4

Chester Sertes, No. 21.

THE RUSSIAN SONG BOOKS

A SELECTION OF SONGS FROM THE WORKS

OF RUSSIAN COMPOSERS

OLD AND NEW, EDITED AND TRANSLATED INTO

ENGLISH BY
ROSA NEWMARCH.
ADAPTATIONS FRANAISES PAR G. JEAN-AUBRY.

SONGS FOR A SOPRANO VOICE

(SECOND VOLUME).

Price: THREE SHILLINGS NET CASH.

Edition P. JURGENSON, Moscow.

Copyright for the British Empiie :

J. & W. CHESTER.
LONDON: BRIGHTON:
ii, GREAT MARLBOROUGH STREET, W.-i PALACE PLACE, CASTLE SOUARE

Engraved i'nU Ptintc i -in Engin i.

Copyright, MCMXVI I., I>y }."& \V. Chester.

;

>3
 PREFACE.

The success of the first of a series of Russian Song Books containing thirteen songs
for Bass Voice, many of which are in the repertory of the famous singer Feodor Ivanovich

Shaliapin has been so encouraging, that besides this album of lyrics for Soprano, and those
for Contralto and Tenor now in preparation, a similar series of books devoted to Operatic Arias
will soon be offered to the public.

The Russian Song Books do

not claim to consist wholly of " gems " of classical music,
nor yet of that class of lyric known in England as the " popular ballad." An attempt is here
made to combine both elements, and to cater for varied tastes and interpretative capacities.
Examples by leaders of the Russian School are included in the series, and also a few songs by
minor composers which are great favourites in their own country. In each case the words have
been translated direct from the Russian, and represent an effort to echo as faithfully as possible
the sense and sentiment of the original texts.

The following details respecting the composers of these songs, treated in alphabetical
order, may be of interest to singers.
London, June, 1917. Rosa Newmarch.

PREFACE
(POUR L'DITION FRANAISE.)
Le succs fait par le public anglais au premier recueil de " Mlodies russes pour voix de
basse," a engag les Editeurs publier aujourd'hui ce recueil de " Mlodies pour voix de
soprano " en y adjoignant les textes franais ncessaires.
l'on trouvera ici n'ont pas autant l'intention de reprsenter uniquement
Les mlodies que
expressions du gnie musical russe que d'en donner la sensation de varit, et
les plus valables
d'en montrer exactement les voies et les ressources diffrentes.

Plusieurs de ces mlodies, sont bien connues du public franais, entre autres Dissonnance
:

et La
Princesse Endormie, toutefois le plus grand nombre d'entre elles n'avait pas encore t
traduites en franais.

Je me suis efforc de conserver, dans la mesure du possible, la littralit du texte primitif,

tout en faisant obir la phrase franaise aux obligations de la mlodie. Je n'ai pas adopt
un principe rigoureux et unique l'gard de ces diverses mlodies, bien au contraire me suis-je
appliqu modifier la matire mme de la langue selon le caractre particulier de chaque
musique. On trouvera donc, selon le cas, des textes strictement conformes aux ncessits de
la prosodie littraire, d'autres qui ne relvent que d'une prosodie libre, ou populaire; d'autres
enfin m'ont paru devoir tre plus exactement rendues en prose.

Je n'ai point voulu sacrifier la satisfaction d'une versification seulement extrieure les :

rimes ne sont venues que l, o loin de contredire le texte initial, elles taient, pour ainsi dire,
apportes par la phrase mlodique mme et susceptibles de donner la voix des points d'appui
ncessaires.

Je me
avant tout, proccup la fois de conserver tout l'esprit de la mlodie originale,
suis,
de placer accents du texle franais, conformment; -ii chant russe, et d'en rendre l'expression
les
aussi aise que possible pour des voix" t ds 'articulations franaises.

Je n'ai point rendre le public juge .des difficults que j'ai pu rencontrer, mais il lui

appartient de considrer si. j'ai rem-pli mon dessein. son gr.

Londres, Juin, 1917. \\ G. Jean-Aubry.

VOL. II.
 BIOGRAPHICAL NOTES.

Arensky, Antony Stepanovich, born at Novgorod Cui, Csar Antonovich, born at Vilna, on
in 1861, was the son of a doctor. He showed his January 18th, 1835, was the son of a French
musical gifts at an early age, and was accounted officer who was incapacitated while following
one of the most brilliant students of his time at the Napoleon's army in the retreat from Moscow in 1812,
Conservatoire of Petrograd. He was afterwards and remained in the Polish city, where he became
appointed to a professorship at the Moscow professor of French at the High School. Csar Cui
Conservatoire, and for seven years conducted adopted a military career, and became an authority
the Russian Choral Society in that city. He was on fortification, rising steadily to the rank he now
summoned to Petrograd to be director of the holds of Lieut. -General of Engineers. He was
Imperial Chapel, a post which he held from 1895 one of the first of "the Five " who formed Balakirev's
to igoi. Arensky has composed in many styles, musical circle. Cui has written at least eight
"
his works including two Symphonies, Op. 4 and operas, including " The Captive in the Caucasus
22 a Pianoforte Trio in D minor a Pianoforte
; ; (1859), " "
The Mandarin's Son (1859), " William
Quintet, Op. 51, and two String Quartets, Op. 11 Ratcliff" (1861), " Angelo" (1876), "Le Flibustier"
and 35 three Operas, " A
;
Dream on the (Jean Richepin, Paris 1889), " Saracen "
T ne
Volga" (1892), "Raphael" (1894), ^ nd " Nal and (1889), and " Mam'selle Fifi (Maupassant). His
'

Damayanti" (1899) many charming works for

;
songs number about 180, some of which are written
pianoforte and about 40 songs. to French words. Side by side with touches of
Borodin, Alexander Porphyrievich, born at Russian national colour, a certain Gallicism is
Petrograd, November 12, 1834, showed at an evident in his music. The two songs included in
early age a great natural aptitude for music. He these Albums are settings of words by two famous
was educated for a doctor, afterwards specializing Russian poets Nekrassov (1821-1876), author of
:

in chemistry, in which he distinguished himself, " The Sower," is the most popular of the
becoming a professor of chemistry at the Academy revolutionary poets, who sang of the sufferings of
of Medicine, Petrograd, before he was thirty. the peasantry " A Wish " is a very early poem by
;

In 1862, Borodin made the acquaintance of Mily Poushkin (1799- 1837), dating from his seventeenth
Balakirev, and all his old love of music being year.
re-awakened by association with this enthusiastic Dargomijsky, Alexander Sergeivich, was born
nature, he soon joined the little band who gathered February 14th, 1813. He was educated in
round this young master. Henceforward all his Petrograd and eventually entered the Government
leisure was devoted to the serious study of music. service. As a young man he was well-known in
He made his mark in both his vocations, but fashionable society as an amateur pianist and
the strenuous life he led probably accounts for his composer. A chance acquaintance with Glinka,
sudden and early death on February 28th, 1887. then at work upon his national opera, "A Life for
Borodin was above all a national poet. We
feel this the Tsar," awoke in Dargomijsky the ambition to
most of all in his epic opera " Prince Igor," and in produce more serious music. In many respects
his picturesque Symphony No. 2, in B minor. He these two artists, so unlike in personality and
j

left about twelve songs, for many of which he wrote !

musical style, unite the leading characteristics of
his own words. These are nearly beautiful in
all I
the Russian temperament. Glinka's music is
a delicate and distinctive way. They show certain |
idealistic and Dargomij sky's humour is
lyrical.
technical peculiarities, such as the frequent use of peculiarly racy of the soil he is dramatic and
;

the augmented second and sequences'of whole-tones. realistic in his methods, and his chief contribution
In warmth of feeling and freedom of rhythm they to Russian opera and song is his inimitable melodic
resemble the folk-songs. recitative and fine declamation. Besides his operas

VOL. II.
 BIOGRAPHICAL NOTES.
" Esmeralda," " The Roussalka " (The Water- inescapable Wagnerian tendencies of last century.
nymph), and " The Stone Guest," he left a number But while he assimilates something from all these,
of songs in varied styles: some steeped in the he remains essentially a national composer
melancholy of Russia, some humorous, others perhaps the last of that school of musicians who
reproducing the warmth and passion of the East ;
concerned themselves primarily with the needs of
and a few dramatic ballads, such as " Knight their own people, and regarded a wider fame as a
Errant," and " The Old Corporal," which may secondary consideration. He is best known in
seem a trifle old-fashioned beside the elaborate this country by his picturesque orchestral works
accompaniments of to-day, but which impress us "Antar," " ^heherezade," and the Capriccio
nevertheless by their laconic force and direct Espagnole, and by his historical music-drama
emotional appeal. The words of " Knight Errant " " Ivan the Terrible " (Pskovityanka) and the
are by the poet Joukovsky (1783- 1852), a translator opera " The Golden Cock."
of remarkable talent, who introduced the romantic Tcherepnin, Nikolai Nikolaievich, whose name
spirit into Russian literature. Dargomijsky died has recently become familiar in this country in
in January, 1869. connection with his very original Ballets given with
Rimsky-Korsakov, Nicholas Andreievich, born such success at the Royal Opera, Covent Garden,
at Tikhvin, in the Government of Novgorod, March was born in 1873. He was educated at the
18th (N.S.), 1844, was the son of a landowner, and University of Petrograd, and studied law
a member of a family in which it was almost a before he finally adopted a musical career. He is
tradition to enter the Naval Service. Rimsky- a pupil of Rimsky-Korsakov. Some of his earliest
Korsakov spent most of his early years in the works were an Overture to Rostand's "La Princesse
country, and learnt to know and love the folk-music Lointaine," a " Lyric Poem " for violin and
of his people. He entered the Naval College when orchestra, " Sappho Songs " for soprano, female
he was twelve, and while studying there found chorus and orchestra, besides songs and pianoforte
time to frequent musical circles in Petrograd and to pieces.
pick up much useful information from Balakirev, Vassilenko, Sergius Nikiforovich, born in 1872,
with whom he was a great favourite. During his in Moscow, first studied jurisprudence, and
first cruise (1862- 1865) he composed a Symphony, eventually at four-and-twenty passed into the
the first from the pen of a Russian composer. He Conservatoire, becoming a pupil of Taneiev and
left the Navy in 1873, and afterwards devoted Ippolitov-Ivanov (1896- 1901). His early works
himself entirely to music. Rimsky-Korsakov were greatly influenced by his knowledge of the
occupied many important musical posts, being old Russian church music. His Epic Poem for
assistant-director of the Court Chapel, conductor of orchestra, and his " Legend of the Great City
the Free School Concerts and the Russian Symphony of Kitezh," are steeped in a mystical mediaeval
Concerts, and finally Professor of orchestration atmosphere. Later developments show him to be
and composition at the Petrograd Conservatoire. somewhat overshadowed by the art of the French
He died in 1908. An indefatigable worker, Rimsky- impressionistic school. His Orchestral Suite " In
Korsakov produced much music in varied forms : the Sunshine " was given at one of the Promenade
operas, symphonic poems, and many beautiful Concerts in the autumn of 191 3, under the
songs. Various influences moulded his personality direction of Sir Henry J. Wood, and was well
as a composer the love of Russian folk-music, the
: received. He has not written many songs.
fascination of eastern themes and melody, and the

VOL. II.
 NOTES BIOGRAPHIQUES.

Arensky, Antoine Stphanovitch, n Novgorod et de la gamme par tons. Pour la chaleur du

en 1861 tait le fils d'un mdecin les dons : sentiment et la libert rythmique elles s'apparentent
musicaux qu'il manifesta de bonne heure firent de aux chansons populaires.
lui l'un des plus brillants lves du Conservatoire Cui, Csar Antonivitch, n Vilna le 18 janvier,
de Ptrograd. Il devint par la suite professeur au 1835, tait le fils d'un officier franais qui ne
Conservatoire de Moscou et pendant sept ans pouvant suivre l'arme de Napolon lors de la
dirigea la Socit Chorale de cette ville. retraite de Russie en 1812 se fixa Vilna o
Appel la direction de la Chapelle Impriale il devint le professeur de franais d'une cole
Ptrograd, il conserva ce poste de 1895 1901. suprieure.
Les compositions d'Arensky sont de genres trs Csar Cui choisit la carrire des armes et devint
divers, ses uvres comprennent deux Symphonies, une autorit en matire de fortification. Il atteignit
(op. 4 et op. 22), un Trio pour piano et cordes en r le grade suprieur de Lieutenant-gnral du Gnie.
mineur, une Quintette pour piano et cordes (op. 51), Il fut l'un des premiers, parmi les " Cinq " qui

et deux Quatuors cordes (op. 1 1 et op. 35) trois ; composrent le cercle de Balakirew.
opras Un songe sur le Volga (1892), Raphael
: Csar Cui a crit plusieurs opras La Captive du
:

(1894), et Nal et Damayanti (1899), un certain Caucase (1859), Le Fils du Mandarin (1859), William
nombre d'uvres agrables pour le piano et Ratclijfe (1861), Angelo (1876), Le Flibustier sur le
environ quarante mlodies. drame de Jean Richepin (Paris, 1889), Le Sarrazin
Borodine, Alexandre Porphyrvitch, n (1889), et Mademoiselle Fiji, d'aprs le roman de
Ptrograd, le 18 novembre 1834, montra ds sa Maupassant.
jeunesse beaucoup de dispositions musicales. Il n'a pas compos moins de 180 mlodies dont
Nanmoins il se consacra la mdecine, et se une partie sur des paroles franaises, et sa
spcialisa dans la chimie il devint Professeur de
: musique cot de caractres nettement russes
cette science l'Acadmie de Mdecine de Ptrograd manifeste d'vidents gallicismes.
alors qu'il n'avait pas trente ans. En 1862 Borodine Les mlodies de Csar Cui contenues dans ces
fit la connaissance de Mili Balakireff et cette deux recueils ont t composes sur des pomes de
rencontre rveilla chez lui toute son ancienne passion deux clbres potes russes. Nekrassof (1821-1876),
pour la musique il se joignit au petit groupe qui se
; l'auteur du Semeur, est le plus populaire des
runissait autour du jeune matre qu'tait le futur potes rvolutionnaires qui ont chant la misre
auteur d'Islamey. Ds lors tous ses loisirs furent des paysans russes. Souhait est traduit d'un des
consacrs l'tude de la musique et il se distingua
: premiers pomes de Pouchkine (1799- 1837) et date
autant dans cette nouvelle voie que dans le de sa dix-septime anne.
premire. Mais la vie fatigante qu'il dt mener Dargomisky, Alexandre Sergevitch, naquit le
amena sa mort prmature le 28 fvrier 1887. 14 fvrier 1813. Il fit ses tudes Ptrograd et
Borodine fut avant tout un pote national. On entra dans l'administration.
en a le sentiment surtout dans son opra Le Prince Alors qu'il n'tait encore qu'un jeune homme il
Igor et dans sa pittoresque Symphonie No. 2 en si jouissait dj d'une grande rputation dans la
mineur. Il a laiss une vingtaine de mlodies, dont socit comme pianiste et compositeur amateur.
il crivit lui-mme les paroles la plupart du temps. La rencontre fortuite qu'il fit de Glinka, alors
Elles sont presque toutes d'une qualit raffine occup crire La Vie pour le Tzar, veilla chez
et d'une motion dlicate. On y remarque I
lui le dsir d'crire de la musique d'une qualit
certaines particularits techniques telles que suprieure. Et certains gards, ces deux
l'emploi frquent de la seconde augmente artistes, si diffrents en tant que personnalit et
VOL. II.
 NOTES BIOGRAPHIQUES.
style musical, manifestent les caractres essentiels Des influences diverses se sont exerces sur lut
du temprament russe. et composent par leur mlange sa personnalit;
La musique de Glinka est idaliste et lyrique, l'amour de la musique populaire russe, l'attraction
celle de Dargomisky est particulirement attache des thmes et mlodies orientales, les invitables
au sol russe, elle est dramatique et raliste et son tendances wagnriennes du sicle dernier. Tout
principal apport l'opra et la mlodie russes en assimilant ces divers lments, il ne cessa de
est son inimitable rcitatif. rester compositeur national, le dernier peut-tre de
Outre ses opras Esmeralda, la Roussalka, et le cette cole musicale qui se considrait comme
Convive de Pierre, il a laiss un certain nombre de attache d'abord par les obligations de son propre
mlodies de genres divers quelques unes baignes
;
pays, et pour laquelle une plus vaste recnomme
de la mlancolie particulire la Russie; quelques n'tait qu'une considration secondaire.
unes spirituelles d'autres imprgnes de la chaleur
; Parmi ses ceuvresil fautciter ses Suitesd'orchestre
et de la passion orientales; et quelques ballades si personnellement colores: Antar, Shhrazade,
dramatiques, comme Le Chevalier Errant et Le le Capricio Espagnol, son drame lyrique historique
Vieux Caporal, qui ont quelque peu vieilli mais qui la Pskovitaine, et son opra-comique le Coq d'Or.
nanmoins nous meuvent encore par leur puissance Tcherepnine, Nicolas Nicolaievitch, est n en
concentre et leur appel direct la sensibilit. Il fit ses tudes l'universit de Ptrograd
1873.
Les paroles du Chevalier Errant sont du pote et tudia d'abord le droit avant de se consacrer
Joukovsky (1783-1852), traducteur d'une remar- entirement la musique. 11 fut un des lves de
quable habilet qui introduisit l'esprit romantique Rimsky- Korsakoff.
dans la littrature russe.
Parmi ses premires uvres il faut citer une
Dargomisky mort en janvier 1869.
est
Ouverture pour Lointaine de Rostand;
la Princesse
Rimsky-Korsakoff, Nicolas Andreievitch, n
un Pome Lyrique pour violon et orchestre les ;
Tikvin, dans le gouvernement de Novgorod le
Chants de Sappho pour soprano, chur de femmes
18 mars 1844, tait le fils d'un propritaire terrien,
et orchestre en outre, des mlodies et des pices
;
encore que ce fut une tradition dans la famille
pour piano.
d'adopter la carrire navale. Rimsky passa toute
son enfance la campagne et y prit le got de la Wassilenko, Serge Nicephorovitch, n en 1872
musique populaire. Il entra l'Ecole Navale Moscou, tudia d'abord le droit, et n'entra au
l'ge de douze ans, et tout en poursuivant ses tudes
Conservatoire qu' plus de vingt-quatre ans. Il y

devint l'lve de Taneief et Ipolitoff-Ivanoff de

trouva moyen de frquenter les milieux musicaux
de Ptrograd et d'obtenir de Balakireff, qui avait 1896 igoi.
pour lui une grande amiti, de prcieux conseils. Ses premires uvres sont trs influences par
C'est au cours de son premier voyage en croisire la connaissance approfondie qu'il a de la musique
(1862- 1865) qu'il composa une Symphonie, la religieuse russe.
premire qui fut jamais sortie de la plume d'un Son Pome Epique pour orchestre, et sa Lgende
musicien russe. de laGrande Ville de Kitesh sont imprgns de
Il abandonna la carrire maritime en 1873 et se l'atmosphre mystique du Moyen-Age.
consacra ensuite la musique. Rimsky-Korsakoff Des uvres ultrieures l'ont montr subissant le
occupa des postes musicaux importantes, tour reflet de l'art musical franais le plus moderne.
tour sous-directeur de la Chapelle Impriale, chef Parmi ses uvres il faut citer encore une trs
d'orchestre des Concerts de l'Ecole Libre et des intressante Suite d'orchestre Au soleil qui fut trs
Concerts Symphoniques, et finalement professeur chaleureusement accueillie l'un des " Promenade
de composition au Conservatoire de Ptrograd. Concerts" Londres en 1913.
Il est mort en 1908.
Les mlodies de ce compositeur sont peu
Travailleur infatigable, Rimsky-Korsakoff a
nombreuses.
compos des uvres nombreuses et varies.

VOL. II.
 1

THE WISH. SOUHAIT.

Words by Poushkin. Cesar Cui.

Op. 57. N9 25.

Andante. J-63. p largamente

VOICE. m The drear -y day is wear-ing" to its close,

Le jour, lu -gu-bre-ment, tou-chea sa fin.

PIANO. p

:5 J)

And ev' . ry mo ment brings re - new - ed an - guish, A

iitf cha-queins - tant a me - ne u - ne s ouf - /ran - ce, Cru

bit - ter-ness, a pain that ev . er grows; In hope -less love my

el prsent dun a - veu - gle des . tin. Mon cur lan - guit da .

J.#W. C. 3746
2

h. A .

ach . ing" heart doth

h jn J>
lan - guish Yet I am dumb,
m
mour, sans es - p . ran - ce. Je tais mon mal;

speak not of my grief; I weep t times, for tears bring con. so
_/> /fcw - r# par . fois. A - vec les - poir que mon coeur sen a .

to
m i

41
r=ir==jr
3
f
f
9 0 0
m m
i i 1

i ;

icy
17
" t> J f r

^ - la - tion, Ind my v< ^x'd si Dir . it *eks to find i "e .- 1 ief And
- ^vu - se, Et mon < ?S -
p rit y meur - 1 'ri de tant i t. m OIS, fw/

W 1
* = = r
==
H m -m
~9
-1
0
9 4
y- 1
9
p
9
r
1

i
0
0
V=z

'

com
fuir,
- fort
en vain,
from its

ce
in
dou
.

-
wrd
lou -
des
reux
- o
ma
-

- lai
la -

-
tion.
se.
m P

Hence,
O

J.8f W. C. 3746
 i = =

h K h
life's best dream! Take wing", be . low, a - bove! Dis - solve in
st>/? - ge de la vie, om - bre d'un jour! Ef - fa - ce

je :t
i i I

te
shad ow, vain and fu -tile vi - sion! My cher - ish'd love has
toi, vi - si- on fol-leet vai - ne, Mon cur ira -hi ne

te

E I

i tund to
vit que
m}
de
r
de
sa
ri

/>tfi
-

-
sion,
ne.
So
Je
few.

r
let

veux
p
me
mou
i
p
die,_ but
rir,
b

mais
^
let
que
me
ce

1
mm
ten.

7
= /f f f

mm
L #

r
h
MJ
# -#
.

die_ in love!
soit. mour.

pi
p~r
F r
J. #W. C. 3746
 j

THE EftltSE NOTE. DISSONANCE.

ROMANCE.

Traduit du russe par la C tesse de Mercy Argenteau. A. Borodin.

Andantino.
V

She told me her love was un

M* - gnon-ne, tu dis que tu

gig a < ^ m

dy-ing", And yet, she knew that I

mai -mes, 0 cfo/lS le son de ta

S;

].8fW. C. 3746
 5

m heard
voix
The
sen -
hint
tend
of a
u -
dis-cord
ne dis
P
be
so
i
p

naw -
j

ce,
* p:

The

* #
mf

m 3
>
j-,m

P P P P ^P ^^+^kJ^
j
Ju l) ^
truth of her heart and her word! A false note be-yond all de
est dans tes yeux, dans ton coeur! Et tu le sais bien toi

fn i if i| 1 1 1 | b|

5* ^^^^

J. * W. C. 3746
G To Madame E. S. Borodin.

Come to the Realm Au royaume

of Roses and Wine. du vin et des roses.

Words by A. Fet. N. Rimsky - Korsakov.

mi

ten.

ro - ses and wine, O corne !

vin et des roses, oh! viens!

J.fW.C. 3746
 7

ten.
P pp

To yon grove, the realm of slum - ber,

Vers ce bos-quet ou le som meil est

9-
S3EE

mi

yy j< * u i

come, O come! for I wait ! O

roi, 0/l/ ttz'<?WS/ je fat-tends 0A/

J. 4" W. C. 3746
 Thou wilt
If
lull with song- my pain to
3E

rest, yet this

Viens de ton chant cal - mer ma don leur, car ce

in
VP

J. f W. C. 3746
J. $ W. C. 3746
10

J. V W. C. 3746
 I # #
u

The tell-tale Stars. L'Etoile Indiscrete.

Words by A. Maikov. N. Tcherepnin.

Op.21.N9 4.
n ,
Con moto. ,
-

you,
Mon a mour^ comme il me tar . de De bai-

w w w w S- J- J- # + :

* |P P J' P P fi * *
P I

P"
fear themoonwould see me. And thetwink-lingstarsbe spy - ing
ser. fa /<? - few - fffli's la lu - ne nous re - gar - de.

I o
'
3 1
,

*
*5 w w w w
mpfioco cresc.

1
f
Tranquillo.

#^ 5 v

Out of Heav'n a bright star fall - ing To the sea might tell our
Vois! cette - loi - le fi . lan - te A la mer i . rait le
S'r"
ten.

&
J. $ W. C. 3746
12

Poco stringendo.
-i.
p- h J J is b
p p
b b \

p p
t-p
p
i

p p
sec - ret, And the lap - ping- waves re . peat it, To the boat of fish-er
di - re, La va. - gueen-ten - dant ce se - cret au pe

V Tranquille

p r* p ia r"pp^ p i
p'p^p pi
Va - ni. Yes, and Ya ms court-ing Ma - ra! Then if Ma - ra heard Id
di-rait.Et comme Ya- .ni ai - me Ma-ra, Ma-ra le sau-rait bien

te

I m
mf

3EE=5
l f I z

Allargando
n tempo di comincio.
,
-, a
rit. K
p-
p* \i f" P P' p f p i

p
Jvrjt ji i
aJ.>p p g
kissd you, All the neighbours soon would gossip: Whisp-ring how wemeetin
7 - te.- On ver. rait les voi-sins cou-rir Pour ta . cher denoussur.

J. if W. C. 3746
 J

13

Poco al-
MP*. mf espress.

moon - light, Through the frag- - - rant gar den wan der, Hand in
pren -dre E - chart - geant au clair de lu - ne De longs

w w

- largando
np eresc.
9 0
f
1

hand, .
es,
6fl - s^rs <jw par . fu me Le pom-mier qui m nous

nip cresc.
mf

(9=
j
espress.
espress.

rit. mol to dim. molto a tempo

-
V J'. Ji* I II

bio - - som, Sheds a brid - al gar- land

ten - - dre Le bon - quet _
rnjmaijp i

*
it.*

4=d
espress. dim. molto

J. $T W. C.3746
14

THE REAPERS, LES MOISSONNEURS.

Words by J. Polonsky. S. Vassilenko.

Op.2.N? 2.
Moderato.

fey 1
p

m
Sound,

mm 1*

if J- Jll^ p p Piaf p l p p * * 1
sound my pipe ! The suns last rays are fast de . part-ing"!
- tez pi - peaux Les der-nie-res lu - eurs sef . fa -cent

53
re 1
1

^1 9~> 9

J. $ W. C 3746
 1
15

p
Ar wft
*t

K >ee, from the dark- ni ng

\ dans le rai om -

p
h rf-rrrm
=f
d NhIhI - =1 __i_l __1 _

m ^= -*H i
i s

vale,
breux,
b
The
tes
IP

mois
reap -

-
p
ers
p
home -ward
son- neurs qui
^ start
Pas
ing", I

La

1*= 1
cresc.

SES

see their sick - les flash; the moon is ris - ing clear; A
lu - ne sur leur faux bril - le en sou-dains . clairs, 7W

i _

lit - tie dust, like smoke, their on -ward move -ment leaves;

nu - a - ge l - ger four - suit leur mar - che len - te

i r*r i
cresc'
p rm ,
se pre'p

1
J.#W. C. 3746
 .

16

accel. f
P
" P P p i
p p
1
f
I

The rust - ling" of the corn they bear in heav -

y
Et le fr-mis - se - ment de la mois -son $e

11

semPre .accel
4M
sheaves, And dis - tant sounds of mer - ry

m
Vient du loin - tain, Par-mi des

jT3
-m J fed 1 J ' " I

semPre accel
,h 9

5g te
r sempre con

4^ s
voi . ces reach me here. They pass
chants jo - yeux et clairs. Ils vont.

mm i
=F=4l 3, s0 y L m m

te

they're gone
au loi;

dim. e ritard.

_
m it'
zz:

J.# W. C. 3746
 17
VP rit. mol to

m h
their
I l,A
song-

has died.
te
. God
Leur chant s'-loigne. Dieu

0 h* ELZ2

if*-

r<9/i moto e appassionato

bless them! I wait for her a lone, I think I see her

les voit. Jat-tends eel - le que fai - me Oh! vien-dra - t-el le

# m
eresc.
0-0-0-0 0r~-
1333: m
m m m m
m:
1

rit

(kl
P ~l P p
J> P I
P I
there, A sick - le in her hand, rd pop-pes in her
moi, A la main, sa fau - cil - le,aufront des fleurs non

m m m
ft* 0
jr~i~~a~iz3i=3i:

m~
1=31
~
m I I I
Iff flg
0 9 0 0 0 '
i

y.
,1 W temPo
a lC'/* / l/

3^ ^ p p i
p TT p
i

it *
hair Bright, gold -en sheaves_her slen-der arms ca -

Ses svel-tes bras ca- res -ses par lor des ja

00
a tempo

J.rW. C. 3746
 #
18

- ress them! I wait_ for her a - lone, and

- i' el - les Jen - tends,. J en -tends sa voix: et

* i
4 it .
7 * m
m
*
m
m w w

m 7 7
* * s * ma
m m

fia

0^ now
la
she comes
voi - ci
to
ve -
me...
nir...
she
C'est

comes.
el - - le!.

^77

# 0
^1 7 p
5j

/On

Sound, sound my pipe!_

Chan - tez }
pi - Peaux.

8
TIT 5
1/
cresc.

m
J.# W. C. 3746
 .

19

THE HOUR OF DRMS. L'HEURE DU RYE.

Words by D. Rathaus. A. Arensky.

Op. 38. N?3.
Allegro moderato.
v = /

Ah, light no gar - ish lamp! The dusk is made for dream - ing. Tis
Nal-lu- me fias en -cor. Uom-breestfiro-pi - ceau r - ve, Prs

0 0 -0- * M
1
0 -0 u#-
H kkk \-4-4-

sweet to sit and rest be side you in the nighT

de toi, dans la nuit,. il 5/ doux de res - ter.

0 000
1 Pi
If
i r

J
i>
j''

See, one by one

J' i
the stars in Heav'n are soft - ly gleam ing,
Vois, la pre-mie - re - toi - lean fir - ma-ment se le - ve;

I 0

cresc.

f
J.#W. C. 3746
20

Ah, light no gar - ish lamp! Its glow would set a-burn - ing Ex-
Nal-lu-me fias en-cor. La lu - mi - re ra-m - ne Tous

MM

tin - guishd griefs, and bring, a - gain the cares of day;_ Its
tes sr>w - c's ctes jours. et leurs se-crets cour -roux;. La

J.flrW. C. 3746
 _

21

flame would wake to life the old, for- got - ten yearn - ing".

lam - pe - clai - re - rait. no - ire mi-se-re hu-mai - ne.

- f
m zm 0 0 00 g g e i
B H"^ I

t.

mp
05 0
Ah, light no lamp to-night to chase my
Nal -lu -me pas en - cor. Le R-veest

3=5
/ ^
m VP

J.frW. C. 3746
 22

KNIGHT- ERRMT. LB PALADIN.

BALLADE.
Words by Joukovsky.
Version franaise de M. D. Calvocoressi

Allegro.

i -Q 1 i -Q ' y ~" r ^ t r
i y 1 i ^ 1

W
(

$ P P $ $ -p~h ^ ^ ^ K ^ 1

p P P P p ^P
Er-rant was slain by a mis -ere- ant's hand; the knave spied the true knight a -
tratre a frap- le vail-lant a . la .din; un lche . cu-yer, ja . lou

-
m
far
3
o'er the land,
ma

And
m
wait -
9

ed till night - fall to strike

E
his
m
fell blow, And
- sant son re - nom, Com . met le for -fait au mi - lieu de la nuit, Et

1
9-

J. W. C. 3746


1
J J^J*
Then clad in the ar - mour heti won by foul
A - />rs il se pa _ r<? des ar. . mes sans

= i 3

4P

te
ri

force, The mur . der - er mount . ed Knight - Er - rant's good horse; But
Et prend le che - val du vail - lant pa - la - din. Il

J.*W. C. 8746
 24

when
part
m
o'er the
au ga -
bridge
lop
he would urge
sur le pont
him
du
in
tor
night,. The
Le
steed
no -
reard up
ble cour-

mm
te

wild
p
-
^
ly
p
and neighd
EE
in af - fright; And
P P
vain-ly the
P P P
rob -ber struck
P

sier s'est ca - bre\ a bron _ che': Le tratre en ses flancs a pion -

3
J
to =f
J-
E
T

m m
">
r
te
f p p r
T? p p p i

p
spurs to his flank, And vain-ly the rob -ber struck spurs to his flank;
.
g Ve'-pe - ron, Le tratre en ses flancs a pion - g le - pe - ron.
a

te i
The horse rolld him self and the knave down the bank. He
La bte om bra gcu . se le lan - ce dans leau! II

3=1
St

II

J. 9 W. C 3746
 ,

25

swam for the shore, but went down with a moan In

veut te ri - vage en na . gant: La
y

te 1Z3
* + +
:
5>-

8=2

g
Knight - Er- rants hau - berk he sank
i -H like a stone, In
/owr _ de cui - ras. .se l en -trame il se noie, La
3 S ^ .? fi > 3 ^

Knight Er - rants hau - berk he sank like.

de cui . ras . .se l'en - trame 7_
> 3 >
31 zia:

z:
22:

J. W. C. 3746
2
INDEX.

, PAC G
L'Heure du Rve ... A r eu sky ig

Dissonance ... Borodine 4

Souhait ... Csar Cni 1

Le Paladin (ballade) ... Dai-gomky 22

Au Royaume du Vin et des Roses Rimsky -Korsakoff 6

L'Etoile Indiscrte Tcherepninc 11

Les Moissonneurs Wassilenko 14

INDEX.

PAGE
The Hour of Dreams ... Arensky 19

The False Note ... Borodin 4

The Wish Csar Cui 1

Knight Errant (ballad) D.irgomijsky 22

Come to the Realm of Roses and Wine Rimsky-Korsakov 6

The Telltale Stars Tcherepnin ir

The Reapers Vassilenko 14

 RUSSIAN SONGS
WITH PIANOFORTE ACCOMPANIMENT
English Translations by Rosa Newmarch, unless otherwise stated.

ARENSKY. NBT
S. D.

Op. 59. Six Children's Songs (E. Clegg) ,

No. 1. "The Robin." No. 4. " The Child and the Butterfly.'
2. "A Fable." 5. "Cradle Song."
3. - The Sad little Bird." 6. " Easter-Day."
Dream Valse but lately in Dance r 6

MOUSSORGSKY.
NET.
Yeremoushka's Cradle Song " Hush-a-by " S. D. Trepak, "Still is the forest" (Baritone or
(Contralto) I 6 Mezzo-Soprarfo)
The Musician's Peep Show, "Walk up, please, Cradle Song, " Low moans the baby " (Contralto)
and see the show " (Baritone or Bass) 4 6 Serenade, "Magical, tender night" (Mezzo-
Soprano or Baritone)
The Song of Mephistopheles, " Once long ago a Field-Marshal Death, "The Battle Rages"
king lived " (Baritone or Bass) (Tenor)

RACHMANINOV.
Op. No. 8. " O, do not Grieve."
14, (Mezzo- Op. 21, No. 4. " The Answer." (Soprano or
Soprano or Baritone) 1 6 Tenor)... 6
Op. No. 11. "Spring
14, Waters" (Mezzo- Op. 21, No. 12 " Sorrow in Springtime "
Soprano or Baritone) (Soprano) 6
Op. 21, No. 5. " The Lilacs " (Soprano) Op. 26, No. 7. " To the Children " (Mezzo-
Op. si, No. 7. " How fair this spot " (Soprano) Soprano)
Op. 26, No. 6. " Christ is risen " (Baritone) ... Op. 26, No. 12. " Night is Mournful " (Tenor) 6
Op. 26, No. 10. " Before my window " (Soprano) Op. 26, No. 13. "When yesterday we met"
Op. 21, No. 1. " Fate " (Bass or Contralto) ... (Baritone) I C

RIMSKY-KORSAKOV.
Op. 2, No. 2. M The Rose enslaves the Nightin- Op. 8, No. 18. " Night "
gale." Eastern Song ..

Op. 2, No. 3. " Cradle Song," from Mey's drama Hindu Song <" Song of the Hindu Merchant"),
"The Maid of Pskov" ... 6 I
from the Opera " Sadko " (Fanny Copeland)
RUSSIAN SONG BOOKS.
A
Selection of Bass Songs, in their original keys, from the works of Russian composers, old and
new, edited and translated by Rosa Newmarch. Book I. 3 o

CONTENTS.
The Spirit of Poesy (A. Arensky) When the King goes forth to War (F. Koenemanr)
The Wolve (Ballad) (A. Arensky) Autnmn Melody (A. Korestchenko)
The Desert (M. Baiakirew) O, thou Sun (Folk-style) (M. Slonov)
The Convoy (Ballad) (Y. Bleichman)
Through the Fields in Winter (Folk-style) (V. Sokolov)
A
Prayer (V. Kalinnikow)
The Three Roads (F. Koenemann) Benediction (The Pilgrim's Song) (P. Tschaikowsky)
The Blacksmith (F. Koenemann) Meneaceus (N. Tcherepnine)

FOURTEEN RUSSIAN FOLK-SONGS.

Selected and Translated by Rosa Newmarch...
" Thou art like the sun in the heav'ns " (A song of glorification to the 8. "Fir grove, my fir grove " (Dancing song)
Tsar) 9. " Long ago in Kazan city "
"
Late one evening from the forest 10. Song of the haulers on the Volga
" Duck of the meadows " (A " brawl," or choral round)
" Do not send me heme " SONGS IN THE FOLK STYLE.
" Ah. beloved night " 11. " matters not " (Dargomijsky)
It
*'
Amid a lowland valley green " 12. " Mother darling, do not scold " (Guriliev)

13. "The wiDd in the cherry trees

" (Halkin)
7. Appearances. "If the wood is left unplaned what matter"
(A marriage song) 14. The National Hymn. " God keep our Russian Tsar
" (Lvov)

J. & W. CHESTER, LONDON AND BRIGHTON.

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4 10fl