Masters of Russian Song (c1917) (Vol 2)

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MASTERS OF
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RUSSIAN SONGS
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Form #0709
MASTERS OF
RUSSIAN SONG
Collected and Edited by
KURT SCHINDLER
The English versions by George Harris, Jr.
Deems Taylor, Sigmund Spaeth and Kurt Schindler
,
Twenty-five songs by Moussorgsky

'Vol. II. Twenty-five songs by Balakireff,
Tchaikovsky, Rimsky-Korsakoff, Borodinc,
Gretchaninoff and Rachmaninoff.
Vol.
I.
Price, 3.00 each
volume
((Prices apply to U. S. A.)
G.
SCHIRMER.
INC..
NEW YORK
,f
5?
MASTERS OF
RUSSIAN SONG
Collected and Edited by
KURT SCHINDLER
The English versions by George Harris, Jr.
Deems Taylor, Sigmund Spaeth and Kurt Schindler
<
Vol.
I.
Twenty-five songs by Moussorgsky

Twenty-five songs by Balakireff,
Tchaikovsky, Rimsky-Korsakoff, Borodine,
Gretchaninoff and Rachmaninoff.
Vol.
II.
G.
SCHIRMER.
INC.,
NEW YORK
Copyright, 1917, by G. Schirmer, Inc.

Copyright Renewed, 1945, by G. Schirmer, Inc.
Printed in the U.
S.
A.
PREFACE
"Now
time for thee
'tis
to
Russian song!
spread thy wings,
Song of happy tidings, conquering and plentiful!

Song of cities great, of villages and rolling fields !
Song, slow nurtured in the stress of storm and misery I
Russian song, in red blood and tears baptized
And washed
These opening words
of the collection.
song in the
art thou
clean!"
of Balakireff's first song in this
book might well serve as the motto
Great, gigantic has been the development, the forward stride of Russian
last century;
the dormant powers of the soul,
all
all
the pent-up energies of a
long-enslaved, highly-gifted people, have been released from bondage and found
outlet in music
tive world
music
of such throbbing intensity, that
and awakened
its
people as the bearer of such
Russian music
preceded
fetters of
confidence in the future destinies of the Russian
onward sweep only by Russian literature has come to

the last decade, and the prophecy it bore for receptive and
in its
impressionable listeners has been
when the
a listening and atten-
thrilled
new messages.
hold the centre of attention in
1917,
its
hope,
it
their
bondage
the unprecedented happenings of this year
fulfilled in
fell
by the supreme
will of the
people and Russia emerged
even against new obstaclesmust lead her
with a lofty proclamation of idealism, which

to towering heights.
"Now
'tis
time for thee
to
spread thy wings,
Russian song!
Not alone hast thou matured and become thy glorious
self:
Brought from desert places, thou art white with snow and rain.
Thou
art risen
from
Thou
art risen
up from our dark
the ashes of
our burning homes.

graves
In whirls of snow!"
How much
what misery and agony of centuries, have gone into the making
Oppression has moulded Russian hearts and penetrated to their deepest
suffering,
of Russian song
sources, their very core!
The narrow
the people together into a closer

277SO c
horizon of what amounted to slavery had driven
human relationship, had developed

(
vii )
the mystic powers of
Preface
viii
their soul;
and thus, under the yoke
whose wealth
come
it is
to be the
of tyranny,
Thus
impossible to measure.
main
grew
in their hearts
soulfulness
a garden of folk-song,
and profound
sincerity
have
characteristics of the true Russians.
Their composers have often, and very happily, had recourse to the folk-song treasures
of Russia; in fact, the
work
of Balakireff,
Moussorgsky and Rimsky-Korsakoff
is,
to a
large extent, founded

this in the
again,
works of
upon a systematic adaptation of folk-melody. There is enough of

Ghnka, Dargomyzhsky and Tchaikovsky to command attention; and
among present-day composers, Gretchaninoff and Stravinsky have shown a
towards
it,
although in very different ways.
It
is
leaning
necessary to understand this in order
to appreciate the homogeneity of Russian music in the last century; these composers were
fortunate enough to build their work as on a rock, because they were united by the high
ideal of creating
a national
This development
is
art, close to the
apparently well-nigh closed: the towering figures of recent Russian
music, the fanciful and fantastic Scryabin

are already pursuing
split into
many
beloved idiom of their people.
new
factions
paths,
and
1916) and the highly individual RachmaninoflF
and the creative musicians
schools,
German methods, but without
(d.
of
some following the lead
Moscow and Petrograd
of neo-French,
some
are
of neo-
evolving any definite style as yet.
In view of the necessarily limited space of
was not thought expedient

Russian music, although it would have
this little
to include certain of these latest protagonists of
book
it
been easy to cull interesting specimens from the works of Medtner, Vassilenko, Taneieff
(d. 1915), Gliere,
The very numerous songs
Gnyesin and Stravinsky.
be
Bleichmann have likewise been omitted, because
it
of
frankly stated
Aryensky and
being
mostly
shallow and sugary, and smacking of "parlor-music," they hardly deserve a place beside
the lofty creations of Russia's greatest.
And
Glazounoff, the accompUshed director of
the Petrograd Conservatory, has written comparatively few songs, which do not rank
among his most representative work.

Thus the contributions by living composers were
modern masters
of song,
restricted to the
two acknowledged
Rachmaninoff and Gretchaninoff, whose works enjoy the widest
popularity in Russia, and whose names already loom large on American concert-programs.
The major
portion of our book
wealth and charm of melody.
a formidable task and
is
To
given to the songs of Rimsky-Korsakoff, with their
responsibility.
outstanding fact that the
finest,
among his well-nigh 200 songs seemed at

But frequent playing and scanning revealed
choose
the most direct and characteristic songs of his
contained in his early publications, Op. 2,

all his
best creative ability went into the
3,
4 and 7 (written 1866-1867).
making
took on more and more a superficial aspect, as

27750
if
Muse
first
this
are
In later years
of his operatic works, while the songs
written only for parlor purposes and noth-
Preface
ing
else.
scores!
ix
What marvellous creations of song, however, are contained in his operatic

The examples here quoted from "Sadko," "The Tsar's Bride," "Christmas
Night" and "The Golden Cockerel,"
will
demonstrate
from
of this album, just as the songs of Lei
captivated the hearts of the public
his
this fact convincingly to the readers
"Snyegourotchka"
when they came out
(Little
in our first collection,
Snowflake)
"A Century
of Russian
Song" (G. Schirmer, 1911).

Two songs of Balakireff, which open the present volume,
purposeful and sagacious man, the inspiring and fostering
movement
of Russia in the 'sixties.
He was
will
draw attention to
spirit of
this
the great musical
the central figure in the constellation of
The
Five, which comprised Moussorgsky, Borodinc, Cul and Rimsky-Korsakoff, and though
his legacy
be
less
voluminous and
may
(to
some extent) lack the persuasive genius
of
some
to acknowledge a superior personality which could thus in-
of his disciples,
we have
fluence the trend
and thought
of the best of his time.
One song by Borodine,
full of
the sweet essences of Asia, which give a special fragrance to this Caucasian's work,
included; while the
name
antiquated of the group.
of Cesar Cui
^The
is
is
and most
missing, as the least characteristic
songs of Moussorgsky are given in a separate volume,
together with an aesthetic appreciation of their value.
special
word
of explanation
and apology seems needed about the choice of the two
and only two^Tchaikovsky numbers.

Tchaikovsky have become
The
fact
fairly familiar to the
is,
that almost
American
all
the finest songs by
public, as well as to other
translations.
English-speaking countries, and that they are available in appropriate
To the few songs which heretofore had been undeservedly neglected, because not as yet
"By the Window," with its charming, subtle fragrance and noble,
The Duo from "Romeo and Juliet" contains the melodic substance
translated, belongs his
enthusiastic swing.
of Tchaikovsky's like-named
(as I
symphonic poem, whose tender, impassioned middle section
have reason to believe) has countless admirers among music-lovers.
then, which
is
as yet completely
unknown
in
America,
opportunity to sing these adorable strains, and
will give to
many
venture to predict that
favorite for music-festivals, wherever a fine soprano
This duet,
the longed-for
it will
become a
and tenor are available at the same
time.
In order that the musical public should have a correct evaluation and the right sense of
chronological distance toward
a few
facts
must be borne
in
all
the Russian music
mind, which
may
now
holding sway in our concert-halls,
be mentioned here.
The
first
great com-
and Dargomyshsky, antedated by a score of

fell in the years from 1835 to
years the above-mentioned "Five," and their main activity
1850 (that is, in the time of Chopin and Schumann). During the following ten years
posers of the nineteenth century. Glinka
27750
Preface
X
Anton Rubinstein
the
sallied forth
on
his international career
Between 1860 and 1880 the
foundation for his popularity.
Balakireff's circle
came
and Tchaikovsky began to lay

composers of
five
to the fore in rapid succession, realizing their gigantic
the founding of a truly national Russian music.
dream
of
Rimsky-Korsakoff and Balakireff, both
an advanced age, continued their work, with unflagging zeal and inspiration,
after the death of the others, until well into the twentieth century (Rimsky died in 1908,
living to
Around these two
Balakireff in 1910).
whom
composers grew up (many of
two most
gifted in the
domain
central figures a host of highly talented younger
were personal pupils of Rimsky), and among these the
of song are
still
living
and creating: Rachmaninoff (born
1873) and Gretchaninoff (born 1864).
The
known
former, also well
aristocratic family;
and a
as one of the world's leading pianists,
spirit of
comes
of
an old
noble plasticity, of earnest pathos and a singular high-
minded aloofness give the stamp to his work. He is closer to Tchaikovsky than any other
modern Russian, and holds the work of the older master in almost fanatical reverence.
From
the pages of his lyrics speaks a deep love for the nature of the Russian countryside,
a descriptive power derived from the mystic forces

of detail
which
may
of the soil,
and a tenderness and delicacy
stand side by side with Turgenieff's delineations of Russian landscape.
Considering, further, his impeccable accuracy of drawing, and an

ful instrumentation,
uncommon
gift for color-
Rachmaninoff indeed seems entitled to rank among the most ac-
complished composers of our time, as

aversion to compromise
he
in fact
in
whatever concerns nobility of feeling and
most nearly approaches the
classical ideal of
what a com-
poser ought to be!

Gretchaninoff's fame
written much.
in
and outside
echo.
heart,
based on comparatively few compositions, although he has
of Russia;
no
However, the power

is
and opus 5 have met with overwhelming approval

that he has written since have as yet found a similar
His songs from opus

lyrics
of Gretchaninoff to find simple, noble strains that reach the
not vanishing, a fact attested by his inspired choral creations for the Russian
liturgical service.
and
is
of the
Gretchaninoff comes of humble parentage; the traditions of folk-song
music of the Orthodox Church
when he can speak simply and
live strong in
him, and his power
is
greatest
directly, out of that rarest of possessions, a golden heart.
In these twenty-five songs a great
many
Russian music
of the chief characteristics of
are revealed: the folk-song element, the deep sense for nature, the wild strains of melan-
choly and the subtle, soothing dreams of Asia and the Orient.
The long-drawn-out
phrases of northern Russian folk-song find artistic rebirth in
Rimsky 's song from the "Tsar's Bride," in Balakireff's "Invocation,"

song of the soldier's wife, and in Gretchaninoff's cradle-song, which
27750
in
Rachmaninoff's
last
is
a very free
fji^
Mm
^r
Mus
10%.7g7y'xi
p
,
rreiace
development of an old folk -melody.
Little-Russian rhythms
with the Polish
affiliated
Mazurka pervade the "Love-Song of Oxana," the village beauty of the Ukraine.
and the boundless longing
strains,
of the
Wild
Russian for the "shirokoye razdolie" (the wide
expanse of nature) of the Volga Ballads speak from Gretchaninoff's
"My
Native Land;"
while the glowing treasures of the imaginative Russian fairy tale are displayed in such
Maid and
songs as Rimsky's "The
the Sun," Rachmaninoff's "Enchanted Isle," and
Here
Sadko's praise of the realm of the Ocean-King.
and emeralds;
colors of pearls, sapphires, rubies
agination
opened up. But Russia
is
treasures of the Orient; she
is
all
all is a-glitter
with the crystalline
the dream-world of a rich, naive im-
so vast, she does not need only to
owns within her
Asiatic borders
much
that
is
dream
of the
among the world's
most picturesque and exotic treasures. The strains of the mountain-folk of the Caucasus,
the Grusenlans and Armenians, the chants of the conglomerate races of Turkestan, the
miniature imagery of Persia,
in
many
of
all
whose veins runs a
these are within easy reach of the Muscovite composers,
strain of Asiatic blood.
the whole splendor of the Orient discloses
much
strange, exotic product, as in
Romance" and
fair
his
of the
itself, like
And
so in
many
songs of Russia
a living, fragrant flower, not as a
music of modern France.
Rimsky's "Eastern
song of the "Serenely Smiling Sky," Rachmaninoff's description of a
Georgian belle (with
its
characteristic contrast
between the imperturbably placid
major key of the accompaniment and the minor strains of the chant), and the same composer's "Songs of Grusia"
sky of the Caucasus with

dine's
these four songs transplant the listener vividly under the blue
its placid,
translucent nights and
"Arabian Melody," so passionate
in its
its
perfume-laden
air.
Boro-
tender throbbing, takes us further into the
realm of the "Arabian Nights" (note the small compass of the melody, a characteristic
of
Arabian song!); and Rimsky's Air of the Fairy Queen, from his grotesque exotic opera
"The Golden Cockerel"
(after Pushkin), leads us to the
extreme confines of Russia, to
the borders of China.
composers have a splendid asset
Russian
Pushkin,
Alexis
Lermontoff,
all
Tolstoi",
Mey,
Koltsoff,
these
are
of the
and
their poetry,
tors, Messrs.
to translate
charm
of these songs
in this
of
Balmont,
Tyutcheff,
by one or more
lyrics
Russian
meaning
of
Jr.,
is
Deems
them
poetry:
Mereshkovsky,
in
Tolstoi's
"Wounded
the
present
Birch."
intimately interwoven with an understanding of
conviction no effort has been spared on the part of
George Harris,
tlie
the rich store
be laid on such poetic conceptions as Lermontoff's
"The Cloud and the Mountain," and A.
Much
Nikitin,
represented
book, and special emphasis must
in
Taylor, and Dr. Sigmund Spaeth, and myself,

to give
them
in
Dr. Spaeth's contribution,
made
as
and
as nearly adequately as possible,
rhyme and general form a corresponding
my collabora-
character.
27750
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Index of Titles
Arabian Melody.
As Fair
By
the
Call of
Is
(Any
A. Borodine
voice)
She as Noonday Light.
Window.
(Soprano, Tenor)
Freedom (The).
(Soprano, Tenor)
God Took from Me Mine
Hymn
to the Sun.
In Silent Woods.
Isle (The).
All.
(Baritone)
(Coloratura Soprano)
(Soprano, Tenor)
In the Silence of Night.

Invocation:
(Tenor, Soprano)
(Soprano, Mezzo, Tenor)
Eastern Romance.
"To
(Baritone,
Risen (The).
Native Land.
Over the Steppe.

Oxana's Song.
Romeo and
(Baritone,
(Soprano, Tenor)
(Soprano, Mezzo, Tenor)
(Duet: Soprano and Tenor)
Soldier's Bride (The).
2T7SO
Birch (The).
(Tenor)
(Soprano)
of the Bride.
Songs of Grusia (The).
Wounded
Mezzo)
(Soprano, Tenor)
Sadko's Song of Glorification.
Song (The)
Balakireff
95
9
6
N. Rimsky- Korsakoff
43
A. T. Gretchaninoff
80
N. Rimsky-Korsakoff
60
S.
Rachmaninoff
90
N. Rimsky-Korsakoff
86
N. Rimsky-Korsakoff
44
Rachmaninoff
Balakireff
Rachmaninoff
82
3
88
(Contralto,
(Coloratura Soprano)
Juliet.
Tchaikovsky
N. Rimsky-Korsakoff
Maid (The) and the Sun.
My
I.
S.
Mezzo)
Mezzo, Baritone)
Is
P.
M.
(Tenor)
Like to the Sky Serenely Smiling.
Lord
Rachmaninoff
S.
(Tenor)
Russia".
S.
M.
(Tenor)
Cloud (The) and the Mountain.

Cradle-Song
(Baritone)
68
(Lyric Soprano)
(Tenor)
(Soprano, Tenor)
S.
Rachmaninoff
58
103
N. Rimsky-Korsakoff
47
A. T. Gretchaninoff
78
A. T. Gretchaninoff
72
N. Rimsky-Korsakoff
53
P.
12
I.
Tchaikovsky
N. Rimsky-Korsakoff
S.
Rachmaninoff
N. Rimsky-Korsakoff
62
92
61
Rachmaninoff
98
A. T. Gretchaninoff
76
S.
(xiv)
Index of First Lines

As
she as noonday light
fair is
S.
Rachmaninoff
95
N. RiMSKY-KoRSAKOFF
62
A. T. Gretchaninoff
TO
A. BORODINE
68
Far away beyond three oceans
N. RiMSKY-KoRSAKOFF
47
Far out at sea an island
lies
S.
Rachmaninoff
88
God took from me mine
all
S.
Rachmaninoff
90
Blue
the ocean
is
wounded
By
the hatchet
Do
not leave me, beloved
Help me, dearest mother
N. Rimsky-Korsakoff
61
Homeland mine,
A. T. Gretchaninoff
78
N. Rimsky-Korsakoff
58
Tchaikovsky
12
N. Rimsky-Korsakoff
53
my
native land
Like to the sky serenely smiling
Love,
Now
'tis
P.
singing
lies
Sing not,
my
The Lord
its
now
darling, sleep,
maid
S.
his last note
my
Rachmaninoff
A. T. Gretchaninoff
solitude
fair Circassian
Sings the nightingale

Sleep,
S.
silent night
the steppe in
I.
M. Balakireff
time for thee to spread thy wings
Oh, in the
Sad
is
never shall find a new lover
No,
not day, the nightingale
'tis
starling
82
72
98
N. Rimsky-Korsakoff
44
A. T. Gretchaninoff
80
S.
is ris'n
Rachmaninoff
Rachmaninoff
103
N. Rimsky-Korsakoff
50
Thro' the night a golden cloudlet
N. Rimsky-Korsakoff
42
To me
give answer, sun clear-sighted
N. Rimsky-Korsakoff
36
To my
sorrow
To
window
The
rose has
the
charmed the nightingale
I fell in
him
S.
P.
rushed
Yoimg and bold am

27750
love with
Rachmaninoff
I.
Tchaikovsky
M. Balakireff
(xv)
92
-."
MASTERS OF RUSSIAN SONG

BALAKIREFF, TCHAIKOVSKY, RIMSKY-KORSAKOFF,
BORODINE, GRETCHANINOFF AND RACHMANINOFF.
INVOCATION
To Russia
Poem by
L.
(Zapyevka)
Mey
Music by
Eng"lish version by
Geo. Harris, Jr.
Mili Balakireff
Andante
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Copyright, 1917, by G. Schirnier, Inc.

Copyright renewed, 19i5, by G. Srhirmer,l7ic.
Printed in the U.S.A.
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Music by
English version by
Geo. Harris, Jr., and Kurt Schindler
Mill Balakireff
Allegretto
P.
Voice
am_
Young and bold
I,
Piano
41
Long
to
fcxjt
.^0
roam
and_ rove,_
Will not spend
^^ m
^^
my_ youth
^ J
^ JI^ ^
r=T
p
J'
4 Nev
er
P
was
^LfT
^2
77B0
^
I
made
For
to
till
Lr
^cir r^
=s
^1
Jl
^ #
J'
For
J^
to
J^
'
Copyright, 1917, by 6. ScMrmer, Inc.

Copyright renewed, 1945, by G. Schirmer, Inc.
r'
.hi
thrash the_grain,
J jij
5^
Printed in the n.S.A.
the stove.
s^r
and sow,_
i>
by
I iaî
Loung-ing
^^^
^
For
^ j
to
i
reap
^/
and_mow,
^p
i
1^
to
p r
my need
But
and
Had
bold!
P/
7
^^
stur
i1
p-
so young-
I,
^S
F energico
J^
woods
r.
And a
dy steed
E3=
f=
2
-
ger bright
^^
PPP
by
night!
^2
i
dag-
And dark
^^
A.
VP
1^^
is
'
,y
;.
>b^=
^^
'
.,'ii
iii
nûlij
*
jooeo
rzY.
a tempo
^^ S
?<
5=
277S0
Then
mount
I'd
J^
J'
Sword
in
^
my_
Don
horse,
\\
hand
I'd
'-t-
rove
my
Cos
^^^
Far
iS
from
care
sack_ dress,.
and_
stress;
&-'
^
a
I,
f poco
^m ^
brave
young
lad,
OJ iJiJ
Known
27730
r\
a^
the coun-try wide!
o tempo
J^
f poco
allarg.
lb
J'
>
'^
mif.
allarg.
i a
'^
^-
jJ
p-|gF
^
Pi^
By
the
Window
("Rastvoril ya okn6>0
Poem by
Deems
K. R.
Music by
Engrlish version by
Taylor and Kurt Schindler
Allegro
Voice
Piotr Ilyitch Txliaikovshy

Op. 63, No. 2
CE
^^
1^
^îi^pF
m"f
Piano
m m ^^p ^
!>
^f /i'^ppprTo thewin-dow
rushed,
and
sank
to
ly^'i'-i'
r-
iJ-'J'pp
my
And
knees,
I:
^
pow
<
-
er;
>
^j
mJ'PP
And
I felt
^
.
ca
iTl
2=2!:
ress of the breeze
"5
mf
^
^^y
^[^
fl

Copyright renewed, 1945, by 6. Schirmer,
S7760
''
tr
fr
i#i
S^-T-
p p r P
in my face the
Ô^
^^
i^'
wor-shipp'd the Spring and his
i'
# 1^
5^
ij
I* '/"jQ;]-^
mf
!ji=^
^
p*
Itic.
"Q.
And the
liCJI
10
it
Poco meno mosso
^' ^'
p p
;?
i'J^
j^
came the
r-
night-
-<Sgn
i:
hj)jî'j^
And
night-in-gale's song,
^^ ^^
tn^
dolce
r-
^
r
Thro' the si-lence of
ii
^f
^
m
^^
J^
li-lacs in flower.
scent of the
j.
lis-ten'd
jî'
with rap-ture and yearn
ing;
Z.
y=
h ff
P?P
For my far-dis-tant homeland
voice
his
rit.
^r
made me
Brought the
long,.
^
"/
ffi
te
al i*
Tr
'J:
^J^
^^
mem-'ries
of
^
child
J'
-
i'
hood
'
i'
re
f
turn
I
i'
^t^
17760
i'
w?^ Tempo
7
*?
^^
For
ing.
he
i'
-&-
11
4^
"p
lip
sang
like
the
1?
bird
that
ft
ll^
^P
"P
me
fate sent
r
forth
^^ Pj.J^pV^P
in
a rav-ish-ing
Tempo
r^
flow
"
p
knew
?=;z=F=
as
z^
va
^
On
p^^
a
long
P "^ ^p
When he pour'd
^^m
the branch of the
Ere
go,
grant,
li-lac
r\
fra
my
out his song
rit.
so
grant
^
/:>
h=Sm
a^^
27750
^*
f^TZH^f rrP^
fJ^Ji
r?
"v
nV.
^fi ^
DJ>'cJ-
cU
J:
*/
**
Romeo and
(Romeo
Juliet
Julietta)
DUET
for
Soprano and Tenor, with Mezzo-Soprano ad libitum
English version by Sigmund Spaeth,

adapted from Shakespeare's
"Romeo and Juliet", Act III, Scene V
Piotr Ilyitch Tchaikovsky

From an unfinished, posthumous work,
completed and orchestrated by
S.Taneieff
IMTRODUCTIOM*
Andante non
tanto, quasi
moderato
Piano
Horn
II
**
Allegro giusto
espress
Horns
III
& IV
* This IntroductioQ, constructed with themes from the Overture (of the same name)amd from the Dnet,was written by
For scenic performance, Curtain here. Juliet's room. Daybreak. Romeo and Juliet seated by the window.
S7750
Tan^'ieff.
13
^^'\K ^nJ
?iJ:
mV^^-H
^
^
iaj
Si ^
^^
feS
Si
Fl.
Stte
I
i
Cl.Solo
Brt&EEtSEEÊiiE*S^^F
cresc.
Horn
I.II
Horn
bo
1
,
^
'f
Fl.I. in 8've c ol
3^
^^
Andante
i*
t>
(J
1^
^'
^f
^~^
1
Oboe
Viol.
<?
Bssn.I
irn^
J-
^^^tj.
^
m^
j^n^Ti
Oboe
so)**
Z^
"O
III
TT
J:
m:
Bssn.II
Bass
3^
i
'f
^3
^33J31
Horn
3^^ 3
^^
*
m^^' ^
-TJ
cresc.
*^
f
'j-'Jljbit:^
!]
J p J b Jp J
&
e
^
<?^^?"
ini
*>
-J~^
~ 'iPhJ^
J
r^ccr
^
^
'5
.^^^
For performances without orchestra begin here.

* Romeo rises, intending to leave.
** Juliet bids him
27750
stay.
rfm.
Sjfr^^
14
Duet
Ilistesso
tempo
t=H=^
'tis
Love,
^
Iîstesso
Juliet
nqt
f
night-in
the
day,
gale
is
sing
ing;
tempo
strings
^Sl
no fear-ful.
then be not
Night
Romeo
.P
i^
'^->
fy
cresc.
')\
gale.
m^
P-
Clar.
Eng.Horn
Horn I
î
/>oco cresc.
I r^^
I.
^^^
'
Be-lieve me, love,
it
*
No,
^
iir
h f^
*
Tchaikovsky's own sketch
was partly missing.
277S0
f=T
^^
^^
the night-in
is
nf
ff
5Et
w^^
J)
yon-der pome -gran -ate,
ly she sings on
J>
ft
^^^
No, not the night-in
not the night-in
tf^^f
begîns here. In this sketch the vocal parts were minutely written out, but the
accompaniment
Ia
:;22:
and
ind not
th
he
not
lark,
the
lark!
VI
dim.
721
i
a
no,
gale,
kr
m
m
^
the
'tis
las.
^^^
-^'
dim.
gale
16
S^
Horn
;;a
l5;=C
lark!
Cl.II
m^
3^3
CI.
No,
3 ^
^3
*f-
Bass pisz.
iiM
'tis
the
her
the
lark,
fca
aid
of
the
morn
ing;
dolce
P^
ii.Jî
^^
i ^
Bssn.I
rn
Bssn.II
JT]
Horn
II
A.
nrzi
"f
r^
4r
\f
rfm.
i^
p
No,
^^'p
the night
K
is
end
^^
U'
'tis
J^
p
thenight4n- gale!
(2_
ed.
No,
FI.I.II
3orns
i'
'ÎfDiz^
s T^
J:
ESC
i
Eng.Horn
JP^
^
f377-f
.
27760
TSS row
TOM
PUBLIC LIBRARY
16
'tis
S7750
poco
cresc.
(
I
the
m
^
lark,
the
-H^"-M
her- aid
of
the
morn
ing,
17
im
lark!
P5
dawn. Look, love, _
;^
hat
en
vious
streaks
^^
lE^
Do
there
marcato
Horn
Solo
a"^
'
'Cello
&
Jj
A^
cresc.
^m
^
^^p^
poeo
lace
the
i-]
Bass
pizz
i
t
p=gder
|^yon
in
sev-'ring clouds.
must
East!
be
Oboe
_^
Kn g -Hofg-
^
gone,
f
27750
<//w.
P"
for
death
PP
a-waits
my
stay
ing.
18
>
P
The
_
i'
J'
p
jo
^^-^-^L
moun
cund day stands on

a
ij
love,
the
tain tops,
Violas
J)ii^
gone,
ai
îiiiiji^^ gfj
27750
the
for death a
Sl^:^^r?r^
waits
my
E
stay
ing.
-J -" ~T ~M
^ ^
n ~* r1
n ~*
rj r| rj
rS r;
"< ~<
:i
~:^
::i
::;
-^
19
Poco piu mosso
^ ^
^
cresc.
,
me-teor of the
night
shines like a
torch
on thy
my
way,
love;
animando
/>oeo
*
a
ji;ooo
<?;ie*c.
Eng.Horn
^^
*
'Celli
Dasil div.
87760
then
20
ii
iHî
* *
*
J
'"="
Tlmp.
AUePTO
^
gpF^
pfiusto
espress.
be-
Ah,
=^=y
^^^
^
so thou wilt have
J)
j) .J)
it
so,
then
r?
death
>
is
wel
come!
espress.
Allegro giusto
,1
P%
r--r
^
9-^
pp
Cl.I.II
H a rp/ - gl
""'.e.'LVi
mn
^*
Bssn.II
Cello
&
BasB
pizz.
i*
I'b
f
lov
ed!
i^
t*
?
Yes,
i^Â
27750
nJ
^
'tis
true,
yon grey
is
MiJ)ir
Yon
not the morn.
^^^g M
f=ff
j:
light
r
is
-p
not
the
^5^
^^
^^
There singsthe night
i^
I
Uhr^^r^
'Tis true,
daj'!
^Tî
in-gale!
hear
night
it!
rmi
^G
^'
of rap-ture,
t4^ -^
T^v^^s ^^ âi
^P ^m
^^^^
J^JJ-
i-
-i
j^
cresc.
*^ #
hide us yet!
^^\K
hJ
'H
Then wel-come
^^
am
con-tent!
^
r
death,
night,
night of
love!
^ ^m Vi ^
Tî
TÛ
UU
UU
mi
m^
^^
h\K
^>
^^'\K
lEEEi
i.p
'
>_P
nri4J *
gj
'
ti
"i
Bssn.
B&S9
87750
pizz.
te'
j-
22
i^
r
love,
^^
if p
thou must not
stay,,
yet
be
^^
m
g
""^fî
^M
^
f^^
Faith-ful
gone,.
stay,
night,
i
-e-
tea
^^
xn
"xr
"O"
(C)S
f^
Piu mosso
=^:fe
fF=^
it
\\^
?
^^^^m
the dawnl
'tis
Ah,
rY.
ia
and with thy darkness hide
our
love!
Pill
mosso
./'"^-^
*"
'"''^
'"*
Tlmp. -ff
Bass
r\
W"
know
dim.
it!
r\
1S2
E
Yon
ttr
^
^7750
te
I
BES
H:
r
light
is
not
^
^ ^
the
i
^
i
'
day,
r\n
r
no,
no!
Love,
s
f
P
/T^
23
Andante
p dolce
^m
'tis
not day,
the
^m
i>^
f
night-in-gale
is
sing
Then be not
ing.
fear
ful.
Andante
^
dim.
No,
fTTJ^-^
not the night-in
gale.
Night
ly
she sings
on
%dS.
mf
No,
poco
"^m
yon-der pome-gran- ate.
27750
^'
r^
cresc.
Be-lieve me, love,
'
P
it
IS
^^
^^
not the night-in
the night-in
2i
*
i
^^
^^
and not
gale
the
^ ^
the
'tis
las,
lark!
No,
dim.
lark.
^î
;^
'i
mf
i
no,
gale,
dim.
not
the
lark'.
ir^^r
^
P
?_ ^:L
a:
[^^
iJfj
r
^
^'
the night is end
ôeo
_<2_
No,
No,
'tis
it
Z2I
ife:
Zi /aU
the lark,
the
dim.
jp
ed.
cresc.
'tis
r
-
^
p*
3\
the night-in
gale!
^î
P^?^TS
-i?
Kfl
#-
3^^
25
cresc.
^^f
^
her
aid
of
morn
the
who comes
ing
^^
love,
is
it
not
^'
to
greet
p r
the day!
i'
the
the
Is7
dear
dawn,
^^
'tis
daw^n,
dear
fr rr
est
J"
love,
f
the
'tis
j^^
dawn!
^S
^
^
not
?fr^;
1 *^
outside)
^
Ju
pp
'tis
jtfi
Nurse (from
i
^^
zt
iDPiu mosso
PP
love.
the
I'r
-
liet
Ju-liet
ta!
'r
-
Piu mosso
u
P
te
Oboe
1^^
Horns
^^
//
.?
J
Timp.
ttez
For performances without available Mezzo-Soprano (Nurse) cut the next-followiug- 10 measures.
87750
dawn!
Tpts
2=
ta!
26
Nurse
Juliet
^^^f=#=4#-^
The nurse
-
call
is
My
ing!
Romeo
^^
Ah!
f^
A
-las!
-y
eresc.
s^
day has come!
^
P
r^/n/n-j
3:^TJ
?^
pray you
-^^-^
Tpts.
fei
'tis
haste,
^m
time
that
L-
=^
the
dear-est ch
hild,
you should part.
ci
Your
la- dy
'Cello pliz
Juliet
$
P
i
moth
tr
>
Tpts.
M^ f
X7760
er
m
f
'
km^
P
comes
to
l"p
give you
-1^
li
i'
greet-ing.
If
p
Ah
nf
nurse, we'll
1'
Z7
^^
)
dawn.
b
p
heed
)
:^
Fare
warn-ing.
thy
* ^^
dawn.
I^^
>=!,
J)
])
\R
^^
s
r
.,
|j
i
i
mo
dear
now.
'<
dear
now.
i\>M.
^1
i^ if ^^
p.
^p.
^J
pppr
It
is
It
is
^^
'^
^*
t^
i i i t^
^
the hour
of
^
P
the hour
of
3^
rfm.
Tlmp.
;t
estl
^
fz
-I
est!
ni
ri
cresc.
^
well
fe
well
Fare
yet!
fi
nient
1^
But one
ff
'
"^
lia.
I
I
^
^
*
part
g^
part
ingl
I,
^
^dzr^
inigl
Horns
S
l%ji^î^
1*1
^^
dim.
*) Use small notes if Nurse's part
:::
rr^
IB
^;
27760
^5
is
cut.
TTQ-
[{^
28
P; t
J?fe
ir
iiJ
Fare
t^
^(h
ti
^
r
out
al
r^
out
al
loy.
Fare
^^^
r^
r
-
loy,
Fare
well, each kiss and
pi
^
-
ness!
hap-
i4
'p
pi
ness!
i^
Why
Why
T^J
A
fe
^^
^^
j.
A r-A
r^4^.
P
g^Ff
27750
joy,
^J
Of
pj
rap-ture
full,
pj
full,
with-
^
with-
lî
I'
^
r^v
E^^
^^ ^^
,v^ ^ ^
fond
ca
ress,
Fare- well, thou dream of
^.
r
fond
ca
ress,
Fare- well, thou dream of
i
,
^ ^ ^
i-t
j.
J J
i^
JE^^
fc^^
couldst thou not one

'
st
'H\K
well, each kiss and
j.
hap-
^XJ;
(*
^
p'\K
lov- er's
rap-ture
Vloledlv.
con sord.
^')K
')--\}'iK
pJ
well, thou night of
Harp
pJ
Of
Viol. I. II con sord.
,^
Pj
pj
pJ
lov-ers joy,
Allegro giusto
k^,
{AK
1*
well, thou night of

fj
^^
Fare
Ig ^
""pj
\r\,
1>P
Allegro giusto
ri
couldst thou not one
ê
4*-
n
H il
mo-ment stay?Why must thou
5t^
g
mo-ment
#=T*
stay?
Why
:^S
T^J
J-
ii
flee
be
rJ
must thou flee

-m
be
29
cresc.
rfi'
~^
JAK
fore the
r^
fore the
I ^\K
^>ni-i>L
^m
day? O
fare
night,
well,
night!
cresc. e
Canst
day?
If
poco accel.
thou not
i^.A u
tf%- 13 f 3
t"
I'-p
TTiA^
P
4^MN
}
ff^ffn
e/iesc.
3IM
3
'Celll dlv.
F^^ ^
r
:*
con sord.
e joeo accel
pr^
te
4
p i
T'
^''iH
hide
the dawn-ing
moltoespr^
light?
^t JfTI
g
of
night
;,^^^%
ii
cTf ,r-^
^CT;
love.
?
thou must not
stay,
^
yet
be
gone,.
Faith-ful
espress.
^^^
27750
if
ri
t^
jCE
H/LL
rrrfr
-etj
-e-
30
fe
77~
and
stay,
night,
^
with
thy
now
fare
darkness
hide.
J? espr.
And
^^
^
my
well.
IE
our
love'.
Now^,
las,
the
Flute
S
I
jj^j-j j.-[<
^^HMXiAi\
ji,
^'^[>
J
love,
light
M
^'n
*V
t*
_F__^^
las!
of
day
the
i"j
LLiTLLU
^^
Horn
27760
'i
a>''"b
-l
II
poco
cresc.
Ô-
of
light
Comes
to
drive
aay
cresc.
Has
come
^
the
night
way.
^
to
31
# â
our
end
joy
hp
Cru
*
^^
drive
the
el
hide
dawn,
=l2Ffc=i
rrrr rrr
T^Fyr-^rfr
Ah,
cru
el
of
Ah,
thou
^^
^
dawn!
light?
Must lov
cru
el
f
'
P=l
thy
thou
night!
hide
wilt
dawn.
cresc.
ers
Wilt thou not
* i
be
i
"^v
If
-
t X \> %
be
part
Must we part be
=^
thee.
fore
thee?.
-^.
ID'
rit.
er
lai
31
jST
^mhb
?P
fore
cresc.
long
gone?
no
rit
rit.
^S
^î
the
love
Wk-4
veil
our
grant
light,
^
tlr
way.
thy
::a
^'l-^
r^-^
2=^=23
27760
night
^m^ n
\^
im
and
mp
I'.i-.
32
^m
^^
'
a tempo
since
^ ^
hast
thou
Ju
liet
Be
ta!
a tempo
J-^
'i
|i^''l\
Lis
lov
the
Ju
ed!
J^^^
'
') J 'i>i
'Tis
night?
con-quer''d
a tempo
-^
3 ?
when we
^M
if*
love,
hour,.
^^m
liet
ifte
Be
lov
^^
fare
Be
ed!
lov
r^^T
One
ed!
Fare
ff
V7iO
wio/ô strini
well!
last
fare
o
i
Fare
well!
Ffc
well.
cresc.
mo/fo string.
well!
hJ
say
fare
Love,
ta!
p molto string.
'\\
5
must
r
^r
Fare - well,
Ju
f^TT ^
33
^
^
XI
well,
liet
^ ^^
'î'^-'-
t*
gpp^
^
^
^
.^^
Tpti.
nc
^
iy
iz:
THe
love!
night
has
fled
P-
way,
The
ni
day has
^^
come.
Fare
day has
come._
*
^'1'"^
îiSJ
î!'^
Fare
^ T=^
Horns
Strings
pizi.
well!
well!
Wood-wind
'f
Harp
rvN
Tpt.
# i
^
r\
''
llf
S7750
rjr rrfr^tfe
cresc.
^Ffc
,*j:^l-|\
^fr
Horns-
IT
l^
^t=^
34
p.
|i-''i>r^
Fare
r
jli>i^h,
cT"
.)
^ yffJ ffH
now
Love,
the window!
(Romeo descends through
'1^,
well!
le
fare thee
y..
t^
m.
:m.
well!
^r
mar cat
Strlng8__
^s
'Cello
Bssn.
o"
Ej'i'^^
-o-
-o-
Baas
p espress.
5^^^
Ah,
i^
J
Fare
,'^f
^f
:s5i
love, now fare thee
^f
nn
-
well!.
1^ ^ ^ f if
well!
rfiaL.
1
Fare
well,
well!
fare
_
i?p
dim.
ho
-e-
Fare
well!
fe
'C
^f
Fare
if 1 ***
tl,o-
tA>;
English Horn
VnS>t.
zh
*^
r
* These closing measures, taken from Tchaikovsky's Overture to"Romeo and
the Duet.
27750
Juliet",
do not appear in his sketches for
35
FP
^
m
^
32:
o-
Fare
Fare
well!
well!
Co:
fare
well,
^T
te=fe^
well!.
^
ci.
-o-
Fare
fe
::a
well!
-a-
Bssn.I
>
XE
Fare
^^
ti
rj
well!
351
331
JO^
Fare
well!
'
'''i
iljil
^^
* ^Fl: I
\^v.
t
1,3
Ml o
-o-
-o-o-
-o-
-e-
pizz.
^^
2>pp
31:
31:
Fare
351
3i;
well!
VTP
C\
-o-
Fare
-o-
-o-
F=^=^
well!
Viol. Solo
t*
rrt
T5
Horns
Harp
-o-
pizz.
27750
/Tn
TT
pizz.
/.h.
rî
#
Fl-Xl
Ob.
86
HYMN TO THE SUN
Air of the Queen of Shemakha

(Piesn Shemakhanskoi tzaritzui "K's61ntzu*>)
From
English version by
Geo. Harris, Jr., and
the fairy opera
,.^^^ ^^^^^^ Cockerel"

^2olot6i Pyetushok) by
Nicolai Rimsky-Korsakoff (1907)
Deems Taylor
Allegro moderato
Voice
Piano
The Queen of Shemakha
Andantino
dolce
^m*
To me give
feS^
^
rrHfi f pr p
ii
poco
*
molto
rit.
p=^ ^
^'t
./'^'
*fe
r
sight
ed!
'
From east-em
lands
re
jjp
-^h-^
^^^fe^
My own
turn;
sfe
^>ft
ll
l
t7750
j, , p
J^ >
p ^
1^ '

clear
i M^^
^
^^
you now
swer, sun
or
an
mm^
rit.
(J: 76)
SE2
>
dear
37
0-^
mw^
have
land
J^ ,
^:tt||ll
JM,
not
you
light
P -^f-^ To
ed?
J)
dreams
its
tell
-4
do
not
you
IZK
p ^
^^ ^
â ^^
eIeÊJ
jPoeo
e/v?sc.
tf:
>
still
in
f!
Do
yearn?
dour
splen
#p^
j^
r^
./p
yy^r;^Lr'r7rii"r
sheaves?
y
HI
ies'
t|*
f ier
Lb
iflilt
^^
ros
"r
'r
*^
S
jPoeo
fe^
PPF
v.. .Pf
pp
5^
dra
es His
iXt
^^
tempo
grace
/T\
4r^-*m
^
/"ir
27750
j^-^
^^^^
gon-fly re-
/?^
pos
^Jeb
e/ie*c.
^z
pp?
burn the
/T^
a ptacere
i,^
o-
Still
a ptacere
While the blue

blu
^:*
es?
Kitit
^3
^^
p^-p-n
iir
the_
glow
f
i
iBE
^
^ti^
Jl^
r^^JT^^'ifr
38
/poco
S
rit.
on purple leaves? His crace

grace
form
dim.
-^
,^
molto ru
a tempo
form on ourform_
pur-ple
ful
leaves?
m^%tU%
*
Î
J^ molto
^:
Zf
m^_
i^
mA
^^
4=^^
ff
AV>ipn
in
the
^
-
eve
^ j^^^j^ ^
'l
ning
^x
r
man
ya_
maid
>
JH
M'
-'
Comes
en
y=ac
^^
^^
tain
with_
^
"
^
r
Bfc
?
la
u3
m^
soft_
-^MT- J^
Is
songs,
* * ^
â
i)r}
her
Dreaming
of
with
sy=T
r^^
pas
Jij J.
>
him
whom
for
nr^:
^
J)
sion
,. JTl
r
-^-^
**^ i-^t^
Xii
heart
"H^ ^JE^^
den,
^
^
* * ^
r^^^
Jm
J)
still
p
the
J'
to
>^ #
foun
;7750
s^
ftfcs
^m
dolce
^)-y
aF
rit.
o-
'rfi
^^^J
tenijpo
Jt
she
Jt
longs?
P^
And com^?
at
^W
-J
?^
mmq!^rit
'
i
'
fct
night.
tf
-:
p
gstf
bold young
lov
39
poco
1
Am
P^
To
er.
oresc.
tell
new
?P
>
pas-sions
^fil^
^^^^^^p
1
^&^
sweet
5
==
eresa.
poco
!:
r-r
a tempo
7750
"r
40
molto
dim.
rit.
a tempo
rg^
through_ her
jeal
ous
veil?
ptf^
"^
wo//o
^^'Iggjytt?
^
be
CULLl
gins
to.
dark
en
M^
On
si -
^5
dolce
lent
him
to
feet
hi.JM
-^-^
Does yet her
Mw^^^
^
y^hrTi%
^
r^^
3=1
^"
r
J
pas
sion
him
bid
heark
j ii lli
'
^^
Un-to the
ii'l
iî
f*
M=Tr Ei
:5t
en
^^
i i
Xi
f=^
r
r
/>oco cre*c.
^^
fcS
vow up -on
ii p
her_
lips?
ppir g^^'cr^^^
Does yet her pas
sion bid
7
9-m)^
5i
Z^^
^=*=^
^
'T
^^^
him hearken,
%f^xfv^^ I
7
she.
^s
^05
i
slips,
27750
^g
^
jH
^
^
night
blue
nY.
And when
a tempo
fet
mm^
-t-^
i^
dolce
does yet her
ÎC.
^ poco
^
-x#^t
cresc.
^m
s ij
un her
ff^r^ntr-^'t^vY^rv^-
g=^
^ ^
feête
up-on her lips?
^;
i^
?t
j^-^
^?
/o
li
on her
Ah!.
q#
3x5
jDoro
/o//o nY.
r/Y.
r?
lips,
;750
Ah!
isr^^
i
t'p
to the
r
mes
a"&'':r^J
-
sage
^^
J^
tempo
molto
of_ her_
lips?
ff
/^w/?o
^^
[p
^^
rit.
î
tt
42
The Cloud and
the Mountain
(Notchevala tobtchka zolotaya)

Music by
Rimsky-Korsakoff
Poem by M.Lermontoff
Nicola'i
English version by
Deems Taylor
Op.
Andante
No. 3
3,
(186)
(Ji6)
^^
P
Voice
I'.
J^
Thro' the
r,
Piano
rnight
^
^'^>
a
JM
^'
gold -en cloud-let
rest
On
ed
?
a
PP
^
i
lof
31:
r^
r
r
ty
moun-tain, steep-ly
r
crest -ed;
>
J'
Came
fi
p
the
r'
rmorn,
^^^
p
I'
and on
gain she
Smil-ing to the sun with face up-
^^
^7760
Copyright, i9i7, by G. Sehirmer, Inc.

Copyright renewed, 1945, by 6. Sehirmer, Inc.
p
43
^^
"JT-T-^
On
ed.
lift
^
^m
Z^l
f
moun
^'
-
tain's
crag
^^
f!
there rest
J'
I'l
on
ed
J^
-
ly
Fra
gile
J^p
sil -
^
I
ver
^
1
Wrapt
3E
He
ly
re
J'
in
p
thought, and
h'^
ii
j^
J'
lost
in
si - lent
xn
vi-gil
keep-ing,
weep
Ulf^S^
/7J1^^
legato
^J^pi'^^
his mournful
mained,
27750
dim.
J'
J^
.w.
s^^^^
lone
IE
cresc.
Lorn and
^^rr
W
^
t
p^
dew-drops
^*
19-
i9-
i'
J^-
the
ÛH
con 2 Fed.
- -ar^W
14
To Cesar Cni
In Silent
Woods
(V'tiomuoi roshtchye zamolk salavyei)
Poem by
Nikitin
English version by
Geo. Harris, Jr., and
Kttrt Schindler
Music by
NicolaV Rimsky-Korsakoff
Op.4,No.3
Allegretto
(lSfi6)
(i'rias)
Piano
Meno mosso
j^^J^SiJUlttSi
^^
^
î .r3
m^^
ES
^^r\
^
Ti
J-ite
I
^
T^
7760
^
i
Copyright, 1917, by G. Schir?ner , Inc.

Copyright renewed, 1945, by G. Schirtner, Inc.
Ff^F-'^
r
^
.
45
^
^
^
dolce
W ^^^
i'
i'
^ji
-
Sings the night
^
'
Falls a
p
star
in
the
J4j[t
T.
Thro'
wild branch
j^
'
^ i-J
pp
^J
-
p "p
In the grass-es
float,
'j
"
p 'f
I
glistens
J'
-J'
white
i 'fFiij'r'
i
87750
rJb '
^^
>
p p
the dew
2
^'^'p^
moon-beams
es the pale
Tempo
r
iJ
^.
ii''i.'i
"^'
SPTfzr
-"TB r
p
iî
t*
IiI|
^
1
splen-dor
1 ?
'
^'r^^'.'
of night,
J
1 V ^
"^
note,.
I*
''i''l~ii
last
j<
r f
-'P
his
-1
iz
J^
now
-gale
p
^^'
in
J^
dim.
~iîi
r-
'P-r
^^'>/?
-/^^
46
poco piu
P
Soft
-f
J^^J)J .M
iy touched by the
v> r
^hJ^-J^J-^^^
fEÊgEJ
How en
moon's ten-der kiss,
-dear
ing-ly shimmers thy
Meno mosso
i^
J*
mU
-T-^
M^^
Wm
P P
p
its
^^
vi-sions of
bliss
"W
.1^
5=S
On
m
.
^P
last in e-ternal
ly
J3 i
f.
27760
Could this night with
face!
Tempo
nY.
nY.
i
^
Vi/
em-
47
The Maid and

Poem by
From
the
(Dyeva
Ma'ikoff
Sun
the
Solntze)
New Greek Songs
Music by
Nicola'i
English version by
Geo. Harris, Jr.
Rimsky-Korsakoff.Op.50,No.l
(Composed
Allegro moderato
1897)
a plena voce
(J ^ s 0)
Voice
Piano
rf'ii'
ji
,n,
way be
w
g
1^^"^
ceans
1^
iM
'?==ii=^
^
MM
fei ^
$
due
Thread-ing jing-ling
IT\
ats
P
gold
en
On
fe:
^^
Printed in the U.S. A.
^''
fine threads of

Copyright renewed, 1945, by O. Schirmer, Inc.
377K0
maid
k
i^
'S^
93itt^^
i;iien,
i;-|ia
sits
^'^
-
towV there
In
r\
SSt
>
yond three o
"|-
^'
^^
gleam-ing
^^
58
fe
Twelve
J'
her
V'
Six
ment,
î
and
^^
calls
un
to
S
=
>
>^ftt"
i 3E*
#^
six
for
breast and
^^
Then
tress-es;
she
^
?
^m
^^^
f=^*
sun
the
fct
J'
'
fe
te=^
fe:
'^t
^f^
cresc.
of
^^
Jm
dorn
^yT
the joy
:g:
r
-
J)
p
em-broi- ders For
she
the threads that
^=4
fct
P
-y-
tt^J^.--^
#
^n^
i"
sil - ver.
>
J)
r\
light:
''
'i
^^
'I
C7
if^
^=*
Meno
ivieno mosso
p
^
^
U^
^
<~^
r\
Tempo
Meno mosso
pt7? i^ffh
am
"Sunlight, shine! for
fcMi
p-i'ppprr^
shining!
Sun, a-rise!for
r^ffm-
r\
27750
ii
tiif-
y~"r\
P.
^
^9-
have ris-en!
li
Ms
Meno mosso
Tempo
espressivo
f,
i>
}>
'Neath thy glow the
=^
Tempo
iP
ii'
er,
1 ri"
i' i>
J)
p
t
.f.
^^
van
^^
cresc.
S
quish'd!
a tempo
^--î-:
IMf-r
jooco nY.
tempo
S5
P=^
pp
beau-ty men are
my
fc^^^
m^
tf:
'Neath
er,
?oco n#.
fct
ows with
J)
are vanquished. 'Neath thy glow the meadows
Tempo P
f..
S^^^^
I
Poco meno mosso
'Neath
fct
mead
Ûi^-Mppppr
my beauty men
with
-\
i'
nY. assrti
-^
pt
^SEî
iA
r
IL
i'
jj
49
e ritard.
I 5=
^
f^^f^^
.Je:^
fe
rpT
^
?
27750
_'JS1hS.s's
60
EASTERN ROMANCE
"The Rose has charmed the Nightingale"
(Vostotchnui Romans: *Tlenivshis rosoi, salavyei")
Poem by A.
Music by
Koltzoff
English version by
Geo. Harris, Jr., and Kurt Schindler
,,
Op.2,No.2 (Composed
Moderate
Piano
Nicolai Rimsky-Korsakoft
t^ i
1865)
iss^-
pp
l.h.
l.h.
wn
tf
fi
#=^
^^
ritpp
9^
-^
,11
m
I
h^
p do Ice
'
fet
p
The
rose has charm'd the
night-in
r
gale,
a tempo
g 3
S7760
9-
-s-
3
Printed in the U.S. A,
P P P
By day and
^^
night
he
51
us
<^j)|j ai)i
'
tells
the
tale;
tf
The rosf but hears
i'J |i)
in
silent won-der.
faS
JM
^'
r^
tf
r'l
^m ^m
i?p
^^
I
IB
/;
'/
fet
Thus with his
ra f
^>^
ai
^'
lyre
^^
"^^^
po
et
^^
r
sings
To
iS
>
a:
::=
-9
-J:
I
U
his
young love most ten-der things;
But oh! the maid
can-not dis
cov-er
y
;^
^
^
,i
27750
For
n't.
iW
feft
whom
the song,
nor
why
hi
So
his tune
i^
J.
sad-ly sounds be
^^
-
neath
the
moon.
a tejnpo '"CZ^^
fcS
^^
%\
iz:
/
^'
itgit
M^
jtprit.
^
s
rs^
^^
21
-n
iz?
S S
ft
f?
l.h.
l.h.
m^
t
m^
1^
ai
ttfe
foft:
^=^
U
nY.
^gtf
27730
-9-
i^tf'
iJtfJ
i^
ppp
IE:
S
^
63
Oxana's Song
(Aria Oksanui)
Music* by
Rimsky- Korsakoff
(Composed 1895)
English version by
Deems Taylor
Nicolai
Andante
Piano
li
i>
>
;z:
i>gttp^ fi
r
ZILL
r]
^?J>
r]
j.^"~?^~j>
Win
m
^T
^ t-^^
1^
WrW
^
i
T'^^
espresstvo
MtUp M
?$
5^
^T
j rfo/ec
No,
Jit'j
J
1^T
i"3
^^
i)
Half so fine
^1
jT-
p
as
r]
my
old
pp
shall
p
find
1 r
r
new
lov
er
legato nssai
Efe
22
ppi^-'P
f One so
lov-er,
j*Jii
^ pp
^
ten
^r
û
..
3E
^^
^
f=r=T
to
me,
3^
^*
the text adapted from the Little-Russian novel
Copyright, i9i7, by G. Schirmer, Inc.

Copyright renewed, 1945, by G. Schirtner, Inc.
der and half so dear
^^
r^^
* From the
opera "Christmas Night" (Notch pered Rozhdestvom);
by Gogol in "The Evenings on a Farm near Dikanka"
t77S0
er
T^
and true
Jl
nev
^^^
i)
H^
pi^-'p
J''
^ ^
^
*W ^^
54
So in-dul-gent,or
i^'P r~p
half so kind.
5^
J _
TT
c=/r
J:
Such an
oth
er
I'll
gV
^^
^
sempre legato
1^
hold
to
so
^ h
za
^
did
^^
pp
i'J)
cold
to
^
I
not for-
.MJ'Lrppmy
him? Come you
jO.
tE^
r3 j- j.
me!
Li^^
Why
IP p^TT^ p
l^-^prtyp
evhim? Why was
un kind and
er
find
11
to
Q^ F^
#^-Î
nev-er
might be near
er he
i?
ig^T^
^^
fi*
Ê^
^"
Would that ev
g ^T^
j-
^^
piu
back, oh
ZBL
ry
%
kp'pctyp p^p^:^!!^
come
maid who
*^
to the
poor,for-lorn lov-er, Quickly
espress.
27750
you
m î
^^
.S=i:
loves
4m
fcÊ^
f^
Vi/
o
^^
>^
so!
njr>rJ> iijrî^
i ^tlE
WzElJ
i)
1
1'
UT
^
m"
w
^JttjJ:
13^
^^y'-i
would come and gaze
p:
on
me,
?>
^1
IS^
SM^
joeo eresc.
mass he
-r
pr
mused and
hile
at
MP
^
O^
r3 J-i) r3
Oft
m
^f^
r
i>
55
^>^^rr'
pray;_
te*
"P
r
"P
Ip
Strange the tricks that
for- got to
^^ m ^ ^
^
rv
p
poco
r^^
MT"^^^
fan- cy plays
my
^n
on
me
tf-y^^:^
cresc.
ti^r
11
!p
vêspressivo
^^
r>
Since
iipp
my dear
d=
r^
*
p
p
When I'm
i tt^
y
i
^'
'
i
I'p
die,
p
I
\i \'fi
^^tt^
S
87750
When
way.
sif^
I
^p
mourn and cry
^S
lov- er
.fe *
p^
p'T^r
went a
*p^r"p'ipi
I'm
bus-
^^
P^^
him,
^
w^^
P ^p
How I
'
rJT p
i
sigh
^p
for himl
M
^#
How
^p
I
^^
cry
for him!
J^P^
tU
for
?
^
for him,
'ip^P
long and sigh
y,
^p
Ûî^
''
p ^p
a tpnipo
dolce
p^r
^^^^ *
'
^^''pr
ncv
JrfH
êS^
Ht;
rrc^cr
was
^
m
and so
^^'p
Would
er
T~
er
I'll
nev- er_ find.
so
B^*^
ii
rttpr it
ffi
.rj^j
^
t/
:zz
CJ
i_r
me!.
near to
iTO
:J~^
F^^^^
^
r::
fJ^X^cr
PP
^ ^^
Why did _
^-^,i.
^â*
J
S
'
I'
i!^
and so_kind!
lov- ing
^^
lov-er.
L&^^-gff^
Might be
"i
LT [J
he
^^jj"
-j
^^
st
J^s
J.
old
setup re l egato assai
1?
r
N^p
and true
m
^S
1=
c_;r
Such an- oth
He was
that ev
\i^^n
i7750
hearted,
^^
^
?^F ^
^'P
.^
iI' tJ^
good
JT^^
c!;r
p-[ST?i [;
i
i4
r^n
p
;pn:.
f
p
my
as
^^
ten-der
so
Half so fine
lov-er
iicw
1>P
J'P
^'pa
er shall find
No, I
a tempo
not for-
^y)
^^
i
f
^
^
|,;ijiTVMiipf
was
ev
er_ hold
to
S î
s
J-
him? "Why
so un-kind andcold
to
Come you back,
To themaid who loves
lad,
lad,
kEE^
^mk m
JiJ-ft
him? Come you back,
you
Come you
so!
a tempo
p^^
poco
poco
rit.
J)
\ ^rr
It H'
i
back,
poco
lad,
pooo
dear
lad,
Q'
n r7*
p
Come you back for
rit.
Jm
<
1-T 5F*g f
Sfe ^
p*
fc*
^^ ^
nr^n
tff
ev-er,dear-est
lov
er
3d
^=^ dE^
iP
*êgjW|
^
TT
"^
-^' dim.
mine!
27750
^=f
r\
68
"Like to the sky serenely smiling"

C*Kak nyebesa tvoi vzor
blistayet**)
Poem by Lermontoff
Music by
English version by
Geo. Harris, Jr., and Deems Taylor
Andante
Voice
Piano
te
^m
(J.
Nicolai
(Composed
=
f]
^^
i^^m
clear;
Thy
is
blue
Er'
and
T^
4J^j^''J'iiJiî
Like
to
kiss
T-
with
^
^F
^fe?F=EE
T-
Copyright, i9i7, by G. Schirmer, Inc.

27760
W^
^0
T-
glance
Tm
^n,
^te
m
smil-ing,
se
sky.
^3
{M n^^h m
m^
T-
T-
ite
to the
^^
Wr
pj)
ly
No. 4
66)
Like-
rene
7,
1K67)
ij:]J_>J'j)iJij
^
^m^
Rimsky- Korsakoff. Op.
'
iJj^^^
soft.
^*
be
i ^W ^
59
te
gull
ing
For
Ji^
young voice lures mine
Thy
one sweet word
thy
lips
have
>
For thine
en
ear.
spo-ken,
AtI
3
r.h.3
^M
^=^
ij
i)
g >4^^
'
"ii\ti
chant-ing
glance, Would
m^
m
^5
^vtL^
laydownthis glo-rious
y7
^
J)
ft
Tempo
97750
IX
1^
i',tj) j)
"
i
to -ken, My proud
Sllrr
Gru
se
^
nian
^
"I
60
ujL
fe ^3
Thy
Z.A.
27730
glance
^^
is
blue
l.h.
and
i
clear
T s^T
Like.
rpf!
to
61
The Song
of the Bride
(Piesnia Lubashi)
From the opera "The Tsar's Bride"

(Tsarskaya Nevyesta) Composed 1899
By Nicolai Rimsky- Korsakoff
English version by
Deems Taylor and Kurt Schindler

A
Voice
(J: 48)
(unaccomp.)
Help
_
_
j,J)J'J)
j;^''V
*t
ill
assai
Largo
^piJ'.^'
te?i.
te9i.
_hJ'l
ten
I'U
no long- er grieve thee,my woe
shall not
p p
lead
to
Soontheycome
ten. assai
neath the mar-riage crown.
|^
J>i' J)lr
Ij,
don mybri-dal gown;
me,dear-est moth-er, to
assai
me
be
To my true be
tell;
ten.
r
i>
J
lov
J:
-
ed
J,
f
[Tej
tress
es
"^"'
fast;
^^
^^
Wind
7
well.
^'
J)
lin
en
J)
1-7
now
Loose the band that
my
cold
bed,
^^
a shroud of
J'
^'^'J^rn r-a^ P'^J
Stretchme on
Voice (unaccomp.)
.1''
a last fare
said
I've
J^
J-
^^
a
bout
my snow- y
Jll
p
holds my_silk-ei
lungn assai
breast, Cross
tjiat
te7i. assai
ie7i.assat
p
jt
maysleepat
^^t
my arms_be
last.
,-
neath_in their
ten.
pale, e-ter-
nal_
rest;
Light the
wax - en
ta
pers
and
place them
at_ my_
ten.
jU
J)
May
i>/3J'
he
stand in
awe.
pJ^ IM
may
he
won-der
cJ^
my
by
side,
lunga assai
As
27760
in
vir
gin
beau
ty
sleeps his pal
Copyright, i917, by G. Schirmer,Inc.

lid
bride
62
Sadko's Song of Glorification

(Velitchalnaya Pyesnya)
From
English version by
Moderate
Voice
MW
Vn
Piano
(J-: 72)
pp
dolce
m.
(Opera-Builina) "Sadko"
Nikolai Rimsky- Korsakoff (1896)
i}
^^
By
the dramatic legend
73~
1.
Blue
IS
the
2.
Heav'n
burns
with
al
jn
cean,
change
less
and
sun
light.
down
here
is
i-
ik
I
sempre legate
SI
i
t
V
?y
bound
sun
L^^^
7760
-nz
zz:
?
less,
light;
Vagt
depths
of
Heav'n
gleams
with

-ni
wa
ter,
moon
light,
wu
sun
less
and
sound
less,
down
here
is
moon
light;
J'^
J ^^ a
'
i T
Vast
Heav'n
XE
351
tt
*
what
down
cean,
light,
shall
mea
sure?
here
is
star
light;
T^.
^^
a:
^-r
iffi^
lU-
P
eresc.
*ft
^^^^^^
Dark glow-ing cav
Heav'n has
-'raid
erns,
twi
its
?
em
light,
down here
'M
J ^=J^
wm
*A
ii^tf
Who
J
is
down here
i
is
a
twi
zure.
m
thun
der:
iilTmiTJg
î
m
/
y^^
der.
IMi
ri
?
-
er?
331
'Tis
All
poco
i^L^
thun
its
ter?
r "r
Who was your
build
light Heav'n has
XT
^
your mas
is
and
cresc.
"XT
27750
man
^^^
tf
3i:
d:
o
star
of
with
^^
?
"i.'^
bi"i'
realms
glows
"/[
^fe
'P
63
piu
the
do
main
of
force
in
^T
that
is
the
the
fîii'
>
cean-King!
-
ni
verse!
î
^S:
dim.
z:^^
~:
Z7
64
M^K f
Fr
Glo
1-2.
ry to
the
y^
^^
m
A=qs
Glo
to
JTJ J
his
^j
T
Jl
U^l^m
kho
^ fo r-
va!.
c^^TO^-^
io_
lL-U
-ilJ-
r\
m
r\
-
^
3.
^^
F=^
^M
27750
31
zz:
i'
sun
that
r
burns
(i
rs
r^
That
^y
A ^
!
cresc.
i^
diant!
nu
n:^
UZL
^fe
-o-
^m
tt
^^
Queen, so_ ra
rr^
cm I
ry to
^^
^
o'
tt
J-
Prin- cess_ Vol
the
x&i
c^
^m
ry
^
nP
r^^
WKS
Glo
cean-King!
"msm
V9
r
here,
^
lo!
'tis
the
xzacM
CLCLT'LaiEr
sempre legato
a:
ir^^
ar
dent King!
65
T
moon
that
^
gleams
J J J ^
122
pur-ple
of
twi
light,
I22I
'tis
lo!
here,
^^ -J-J-Jl^J^
^^
the
smile of
^p "^p
*
li
J~3-
fa
their
J--r
27750
the
'tis
vor
pw
i)ij
66
H
i
ftA=^
Mm
frown of
pp
their an
1
-
ger
^mjtt
bi~ai
^^
Queen, so
,#^S
L
ra
diant! Glo
j:
Jflf!^
ffi
277.-.0
3E
^
to
ry
the
Prin
cess
Vol
kho
.uss
jSC
?>
^^
HA
r
wW/d'
^f
-i
f--
'm&
^^
^t*
9-
M
p
MZi:
^=^
67
U. &.
im
Hail
^
iA
xc
i
to thee,
i^
^ft
blue
cean,
less
and bound
rn^sin
^F
^^
i
87750
;i
fei
J"'
change
rrnirrry
less!
68
Arabian Melody
(Arabskaya Melodia)
Words and Music by
English version by,
Deems Taylor and Geo. Harris,
Alexandre Borodine
Jr.
Allegro passionate
^^
Voice
i :^
Piano
:2S
in:
^^
r~T
^rr
:z
^^
(J: too)
JT]
r~T
^^
r"T
l;JT3
/r\
dolce
S
Do
s
S
f
not
jooeo rzY.
dim.
^
J:
l/JljJ
l^
rA.
^p
r
(J
rs
:U
Z2I
r^
Andante amoroso
IS
66)
x:
I
lît
leave
me,
be
^1
lov
ed!
J ^
*
ii
Oh,
p
in
'lp
^r

27750
dreams ap-pear
"f>
^.
f!
to
1^
mel
^*
=lj
li
-yr-
GO
dolce
'ij^
syffV
IJ]
rit.
r
-
est
gic,
:3
lU
pooo
sweet
ma
sweet
love's
3^^
131:
r.dolde
^^
^
know
me
Let
m^
S
r
i-TT]
JT]
J^5-J^
Allegro passionate (Jrioo)
c-EJ*"
pas
sion for
joco nY.
thee!
^.
^
E^
JP AJ
rr T"T ^^ r^
r ^^
i.iT] i.JTl
plena voce
=?F
Oh,.
pooo
rit.
^^
^
^
^
^
^^
:-S^
a.
dim.
'r.
>>:,
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dJIJI
TT
t;^giigE |feES
r
r\
r~T
rr
h.
r\
r??~
=S=
70
Andante
k^vJ
give
(J
ee)
me
thy
^
,1
of
spell
^
beau
th}'
^ ir^
pp
'
lost
ZIZ
pray
y,
rr^-
M
i
cresc.
:n
M
J|T
pp
me!
slay
sea
of
fpoco
^^
burn-ing
^^F^
-
pas
sion
for
t
thee!
iJr
ts
die,
my
allarg.
^
27750
H-
^^
-S
/
assai
allarg.
ed,
if
there
[T
"P
be
no
assai
nY.
^-
lov
See,
accel.
ten.
S
be
am
rit.
allarg.
^m
ZSL
m
T-TTf Cr V
cresc.
poco accel
poco
^m
dolce
will.
ty
^^
^^
'Mr
^^
&
The
thee!
^
^
pit
poeopiu
^^
hi
B=
t^f
hope
^î^
me,.
ten.
allarg.
hg
p-ffor
71
1
Tempo
m ^^
^
^
V
4
I*
to
Oh,
i^
sweet
r^
r
jooco
^r^
Death
die!
were
^
T
f3=t
reY.
^
r
dim.
::^:
er,
death
from
sion
pas
for
3e:
v%
^^
iiJ
Allegro passionato
ZM
poco
rit.
dim.
;^
(J: loo)
in:
I;
T" T
l^
1;J
is:
t;J
T"
rn^
r\
r>
^
s
>at
t;
27750
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j-m
t;J
l^J
17
:2::
^
T
r.h.
lh\
1^'C
72
Over
the Steppe
(Styepyu idoo ya oonuiloyu)

Poem by A.
Pleshtche'Yeff
Music by
Alexandre T. Gretchaninoff
English version by
Deems
Andante
Op.
5,
No.
Edited by Kurt Schindler

(
sa
Voice
Piano
pooo marc.
^^
Sad
lies the
r~3
^^5^^
Steppe_ in
its
1^
ji;) ji
j^jiJ
Night comes on
sol-i-tude;
shad
ow-y
-&
^^ S
^^
3ir
3ir
r^ ff
jpp
rtt^r
^
J
3ir
-a-
^^
wings
^M
r^^r VT ^
n
^
XT
f^p
Ji Ji J
Nev
er
Ji.
nor
tree
JîJOOm
a
31
let,
JO sempre
sir
TT
Xr
27750
flower-
ji
73
m ?^
S's'
Nev'
^5
M-(
a night- in-gale sings.
er
Dark- ly
h=4
^r
-%^^
^r ^
337
J J
i:
rrrF
'
the night knits her som-bre brow,
3:
i^^g?^
JUU
J ji
Ivgubre
3r
327
*T^
TV
r?
TV
jporo string.
^5
M
No
where
S5
O^
star_
the
in
8?
^:
r^r
H:
'
Hard
skies.
ly
;?
î^î^:3
^ _
*
I
'
ft'^"
"1"
ZT
know__ why
so
%2:
^
w
i'
jpoeo string, e cresc.
3sr
5=fe=5
sions of
Tthee
now
ir
-
rise:
'0~
'^
1X7,,
:a:
--
^
CAO-VvV.-.-^
^^
ip
^Li5
znho
74
ffcon
H
liber ta
a tempo
li^'
f
Vi
p
of
sions
be
my
thee,
IL
P
lov
P
ed one,
a tempo
r\
ir
J.
fe^
rfo/re
=^=S
"XT"
m"f
colla parte
4^^./f_
rs
^^&
^^
'/
Lim
If
pid
^t
^^
and
as the
fair
1^
^^
fî
,s
^^f
ii
Smil
day;
'"^
ing
>j.^"1^
j^ji
up
me
on
thine
^?
'-J
(
;i
cresc.
poco
rg
25
ll3
:4
<?f*c.
ff
e/pw a
/>oco
ôco
puvu
r
\
-~
-?---
im - age brings
Bright
ness that
pierc
es the
gray.
*^%.^^^%^^^^^'
a.
zn:
a poco
m
87750
tT
^
7
v1
T~f
75
r
ift Comes
P'
now
the song
^
of the
ff^
j^=j-
night
Melt
in-gale,
r
Flow
sigh;
prnod
p-
ers
pp
are
^^^
ing a
way
like
if'p
ding ca- ress- ing- ly,
^'%pî^^V^^*'<^V^^^^%%%%.%.'
fes^ -
mz^zmzmm
mrs^zmmiîM
m-m-m.
dim.
tte
m^
A*g*
*
^1
PP
:*
"^
stud
p-
a tempo
molio rit
ded
with stars
r
is
^
the
i
p
sky.
>
8"
a custom of singers in Russia to hold this note and

phrase. The effect will be found very appropriate.
It is
make a gradual decrescendo with no break before the next
/T
^1)
27750
76
The Wounded Birch

(dstroyu syekeeroi)
Poem by Count Alexis
Music by
Tolstoi
English version by
Op.
Andante con moto
(J
1,
No. 2
3)
Voice
Piano
By
the
hatch -et
a tempo
t t t t
P
Ian
^
ed,
i^
guish;
From
p
its
bark of
ir
sil -
Jn
ver
See
the
birch-tree
t=r
t=t
pr^
i
Fall
the tears of
an-guish.
^^
r\
r*=t
^^ ^* ^^m
cresc.

37760
t=t
'~r-'
t:^
ir
wound-
ff^
77
^^
Do
weep, do not weep,
not
VsX
-^^
birch -tree, Cease thy
:3
'^
moum-ful
^r-S
r\
t:
Sum-mer soon
ing!
^:
5E=S5
cry
s^
?//?-
?^
thee; Birch, thou
heal
will
*-s^
tzz
not
art
^^
dy
ing!
^
T
^^
^^m
^m
^
r\
a tempo
tit.
In thy lofty
^^
glo
t
Ir=f
ry
Thou
shalt
greet
mor
''P
But
heart
once
a tempo
mf
the
P^
row.
rit.
/a.
^^^ ?
^
/?\
I'*
r
wound
7760
p
-
ed
ii^'
J'i'
Fades
be-neath
|jj>
its
i'
iitJ^
sor
row.
78
My
Land
Native
(Krai tui moi)

Poem by Count Alexis
Deems
Music by
Tolstoi
English version by
Largfo
Voice
(J
^^
(J
t,
Beat
p
land
p
my
mine,
na
ing
land!
tive
I7\
i
/Cs
No. 4
n\
^^
Allegro
1,
b)
Homo
Piano
Op.
186)
j)
hoofs
i'
of
J-'
hors
J)
-
es,
J^
Scream
j,
^1
of
ea
J'
-
gles
J^
i>
the
in
J,
sky,
i
/it
*
i
Howl
IS
t7750
^
P
of
wolves
in
^^
^^
g
win
^^
^
-
ter!
i
#
^
TT"
79
Largo
ffr
p
thou
Hi!.
u;
p
na
tive_
^m
land
r\
of
mine!
r\
i
/
r\
^^
Allegro moderato e tranquiUo
^^'l'j'
Dream
J-_J
,h
ing_
vir
^t^
-
gin_
for
:J''
J,
-
ests,
Mid
''"'^L
H^
^^
-N
J-
night
songs
JJ^''
of
night
i-J
-
in
>
>
gales,
L
fc
Piu animato
molto cresc.
i
87750
i^
80
Cradle -Song
(Koluibelnaya)
Poem by A.
Music by
Le'rmontoff
English version by
Deems Taylor and Kurt
Schindler
Andante con moto
Op.
1,
No. 5
(J: 58)
Voice
Piano
'
i' J)
Bye,
277S0
E5
my ba
by,
?MJ'j>JO'
bye,_
Bye,
my ba -
Pd-TcJi
?
hy, bye!
Copyright, 1917, by G. Schirtner, Inc.

Copyright renetved, 1945, by G. Schimier, Inc.
Soft
ly
glis
tens
81
and
Moon,
lis
tens,
i
i
fe
^
From
the
i
-
lof
ty
sky.
i^
/J-j J-j/ J^
LtU ffrf ^rj-^r
rf/>.
ri
r-
/r\
P p
Cra
Eyes_
^frT ipzij'j
die
swing-
Moth
eth.
are
^gg
fe
î^
ies
k^
ther nigh;
ga
fif-
<T
rit.
ing:
Bye,
my_
ba
by,_
tempo
ten,
a piacere
r\
I
AT
ûl
PZE
la
feW/)0
t=
=f i
rit.
Bye
bye!
a tempo
ro"
bye,
rit.
^
-
1/
a tempo
tempo
I*
ing,Dreams are call
fall
Fair
er sing- eth,
/e.
-Mj
by
a tempo
r\
JE
uU
^
smorz.
ilr
lis
VPP,
~rv~
<s-
-e-
-r
r-
27/50
::^*^-
82
In the Silence of Night
(V moltchanyi
Poem by
notchi tainoi)
Music by
Sergei Rachmaninoff
Fet
English version by
Op.
4,
No. 3
Lento
Voice
^^
i
'
{)
Piano-
^^
ppp
^
')--h
i',
ii
^^
aP % y
?
'
^^
î=-p^
CT
Oh,
"A
m]
i^
f.
:pg<yggi^ _r3yZ__
T5
^>ftl
ii
s
Îji-^^*^^- ^ iii if 13 13
'
'
^^
the
SI
3=1=^^?
kl
^=j-
in
rit
lent
^ i
m:
night
Wi 1 a
^11
^SI
III
Printed in the U.S. A.
r
_p
Copyright, 1917, by'G. Schirmer,Jnc.

Copyright renewed, 1945, by O. Schirmer, Inc.
a77.-iO
<
tl
^1^^
see
m
^
p
your
*r:^p
83
mm
r
near
sion
VI
a=i=^^
* #
With your
ing,
^-J
4r^^
^^
J^
1-r
^^
I
ca
ress
ing voice,
jn
"r
mf
-J
\&
i'
'M'
P
your
art
ful
Your hair
:i=*:
PP
2_ ^
277oO
^'
that
smile
en
dear
ing,
:3=
^^
I
"r
smile,
^
I
^
^
"
>
^^tfJ
was
wont
to
stroke,
#^#^
w"/
^
3x:
*=*
8'
^^
^
your
flow
in
ir^
r=f
'
ing strands
of
I i
^t=:i
oft
you
'I
^^
7^
III
rt.fl.^.fi
m:
xn
how
\>
^
g",
I
oft
call
back!
you
m.
7
^^^^H
'^
*^^^^H
*^^^^*
Sii^
''
:.
J^
J^
>
iii
cow /noô
j>
The
_^
j^
phras
J^
i>
es
of
J''
the
^^
J
past
con moto
fl
7
dim.
Jl
351
^jo
p
^
r.h
rpp
I.h.
f^m\,f^n
r
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f=t
"^J
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bid
r=f
fc
bîi
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black:
cresc.
-i^}'
m m
Se31
1
hair
s:
new
try
words that voiced
^^
cresc.
to fash
our pas
ion,
sion
whis
R^==E
-
per
and
Wild
i
ag
re -call
and
the
de-spair-ing,
cresc. e rit.
i
s
p
I
S;a
^
27750
rj
Sr-
\Â^
^'
p-
sum - mon
past
de -light,
a
^
d'
With your
be
lov
ru
y
J>
J^
J^
r^
?^X
cresc. e Ht.
fc3
rzL
ed
^^
name
r>
MU
^^
^'P
wake
the
si - lent
With
night!.
your
be
:?:
J/i
.vj^j^.![j
in
m.
flf
!fi
lov
J I
ed
^ :&
'g
j^
i^fffi
s ^
4 t
tiffl^nfi xc
h^
dim.
^
name
N
wake
the
^
si
lent
3^.
if
fc=t^
o-
ir
iz:
"S*
UJ.
JJ:
9^^^
^/M
ilil
3r:
rfm.
>> >
on:
w:
t'?t'0
night!
Oh,
3^
iS
3^
îJ^ Jl
:^
.il^J3.î^î^
ppnjîvo^
iifi
i?=^= --
TT
a77.->n
7 akst^
#M*
P
r
h^ i ^
^r"^
87
^^
the
>
si
lent
i >
Y^
^''t
J~
''
J]'
.
;E*
^
-
^
^^^m
rrrf
E5
vi
sion near
* *
^
(^
nY,
^
be
your
lev
name
ed
^
I
^
wake
^ ^
the
si
lent
ro I
2^
i^
nY.
r
flf
ing-
\J^^flr
:fl:fl J7?
I'"
see your
XT
With
'
J^h
i>
PJL_t_*
^^
night
iiliilUZB
r"**?
tempo
-o>
night!
a tempo
EE
*
i iS
fe-
ppj)
^N
27750
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<s-
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88
The
Isle
(Ostrovok)
Poem by Konstantin Balmont
Music by
Sergei Rachmaninoff
(after Shelley)
English version by
Op.
14,
No. 2
Lento
*?ffi=^
Voice
^^
î^^
Far out
*PS
K i> .
sea an
is -
land
>t*i
/j^
\\
i'.
i
J^
legato
With gen-tle
lies,
J^ J^
slopesand flow-ring masses ,
W^
Piano
ff
;l
And mead-ows gay with
but
>
^'
^^ ^^ J^ "^'^^
r^
r r
']>
And
ter- flies
andsweet
vio-lets
grass-es.
=^z=
}>}>
'i
i I ^^
^^
J''
^\^\ ^j^'p^^y
^ ^
If
^5
piu decrescendo
l
l^l
7'''J^^
J^
(T
f>
A-bove spread leaf- y can-o
fe4^=^
gîi.^
piu rallentando
IWi
^^
g
With scarce a
pies,
^=1
rip-pie
]^
>
stirs the
^.
Copyright, 1917, by G. Schiryner, Inc.

Copyright renewed, 1945, by G. Schimier, Inc.
S7730
J^
^r
cean,
.^
vztf
^
i'
89
TJ^
"ii
Jî
J>
^^
fl
Like dream-4ng sta-tues stand the

^
fc
trees,
IDI
X-T
v^^
h|]
1,
With nei-thersound
^=
rr
JUiii^
3r
S^
J'J'-jt
nor
mo-tion.
S:
1"
dim.
3t
f
31=
^3
jyp
B-1^ 5
gj
i^^,
Here Na-ture
Meno mosso
-î::
^p= SE^
^'
^
So
lies
jMiJ^^f;
ev-er seems to
^J'-<
smile, _
îiJ^ J^
jjj, j,^jiY^-4^
No storms a
rise,
M^
there tran-quil-ly
the
^^
?
For
isle,_
winds come sweepine-
ten.'-
no
ev-er
PF^
-e-
jyprit.
h rjQj-
j^
cal mly sleep -ing.
m
27750
^^
^^^
\7
Jr
-^
iP^^JJB
!
# ^
90
"God Took from
Me Mine
All"
(Vsyo otnyal oo minya**)
Poem by Fyodor Tyutcheff

Deems
Music by
Sergei Rachmaninoff
Op. 26, No. 2
English version by
Voice
Tempo moderato
(J
fagitato
96)
^MM^p
?^=ff
God
Piano
''
')î^
all,
27750
in ^fe
5
^
3
took from
judg
mine
//
ment
^^
P^ ^
in
me
stern:

Took
91
a tempo
^td.
piu commodo
nif
^^
t
^n
ggtf
g
5i(x
IS
So
wealth,
my
on
ly
rit.
J^
J'
that
il
IJ^'
to
still
colla
;fe
left,
p sempre
He
lone
thee
Lo,
!i
P^^
^^
Him
in
XE
prayer.
parte
5g
dim.
sempre
rit.
^'^^^
/^.
^P
*i
5S J
< '/
may
turn.
l.h.
-;
^mm
E xn
-e-
l.h.
îi
'Mm
dim. e
rit.
ill
ÛJ
i*
55:
:a.
"!.
=3F
^^
277S0
^
.0
92
The
Soldier's Bride
("Poloobeela ya na petchal svayii")

Poem by
A. Pleshtcheieff
Music by
Sergei Rachmaninoff
(after the Little-Russian of Shevtchenko)
English version by
Deems Taylor and Geo.
Harris,
Op.
Jr.
8,
No. 4
Adagio sostenuto
M
mf
Voice
^"''
To my
sor
^^
i
Piano
^^
^
poor
f^^
-
row
w^\i
8^5
With a
him,
s^
a^
-o-
:2
/=
J'
ff
or-phan,home-less and
J^-
J^J
pen -ni-
J'7
>
^^^
Such the
less
^?
^^
E
late
that
IZ^
irh
zz:
^ co
J^
now_
i'
/p- JU
has be -fall
'
Now
en me!
/woô
P
the
ir
cj i
hand
of
Copyright, 19i7, by G. Schirmer, Inc.

Printedin the U.S.A.
27760
hf
\^\i
nr
i#
^''
love with
in
fell
man
has
di
93
i ^m
vid
i^
s
-
ed
US;
jr
Far
^
way
y-TTTTj
they
_ ,
him
dragg'd
fc/T^^J
_ ,
to
.Meno mosso
mr
mf
rit.
h
I
,ii^
f
shall
i'
end
my
J^~i^
days
in
i'
^
ff
stran
ger's
g
house:
t
tz=
:22=
27750
lOT ITBW YOTvK PUBLIC LIBRARY
liS&ART OF TBT FEJirOMING ARTf
flnntBiAL
111
AMSTBRDAM ATI.
KIHY lOIlK. N. T.
1002J.
94
ten.
ff^
f--
nrnr^ ^
nf
M
Such
the fate
that
now_ has be- fall
en me!
Ah!.
^M
^^F
^
27750
m.
"f
^
^ ^
lit.
ten.
t/rl.^
?w
^s
95
'As Fair is She as

("Ana,
Poem by
N.
kak
Noonday- Light"
poldyen, kharasha")
Music by
Minsky
Sergei Rachmaninoff
Op, 14, No. 9
English version by
Lento
Voice
*te
^5
- s
d'5 f^_^^'
fair
she
is
'
îbJ J'
ii'
t^.
As
'
as
noonday
light,.
$ îv
i
Piano
Mi
ii
^5
More mys
m ^^^^^^^
tic
than the night
_ cresc^
deep
sleep-ing;
/
I
-^
j^ ^^z:::-^
1
Her eyes have nev-er burnedwith
|*
mi
j J'jV'j
-^
Copyright, 1917, by G. Schirmer,Inc.

S77i9
weep
ing,.
96
cresc.
%i^^l^
Her
soul has
^^
no
felt
f
^'
I
i
|î,J^
sorrow's
blight.
ilîlÎ^
W^^
=l=a
ft
m2
fe
In
^^^4^^^
vain.
jps
i'^^\
^t
r.h.
M.
l.h.
it
-0-
^^
r'(T
I
vow
i^
r-T^
/irrT
ô^
^
my
her
de-vo
tion,
^^
5
rrc
cresc.
^~^^r^
p
vain.
my
heart
yearns
ev
er
J)
In
'^m
^j)
7 7
%i^
w^m
:!:^
more;.
ffi:
'
'
L!c
Oh!.
4
f
cresc.
^3 U
87750
'l^^j
^w
ipf
iS
97
ii
rit
Z3Z
m^
-o-
rit
accel.
pP^
'
i.
11
1^
fj
^' -iij inr
^^
1.^ J^-i'M
ill
j-
J.^
j. <-
I^î J^_ J^.^
j-
j. .
j.
cresc.
'
'
jnir
ill
ff
i>P
'^
^^gf P-
mu
i-
IJ
i/J
â
'W
dim._
/"
fc
^S
p
ggp
^^
wi
ra
woos
Thus, weep-ing,
a tempo
i^ m
^m
m1
m^
cresc.
~rr
the rest-less
ff
m^
ft
pla-cid
lent,
shore
3-
ffi
*3f=5t5^**5*
PP
g| ^
27750
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"SIT
4^
sTTz
y^-
l.^
98
The Songs
of Grusia
(Nye poi, krasavitza**)

Music by
Sergei Rachmaninoff
Poem by Pushkin
English version by
Op.
4,
No. 4
Piano
Jii-rii
iJfT^TOni
^
*/
ten.
P"
$
^
ffi
:r-
#
m
-e-
31:
not,
rit
^m
ppp
p :
r=r=F
dim.
fl
:?
(T
Sin^
17^
if
^^
JH^min
fair
fT'
<
J''
[?
Cir-cas-sian
The
maid,
old
p
Gru
fT-
J^^
se-nian songs.
^-=-
*
If
ScMrmer,
Copyright, 1917, by
G.
S7750
Inc.
love
99
^m
fill
my
4-
^^^^^"LLC
7^^
mf.
p
f ^
^
r-
life
''p
pdis
il
un- daunt
P
-
tant shores
.i.
-
ed.
m"f
l^Jf
'^1
r
cresc.
27750
dreams.
^m
M fy
Meno mosso
pj,
and
p
with
soul.
Of
100
^^Temp o
^m
i
my
tear
f
i
-'i
Their notes with
heart,.
-
=
are
la
Aw-
'f
y-
mem-o-
ries
Of
den
^^
'2
tr
jf
^
^9F^=t
2=^f=W=f
r
f
of nights
plains,
be-neath the
'li'
moon With my be - lov
ed, long- lost
maid
en!...
Meno mosso
\
vJ^
Such
.^f
ff^-P%
^r
'^^^Jl^jJi
mifr.
fMS 4
t^
1
VI
5.
87750
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mem- ries
>
jy
2S4145J:*^:
r
of
r
e/^5c.
bj-
>
liri*.,^^
t.
r
Tempo P
f^
my
youth,
/..
lOi
M-
see
2
3
'
'
?Ss^3
thee
ing
f-
"
-^
.t.
now
But
be-fore
-C'
thy
song.
ô
un
locks
the
past,
And
once
^fjjjlfl^
a- gain
the
spell
m
"f
f
^t &
ten.
fe
o'er
-^---
me.
mm
?^ /
Sing not,
fair Cir
cas
sian
P.
S nw -=^
z^^
^
i
D^
^ i
-w
^
maid.
^^
^
m
to:
</m.
!^
The
i>^
Pold
p
Gru
pse
nian songs.
love
haunt
87750
ed;
JM
J^
They
ff
on-
ly
102
JL^
'r rr
i_r
r
i
m -nj-^'
r
PFP
^^
^
jrii
r3 J-/Ij
P
fT ^ g
j
^ ^^
r
it|
-n Jr3
jf
/?N
J-
1;
mi
ipppp
-e-
87730
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f??3imriJ
'
ar
>
lOS
"The Lord
is
-Risen"
("Christds voskres")
Poem by
Dmitri S. Mereshkdvsky
English version by Geo. Harris,
te
Music by
Serge'i Rachmaninoff
Moderato
Voice
(J
ss)
Hur~rj
n
^^ N
i
î'''
Piano
Op. 26, No. 6
Jr.
J.
i..i
mf
.n^J^J
J>
,'^JTl J7]
"The Lord
is
His praise
ris'nl'
is
But in
ring-ing.
my
i*
S^
f
PP
OT
i'
'/
^^-.^^
jy
1
soul
^^
is
^Meno mosso
^-r5
naught but shame.
Blood
fills

Copyright reneived, 1945, by O. Schirmer, Inc.
X77K0
-L.
.tf^j]i;^
Pv
t>''i>
ff-
p^
pi'
fi
the world and teeir-drops
104
~ M.
r
'1,^
Pîr
f^
^î
P trt^
And
sting- ing,
the
at
al
^'J^^^ r
tar this loud singing
Seems
like
^K
j^
pf
an
in
suit to
His
S5
3^^
cresc.
mW
-e-
Tempo
j^p
And
should
He
choose
the
5r
cresc.
^''
J.
.l'ir
wor
')--
J^
-
^
from
thy
fi
Who
us
j^
h^\ ',A
lU
should e
'
t,
!>
i
It
jmfîijjji^
Piu vivo
*^
P
would but find
^
^
jpoeo
i.i'i>
27750
nal light at
Hate has o'er-come us
tain,
He
cresc.
cresc.
And
broth-ers wran-gle,
cresc.
-.g^^
ter
3:
^
i
y
WW
')
K ^^
y'
S^
to
His pain;
E
ij
105
cresc.
.//
to
where
ring-ing "The
is
juj^H^
m
i
t*
i#
rit.
'r-fÛ^Pf
lJl
^5
t^
^m
poco
poco
rit.
s
from one and
is ris'n"
all,
5 =3
S==1 E
:^5:
:5
T
^Tempo
dim.
tS*-^
^^^'
53
"Would
ing
^;
5f 55iltt**
dim.
^
Lord
Be-fore the host what tear-drops sting
m^
;:.
rff
jf
ff r=?
poco a poco
__
pesante
J'
p
fill
l*=
His
sad.
Siii
-f cresc.
s
?
-e-
XT
^
i
cresc.
rrP
r
eyes^
^
f S [>**E I*t^#*
:^
at
our
.If
SB-
*i
fall!.
l=g
^jfrî ^p^
r Tpr T
^
ff\
^ffi
ZZT!
13
-e-
i^
T5/T>
^^^
^^
27750
^
IS
ri7.
per den do
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Masters of Russian Song (c1917) (Vol 2)

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Masters of Russian Song (c1917) (Vol 2)

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MU 784.

NY PUBLIC LIBRARY THE BRANCH LIBRARIES

3333 10036 7974

Lenox and Tilden Foundations

THE NEW YORK PUBLIC LIBRARY

BOOKS MAY BE RETURNED TO ANY BRANCH

Twenty-five songs by Moussorgsky

Price, 3.00 each

((Prices apply to U. S. A.)

Twenty-five songs by Moussorgsky

Copyright, 1917, by G. Schirmer, Inc.

time for thee

spread thy wings,

Song of happy tidings, conquering and plentiful!

Russian song, in red blood and tears baptized

of Balakireff's first song in this

book might well serve as the motto

the dormant powers of the soul,

the pent-up energies of a

of such throbbing intensity, that

people as the bearer of such

confidence in the future destinies of the Russian

onward sweep only by Russian literature has come to

impressionable listeners has been

a listening and atten-

hold the centre of attention in

the unprecedented happenings of this year

people and Russia emerged

even against new obstaclesmust lead her

with a lofty proclamation of idealism, which

time for thee

spread thy wings,

Not alone hast thou matured and become thy glorious

up from our dark

our burning homes.

sources, their very core!

the people together into a closer

horizon of what amounted to slavery had driven

human relationship, had developed

the mystic powers of

and thus, under the yoke

characteristics of the true Russians.

Moussorgsky and Rimsky-Korsakoff

large extent, founded

upon a systematic adaptation of folk-melody. There is enough of

among present-day composers, Gretchaninoff and Stravinsky have shown a

although in very different ways.

necessary to understand this in order

art, close to the

apparently well-nigh closed: the towering figures of recent Russian

music, the fanciful and fantastic Scryabin

beloved idiom of their people.

1916) and the highly individual RachmaninoflF

and the creative musicians

German methods, but without

some following the lead

Moscow and Petrograd

evolving any definite style as yet.

In view of the necessarily limited space of

was not thought expedient

to include certain of these latest protagonists of

The very numerous songs

Gnyesin and Stravinsky.