mar ti n G r e i f)Leidenschaftlichund sehmerzlich riten. a tempo

, I 2 3, ,. ,

Legt mir un - ters Haupt Me -, ba b~ l " " " - o o or, . , . . . . . . . _ [I Nsf j~ _~.J= Ii i iO"" ~i J t . d --1t ~._ ~._ , ,V

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45

1\ 1 0 1 .e J IT

si.i - Be s Bild li - be r mem veT - 6 det.~J I > > ~ ~ , . ." ;;; ~> ,.

~ e J

~~. . . I H q ~ ~. . . b ll ~j>_> > >~.J-JJ_j~ ~ ; ; ; > I I I . ~ t i ' 1,.,$.I

'l:~

J f If W

12 13 seufzend -

1 5 16 pp, 14e l - - - _ / ' - - - - - - -is - sen. Legt mi r un . ters Haupt Me -, j J 1rj .. ,

I l- ' ~ . . ~~r 3 3 3 3_ _jL ~ (~)~~ J1._ __ ~.J J .J J J J!Jt J J J J J_ pp 3~ ;----3 ...............I ..". 3 3 3'-J .". . . . ::; 1 $ =:

>

\I

, 17 -=:::::: 18 19. ., - - - - -lis - sen. mel - ne Trau - me sind so wild.

~e J -

> > >~uJJJJJJ.JJJJJ .I . J .I .I .I .I 1 , . 1 .I .I J J j u,mITI~.q~ ~ ~ ~ r ~ -& . . = t , .~ ~ . . = = - ' 0~> > > >

LE ~ 1-13

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20. Es wandelt, was wir schauen( jo seph F r e ib er r v on E ic h endo rf f)Largo, ~ 2 3 4

. , -,t " Es wan - delt. was wir schau - en, Tag

II~r, .. , ~ ~ .~ " ~ ""'.< ppp = 1 J Ju~ I . .I ..-9 I).g -d I 1 9 - !)f '0 I I I

pp

I ~ 5 7 .r I - - -sinkt ins A - bend - rot. die Lust hat eig' - nes Grau - en, und

~ .., ~ r r -~ I~ " f U c o . . -I 1 1

i i li ~'II . . ~.. . . . . . # " 1 1 . . (~)"II " . .6 8

Noch langsamer9 10 II 12 lJ p~, If'" ,,*_... 7 - - it0al - les hat_ den Tod. Ins

~

ll~kT ~~- ~ .~ ~~ OUtF 1 J

;'tt1 1 . s 1 J

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------ ------ ------

47

_Il_j! 14 15 16 . .eJ -d. . . 4 . . . tt'"Le - ben schleicht das Lei - den sich lei - se, ~, F P ~rr rJ ~'" , H f f f ~~J J .l~ I .s.z. I I ~Iu I I li I I t~ I I q~ I I

17 18

Nicht schneller ritard. TempoJ9 ~o ~I 22JlI - -.

eJ -wie ein Dieb. Wir, ~ lin ~I .

eJ r ~ H~ r r I = I~ . .i .-r-.~ 4 ~ ~

_I1_j ,l 23 . .- ~.- . . ~. . . .J - . . -d . . . ual - Ie miis - sen schei - den von al - Iem, was uns lieb. -e-,~ a. . P - P - m

eJ :d r .- - g ~ ~-6 I zart &l~I ! :L ~.9 ~ -6 ~ ~ . . .

14 26 275

molto ritard.28 29 30 31I~

eJ

I ~ ~ J J1n_ 110--::: :---0. .. , I . e -

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8- - 21. Liebe(Rainer Mar ia Ri lke )

II I 2 3 4 ... , I '" IUnd wie mag die Lie - be dir kom - men sein?, 1 \ - - - - - ~, . . , t n # ~ rr.. 'III 'III . . . . '. . . . . ~- - - - - - - L_ - - -

t H . . . . II" II" I I I ' ". *~.I 5 6 7.. , r I ' " ' "am sie wie em Son - nen, ein m u - ten - schein? Kam sieI ~. '1 f " I ' ". , ~ 1 . I- . . q _ _ ~ 1 ~ I TIll . . . . -~ J j) >"">.J) 1 1 :> >:~ .rt; ;J../.

It ~ r I" I' I# ; p :

*)

jeden halben Takt Pedal

, 8 . . 9.. , I I Iwie ein Be - ten? Er - zah - Ie: Ein

J ~ I r " ' " " " " I ~. ,~~~ .. . ~. . r ~. I;i ~~ ~~ ~p~f f -~ ~ I I I I t14~ _4 - -

10

II 1 3 . . ,Gluck los - te leuch - tend vom Him - mel sich

~~~I > : - - - . . _ _ ,- - - - - - - - - - - I~.r .s'":l u . : ; . L J J > .___12.' . i ~ r : _ 1 1 j' 'U r I-~.~* 'fta.0) Alternativ-Lesart: ' j 'd) ~~Alternative reading - # < - hl--- schein? Kam sic .~. ')1). @

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14 molto ritard. Von hier an immer langsamer4 9, ~ 15 l i t o .

eJ los . . . .und hing mit ge - fal - te - tenL~ ~ ~ ~ t - P ->: I I ________ ~ :!. , . . n

F . . . . . . . . _ ~e>: .. ~o ~ ~ ~l;. ~ I r I r -t t d . * * ' t t d '

17 *)

ne r blii hen - den

>ma r c .

C f u . .~. 8 **)-eo>

20

le, 8 - - - - - - - - - - - - - -- - - - - - - - - - - - - -- - - - - - - ~ - - - - - - - - - - - - - - ~

______ ..~iT ~i1C: C: ::

0) Alrernativ-Lesarten:Alternative readings:

) Alternativ-Lesart .Alternative reading:

Sec - -

darunter: [Klavier] ,,3te Hand"below: [piano] "3te Hand" (third hand)8--------------------- ~---.4 iij# f 'if , a & r I " ,) , ' I r r r ~ ~ I b ) , Y I - a f l Y J I J~~ r : = - ; j ) ~ ~ I

mel- ner blu- henden" an meiner blii - hendenI r "le

(O F IS I~

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22. Im Morgengrauen(Kar l S ti ele r )

Adagio religioso1 2 ritard,I 3 4 5

.el - jl n - - - - - - - -o harr - te ich schwei - gend; . J b ~ . ~~. .I .I I< pI I f , ~ , it if~ ~ .: it it i f ' 1 1 ~ iJ ~.

I 6 7 8 ,9 . .eI,.!!.- - - - - - -- durchdie Hand, die kal - te, pocht leis' der Puls. Anmei-ner:,e-: ~: ~ ~ .. .. .-=-c .. ~-. . . . . . ." w / ~: : : : : = = - - - = : : : : : : : : : : : j m i t AUSd rUC jD j 4 1

~ if; : . . . . . . 1 . . ~ . . f L r c f r

-=::: a tempo10 1 1 innig

1 2 4

II - I" I" .Lie - ge - statt brennt stumm die Am - pel, die ge - treu - e,

I --

eI 4 ~ ~ i ~i 4 ~~ ~.1 1 . . D 11 ~~ j ~

r r r 1 ' 1 ' .~ r r - - -- r

13 15 16

r)Copyright 1985 by Universal Edition 1 , > . . G. Wien

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51n ic h t s c h le ppe n, 17 18 19 20 21 II. .

el "_____..-" . . it..___./ ~ II"al - te, sr e brennt LL so matt. Auch _, we i ch . . _ . _ - - t\. .el~ - - - - = - ~. ~ H " : : . - : ~ - - - - _4) r .H. - - - - ~ ~ PT'""'1 . . J _~~r--~ I" f r r r r - ~ ~ , - r->

lehhafter ritard,, 23 24 25 26 27 28.l II" " ~.t- . . . .- sie ist miid! Ich hor' die Hiih - ne schrei - en von fern, es~ unmerklicli lebhafter , " -.--.._.- - . . . . . . . . ~~ -i ~ In ~.. l"lt- - J . - - - - . . . . . > " . HM-.-- . . . .-r ~-1' " . . espr.ge t ragen ritard. Tempo I

" 29 II. 30 3 . . . .. .el II" , . . , . . , . . " rtgeht dem grau - en Mor-gen zu. Wer wird zu - erst ver - Iii - schen von uns

6 1 ~ 11~ . n i t;: pr . ~ .. W '~ ,,W~ ~ ~ ~~~ ~ ~ ~n; ~ ;- - : : ~~ ~ . . ., . . . ." " . . . ~~ ~. b ~.

32 33 34

>

ritard.39 4035 ,- 36 37 38.

eJ . ._ _ _ _ . . . . . . -bei - den, ich o-der du?

~ J . ".]) ~. .: ~ ~ ~ I. .l . .. .eJ q ~ ~ : -= - = - V c : : : : : : :: : : : . . .=it am Arifang. . . . . . . . ..". ..". . . . . . .". .". . . . . . . ~* . . .i " 1UE 18134

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52

23 . Grabschrift(Ludw ig Jakobowski )Langsam, innig, I

eI hI" ich dieDem Au - ge fern, dem Her- zen na . Als

1,& h d~~---"~ .j,~. . . " ' . . . . . . . . . .f .p >~~. q~ .n- .r ' "

3 belebter

rI 4 5 6 h. 7 L .s: - - . .." Ial - te Grab - schrift sah im ein - ge - sunk-nen Mar-mor - stein, daj I I . . . . - I I I

j r " r ~. , II. . . . . . . II r, &4 h . r : r Q J J - J ~~ b i . . . " 0 6 U~

ritard. [a tempo]I 8 _.h. 9 .. , "fiel mein to - tes Lieb mir ein.~ mil Ausdruck -

~ . .eT I r ~r ~ ;~~ ; ~ - b r t~ ~~t D t, r . . . . . . . . Jb l l R -rescoI I _l I ~ r I " " - . . b~ -.->

10

@Copyright 1985 by Universal Edition A.G., Wien

UE IR 141

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, 1 1 11 /3

e J 0b J ; ~rL ~ 8)~.1I " r I .I _ J =:1 I 1, .

_ e J " r D I 1/ I P I> - ~ ff ~ .~~#~ -c::::::~ ~~~#~II b.. } _ ~ r- J... ~l~~I-' ..1

~ . . b f - _ - 3 . . . - 3 . .

ritard. f.f

[a tempoI14 / 15 _ _ _ h . 11. . .II P r rGott, ich schrieb schon tau send - mal das glei - che, J : ~ J ~ ~ J L J J q : J ~Jl

e J ~~~~l- I #e~ -~ ~ -~: : : : : ; 3