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All Master's Theses Master's Theses

1969

The Lieder of Richard Strauss

Gary Dwight Welch
Central Washington University

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 THE LIEDER OF
RICHARD STRAUSS

A Covering Paper
Presented to
the Graduate Faculty
Central Washington State College

In Partial Fulfillment
of the Requirements for the Degree
Master of Arts

by

Gary Dwight Welch

July, 1969
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APPROVED FOR THE GRADUATE FACULTY

________________________________
John DeMerchant, COMMITTEE CHAIRMAN

_________________________________
Wayne S. Hertz

_________________________________
Joseph S. Haruda
CENTRAL WASHINGTON STATE COLLEGE
DEPARTMENT OF MUSIC

presents in

GARY D. WELCH, Baritone

VIVIENNE ROWLEY
JOHN DeMERCHANT, pianists

PROGRAM
Ruggiero Leoncava llo ........ .... " Prologue" to Pagliacci

II Richard Strauss
Allerseelen
Traum durch d ie Dammeru ng
Stiindchen
Die Nacht
Cacil ie

INTERMISSION

Ill Nicholas Flagella ............. .. ............... .............. .. ........ ... . ..... ...The Land
The Eagle
The Owl
The Snowdrop
The Throst le
Flower in the Cranny

IV Giuseppe Verdi ..... .... .................. .................... ... ... E'Sogno? f rom Falstaff
Sidney Homer.. ... ...... ................. ..... .... ....... ... ............ .. .The Pauper 's Drive
Jean Sibelius ........... .... ....... ............ ..... ........ ....... ............ Come Away Death
Howard Hanson ......... .. ...... .Oh, 'Tis an Earth Defil ed f rom Merry Mount
Myron Jacobson .............. ..... .. ............. ..... .. .................. .. .... .... .. Last Love

HERTZ REC ITAL HALL

April 23, 1969
8 :15 P.M.
I n partial fulfillmen t of the Degree, Master of A rts in Music

Reception following in R oom 123

ROO&:R8 PRI N T •H OP ~
 TABLE OF CONTENTS

CHAPTER PAGE
I. INTRODUCTION 1

Limitation of the study 2

Importance of the study 2

Definition of terms used 3

II. THE STRAUSS LIEDER 4
Allerseelen 4
Meter, Rhythm 4
Melody 5
Harmony 5
The Poem 6

Standchen 7
Meter, Rhythm 8
Melody 9
Harmony 9
Tex tu re 10

The Poem 10
Cacilie 11

Meter, Rhythm 12

Melody 12

Harmony 13
The Poem 14
 ii

CHAPTER PAGE

III • SUMMARY 15
BIBLIOGRAPHY 16
APPENDIX 19
LI ST OF EXAMPLES

EXAMPLE PAGE

1. Opus .!...Q_, No. 8 Allerseelen 5

2. Opus .!1_, No. 2 Standchen 10

3. Opus 27, No. 2 Cacilie 13

 CHAPTER I

INTRODUCTION

Recognized as a dominant figure in German musical

life during the first half of the present century, Richard

Strauss (1864-1949) conducted many of the great orchestras

of the warldf including those of the Berlin, Munich, Vienna,

and Weimar opera houses. He received his training as a con-

ductor under the tutorship of Hans von Bulow, one of the

foremost pianists and conductors of his generation. Son

of Franz Strauss, first horn player in the Royal Orchestra

at Munich, Richard is said to have composed a polka, and to

have played the piano at the age of four. He was a pupil

of his father and of F. W. Meyer. Several of his choral

works were sung while he was a student in the Gymnasium.

Before he was seventeen, three of his songs and the String

Quartet in A had been performed in public. In 1884, a

year after he completed his study at the University, the

conductor, Theodore Thomas, performed his Symphony in F

Minor, Opus l,g in New York, and thereafter his works were

known in the United States as well as in Europe.

Strauss composed for most media embracing piano,

chamber music, choral music, and ballet. He also composed

 2

symphonic poems both to philosophical and to descriptive

programs. Tod Und Verklarung, composed in 1889, is an

example of the former and Till Eulenspiegel that of the

latter category. .As a master of the operatic genre, nstrauss

horrified the prudish world of 1905 with Salome. Elektra

pushed forward in 1909 intensifying the late lush romantic

orchestral vocabulary with cloying sevenths, ninths, and

chromatic alterations. Der Rosenkavalier in 1911 produced

an apotheosis of Eighteenth-century opera ensemble.n (6:516)

Alban Berg, the atonal composer, even included a caricature

of the waltzes from this opera in Act Two of his Wozzeck.

The influence of Strauss extended around the civilized and

cultured world during the new Twentieth century, and vocal

recitals included more often than not Strauss Lieder of which

there are some one hundred and fifty.

L. LIMITATION OF THE STUDY

This paper is concerned with an analysis of three

Strauss Lieder.

II. IMPORTANCE OF THE STUDY

There have been many works written about the Lieder

of Brahms, Schubert, et cetera. However, no one has chosen

to write about the Lieder of Richard Strauss. The writer

has set out to gain a more thorough knowledge of the Strauss

 3
techniques. To find possible relationships between his

vocal and instrumental 1 ines, his opera and song and to

see how the German language affects or does not affect the

vocal line of the Lieder.

Ill. DEFINITION OF TERMS

Lieder. German word for songs with a singable

melody and a piano accompaniment. (1:407)

 CHAPTER I I

THE STRAUSS LIEDER

I . ALLERSEELEN

When Strauss was but eighteen years old, he composed

his first group of songs (opus 10). Among this set of

songs was Allerseelen, which is considered by some critics

to be one of Strauss 1 s most beautiful songs. For example,

Marek says in his book, Richard Strauss The Life of ~

Non-Hero:

The second work is a series of eight lieder

(opus 10) composed when he was eighteen. The
last of these eight is "Allerseelenn (All Soul's
Day), a little miracle of bittersweet evocation,
daring harmonically and melodically, and presaging
Straussts most beautiful later songs. (11:43)

James Hall in The .Art Song states: "· • • His first

collection of songs. op. 10, begins with Zueignung, and

its eighth and closing song is Allerseelen, both high

flights for an eighteen year old lad • . • " (8:124)

Allerseelen is a marvelous blend of voice, piano, and

poetry, put together in such a way that one would have

difficulty improving upon it.

Meter, Rhythm. Strauss has chosen common time to

put the song in a duple meter. In the first four measures

there are several syncopations where Strauss has accented

 5
unusual be ats of the me asure . In example 1 i t shou ld be
noted in the third measu re that the last ha l f of the th i rd
beat is sync opated and leads smoothly i nto the next measure
which he a gain s syncopates and leads on to t he next measure .
He continues i n th i s manner throughout most of the s on g .

Example 1 . Opus ..!:.Q, No . 8 Allerseelen

HERMANN VOD GILM

Tranqulllo Op. 10, No. I
Vob

PIANO

*
Mel ody . The mel ody f or t he most part progresses
diat onically , with a few leaps of a f ourt h , fifth , or s ixt h
and the range extends an oc tave and a fifth . Most of the
phrases are two measures in length . Howeve r , Es blut und
duftet heut auf ,jedem Grabe extends over four measures .
Harm ony . Strauss begins the song with a D- f l at ar -
pegg io , estab li shing a tranquil mo od . In the f ourth measure ,
example 1 , he inserts the f i rst accidentals , C- flat and D-
natural , creating a feeling of gentle tension with a dimin-
ished seventh ch ord . The s ong pr oceeds with its sh i fting
t onalities only resolved with the last measure .
 6
The Poem. Strauss admits that it was not always
easy for him to set music to a poem. In a letter to
Siegmund von Hausegger in 1893 he said:
• If I happen on a poem which approximately
corresponds with the musical idea that came to me,
the new opus is ready in a moment. But if - as
unfortunately happens very often - I do not find the
right pcem, I nevertheless yield to the creative
impulse and set to music any random poem that happens
to be at all suitable for a musical setting - but the
process is slow, the result rs,,.artificial, the melody
has a viscid flow, and I have.to draw on all my
technical resources in order to achieve something that
will stand the test of strict self criticism. (4:287)
In a letter to Franz von Hausegger, dated 1903, he wrote:
• • • one evening I will be turning the leaves
of a volume of poetry; a poem will strike my eye. I
read it through; it agrees with the mood I am in;
and at once the appropriate music is instinctively
fitted to it. I am in a musical frame of mind, and
all I want is the right poetic vessel into which to
pour my ideas. If good luck throws this in my way
a satisfactory song results. (3:128)

A 11 Sou 1 1 s Day

Beside me set the ruddy glowing heather,

The last autumnal asters bring today,
And let us tell again of love together,
As once in May.
Give me thy hand, that I may fondly press it,
Should others see, I care not what they say,
Let one fond glance, love, fill my heart and bless it,
As once in May.
On every grave today sweet flowers are glowing,
So every year we give the dead one day;
Come to my heart, thy love again bestowing,
As once in May, as once in May.
 7
Allerseelen

Stell' auf den Tisch die duftenden Reseden,

Die letzten rothen Astern trag 1 herbei,
Und lass uns wieder von der Liebe reden,
Wie einst im Mai.
Gib mir die hand, dass ich sie heimlich drucke,
Und wenn man 1 s siet, mir ist est einerlei,
Gib mir nur einen deiner sussen Blicke,
Wie einst im Mai.
Es blut und duftet heut auf jedem Grabe,
Ein Tag im Jahr ist ja den Toden frei;
Komm an mein Hertz, dass ich dich wieder habe
Wie einst im Mai, wie einst im Mai.

Place on the table the fragrant mignonettes,

Bring here the last red asters,
And let us speak again of love,
As once in May.
Give me your hand that I may secretly clasp it,
And if it is noticed, it will not matter;
Give me but one of your sweet glances,
As one e in May.
Today each grave is flowering and fragrant,
Once a year is all souls day,
Come to my heart that I may have you now again,
As once in May. (17:4)

II .
..
STANDCHEN

Str9u~s,wrote many songs for his wife, Pauline, with

whom he was very much in love. She was a fine singer with

a good soprano voice and was trained at the Munich Conservatory.

Marek makes this statement about Pauline:

• Her long face was a trifle equine, though

when lit by her smile it seemed actually beautiful.
She knew she was attractive, she was self assured,
and she was proud of her family background. Musical
by instinct, she was not overly intellectual, not
highly educated. She was two years older than Strauss
-- when they met he was twenty-three and she was
twenty-five -- and radiant with youth. Strauss fell
in love with her. It was his first serious love and
was to prove to be his last. • • (11:75)
 8
This was the Pauline that Strauss met at Munich when he

was the conductor of the opera there. Strauss became

Pauline 1 s teacher and wanted her to become a professional

singer. He accompanied her, he talked to her about his

ideas, theories, and ambitions. They were constantly

together, although it was to be seven ~ears before they

were married.

It was during this period of time that Strauss

composed many songs for her to show his love •

• . • In this group of songs is to be found

Strauss's most popular song, Standchen (Serenade)
• • • It is a masterpiece, a moment of fragrant
lyric inspiration, words and melody being in
perfect conjunction, a song which may keep company
with the most beautiful Lieder of Schubert and
Brahms. (11:75)
• • • Standchen still holds its place in the
affections of singers, accompanists, and audiences
alike, for it has the true ring of the inspired
spontaneous idea, put down at white heat with
nothing lost in the telling. It glows rather than
gushes; it whispers rather than shouts; but its
ecstasy is no less real. It may be flashy, but
its downright honesty is disarming. (8:129)
Not all authors agree as to the greatness of ,this song.

For example, one of Strauss 1 s fellow countrymen, Ernst

Krause, makes this statement in his book, Richard Strauss

The Man and His Work: u. • • However, such songs (in

particular the "St~ndchen") all too easily verge upon

the sphere of popular trash. " ( 10: 102)

Meter, Rhythm. Strauss begins this piece in 6/8

time to put the song in a triple meter. At measure
 9

nineteen he changes the meter to 9/8 for four measures

and then returns to 6/8. Between measures forty-one

and forty-five he uses the 9/8 signature again; never

slowing down the rhythm of the piece. He again introduces

the 9/8 signature for the closing six measures of the

song. The tempo, which is vivace, never varies from

beginning to end.

Melody. The melody has many leaps of the octave

and several of a seventh while other parts of the song

progress stepwise. The range of the song covers an

octave and a sixth. The phrases are divided almost

equally between two and four measures, with some three

measure phrases in the 9/8 time.

Harmony. The harmonies in this number are traditional.

The piece begins with a strong E-major chord in the ar-

peggiated piano figure (example 2). At the end of the

second measure the voice comes in on the fifth of the

chord and leaps up the octave, then again repeats this

figure. At measure forty-eight he gives the feeling of

C-major, leading back to the original key at measure

sixty-three with a conventional V7 chord.

 10
Example 2 . Opus l:.l, No . 2 Standchen
PP Op. 17, N o. 2
- - - - - - -3
,.__ ~ 3
- - -- -...... ,- - ,-
Madi auf, _ _ mac:h' auf, _ _ _ do<·h

Texture . Standchen i s a n exce ll ent example o f the

great diversity Strauss was able to use i n t he divis ion
o f vocal line and i nst rumental acc ompaniment . Example 2 ,
the f ir st f our measures of the song , cl early illustrates
this divisi on . I f one wo11 ld l o ok at t he s on g i n i ts

entirety i t may be n o ticed that the voic e and p iano are

c ompletely independent of each othe r . On the ot her hand ,
ne i ther could suffi c e as a s ol o with out the o t he r . The
p iano' s funct ion is to add dept h and inwardness of feel in g
t o t he content of the s ong ; wh i le the voice is the sens i -
t i ve tonal ves se l f or the text .
The Po em . S er ena de
Open , open , but qu i et l y , my chil d ,
Awake n o one fr om h i s s leep .
The br o ok ha r dly murmurs ; t he r e scarcely flu tt ers
in t he wi nd
A leaf , in t he bushes o r hedges .
Quietly , t heref ore , my sweet , s o that n oth i ng
is s tirred ,
Quietly, lay y our hand on t he door knob .
With steps a s gentle as th ose of e l ves
As to hop o 1 er the fl owers ,
Slip out qu i et l y into the moonli t night ,
And fly t o me in t he 9arden .
 11

The flowers slumber about the rippling brook

And exhale fragrances in their sleep;
only love is awake.
Sit down, here the shadows grow mysteriously
dark
Under the linden trees;
The nightengale above our heads
Shall dream of our kisses,
And the rose, upon awakening in the morning,
Shall glow with the rapture of the night. (17:62)

Standchen

Mach' auf, mach' auf, doch leise, mein Kind,

Um Keinen vom Schlumer zu wecken,
Kaum murmelt der Bach,
Kaum zittert im Wind ein Blatt
An den Blischen und Hecken.
D 1 rum leise, mein madchen, dass nichts sich regt,
Nur leise die Hand auf die klinke gelegt.
Mit Tritten wie Tritte der Elfen so sacht,
Um uber die Blumen zu hupfen,
Fliegt leicht hin-aus in die Mondscheinnacht,
Zu mir in den Garten zu schliipfen.
Rings schlumern die BlUthen
Am rieselnden Bach und duften im Schlaf,
Nur die Liebe ist wachl
Sitz neider, hier dammert's geheimnissvoll
Unter den Linden baumen,
Die Nachtigall uns zu Haupten
Soll von uns 1 ren Kussen Traumen,
Und die Rose
Wenn sie am Morgen erwacht,
Hoch glilh 1 n, hoch g1Uh 1 n
Von den Wonneschauern der Nachtl

III. CACILIE

As a wedding gift to his wife Strauss brought her

an imperishable offering, a group of songs among which

was Cacilie. "They stand among the highest examples of

Strauss's work and among the finest of all German Lieder.n

(11:103)
 12

. . . His most rabid opponent cannot deny the

beauty of songs like . . • 'Cacilie' (op. 27) • • •
which are remarkable both for lyrical charm of
melody and extraordinary insight into the meaning
of the text and picturesque accompaniment . • . (3:128)

Meter, Rhythm. Strauss 1 s use of the triplet figure

and syncopation in the 4/4 time gives the feeling of 12/8

for much of the song. The uniqueness of this song lies

in the furious rhythm. Strauss was a master of timing

and could whip the sound mass into unparallelled velocity

and motion. Characteristic of many of the Strauss Lieder

is the boisterousness of the opening lines or phrases

which discloses his great abundance of energy.

Melody. Written in the key of C, much of the melody

progresses diatonically with many accidentals during the

course of the song. As in many of the Strauss Lieder,

the melody is tense, rhythmically alive, full of vitality

and sweep. To illustrate this point the writer has in-

eluded a portion of the song in example 3, for the purpose

of exemplification. Most of the leaps are easily

negotiable with the possible exception of one in the

eleventh measure, a diminished fifth from E to Bb on

the phrase und kosend und plaudernd. The range runs

an octave and a fifth. Strauss ends the piece as he

began, in the key of c.

 13
Example 3. Opus 27 , No . g Cacili e
ElNRlCH HART
Sehr lcLhaft und drangcnd
Vir·o econ urrlore Op. 2 7, N o. 2

---==---=---~-----
-=========:t::=================-=

Harmony . The harmonies i n t h is song ex p loit the late

romantic trend toward altered chords . The p i ece begins in

C- maj or and the ha rm ~n ies cont i nue to shi ft with practically
every phrase . Li ke many of h is Lieder he returns to the
h ome key a few measures fr om the end of the song .
The Poem Cecily
If y ou but knew what it is t o dream
Of burning kisses , of wandering ,
Of r ep osing wi th the lov ' d o ne ,
Of gazing int o each other ' s eyes , and caressing ,
and chattin g ,-
I f y ou but knew it , y ou would let y our heart consen t l
I f y ou but knew what it i s to be afraid
Thr ou gh the lonely nights , as sai led by storms ,
When no one s oo thes with gentle words the str i fe -
wear' sou 1 , -
If y ou bu t knew it , y ou would come to me .
I f y ou but knew what i t is to l i ve
Surrounded by the world-creating breath of
divinity,
To soar upwards, raised and carried to sublime
heights,
If you but knew this, you would live with me.

Cacilie

Wenn due es wusstest, was traumen heisst

Von brennenden Kussen, von Wandern
Und ruhen mit der Geliebten,
Aug' in Auge und kosend und plaudernd,-
Wenn du es wusstest, du neigtest dein herzt
Wenn du est wusstest, was bangen heisst
In einsamen Nachten umschauert vom Sturm,
Da neimand trostet milden Mundes kampfmude Seele,-
Wenn du es wusstest, du kamest zu mir.
Wenn du es wusstest, was leben heisst.
Umhaucht von der Gottheit weltschaffendem Atem,
zu schweben empor, lichtgetragen zu seligen Hoh 1 n,
Wenn du es'wilsstest, du lebtest mit mir. (17:16)
 CHAPTER III

SUMMARY

This paper presents a brief analysis of three of the

Strauss Lieder: Opus l.Q_, No. 8 Allerseelen, Opus l.1.' No.

2 Standchen, and Opus 27, No. 2 Cacilie. They are analyzed

by meter and rhythm; then by melody. Finally1 the harmonies

are mentioned. In the analysis of St~ndchen, texture is

discussed. The poems of the three songs are included in

both English and German for perusal.

The appendix is a list of the Strauss Lieder with

piano accompaniment.
 BIBLIOGRAPHY

1. Apel, Willi. Harvard Dictionary of Music. Cambridge:

Harvard University Press, 194"8":"

2. Bie, Oskar. Das deutsche lied. Berlin: S. Fischer,

1926.

3. Finck, H. T. Richard Strauss the Man and His Works.

Boston: Little, Brown, and Co.-;-1917.

4. Gray, Cecil. Richard Strauss in A Survey of Con-

temporary Music. Oxford: Oxford University Press,
H. Milford, 1924.

5. Grout, Donald. A Short History of Opera. New York:

Columbia University Press, 1966.

6. Gysi, Fritz. Richard Strauss. Potsdam: Akademische

Verlagsgesellschaft Athenaion m.b.h., 1934.

7. Hall, James H. The Art Song. Norman, Oklahoma:

University of Oklahoma Press, 1953·

8. Kallenberg, S. Richard Strauss: Leben und Werk.

Leipzig: P. Reclam jun., 1926. --- ----

9. Kolicek, Alois, Reverend. "Strauss, Richard", Groves

Dictionary of Music and Musicians. 5th ed., ed.
Erik Blom. t:::"ondon: Mac Millan and Co., Ltd., 1954,
Vo 1 • Vll I , p • 124- 13 5 .

10. Krause, Ernst. Strauss The Man and His Work. London:
Collet 1 s Ltd., 1964.--- --- --- ----

11. Marek, George R. Richard Strauss The Life of a Non-

Hero. New York: Simon and Schuster-;-f9b7.-

12. Muschler, R. C. Richard Strauss. Hildescheim: F.

Borgmeyer, 1924.

13. Rostand, Claude. Richard Strauss: 1 1 ambiance, les

origines, ...!..§vie, l'oeuvre, l'estetique et Te--
style. Paris: Colombe, 1949·

Schmitz, E. R. Strauss als Musikdramatiker.

Munich: H: Lewy, 192~

Specht, Richard. Richard Strauss und Sein Werk.

Leipzig: E. P. Tal and Co., 1921. ---- ----
 17
16. Steinitzer, Max. R. Strauss. Berlin and Leipzig:
Schuster and Loefller, 1911.

Strauss, R. Twenty seven Song) for Voice and Piano.

(Selected by Sergius Kagen • New York: Inter-
national Music Co., 1955.

18. Waltershausen, W. H. von. R. Strauss. Munich:

Drei masken verlag, 1921.
A P P E ND I X
 RICHARD STRAUSS

SONGS WITH PIANOFORTE

OPUS TITLE COMPOSED

10 8 songs 1882-83
1. Zueignung.
2. Nichts.
3. Die Nacht.
4· Georgine.
5. Geduld.
6~ Die Verschwiegenen.
7. Die Zeitlose.
8. Allerseelen.

5 songs 1885
1. Madrigal.
2. Winternacht.
3. Lob des Leidens.
4. Aus den Liedern der Trauer.
5. Heimkehr.
17 6 songs 1885-86
1. Seitdem dein Aug'.
2. Standchen.
3. Das Geheimnis.
4. Aus den Liedern der Trauer.
5. Nur Mut1
6. Barkarole.

19 1 Lotosblatter 1 1885-88
1. Wozu noch Madchen.
2. Breit' uber mein Haupt.
3. Schon sind, doch kalt.
4. Wie sollten wir geheim sie halten.
5. Hoffen und wieder verzagen.
6. Mein Herz ist stumm.
21 1 Schlichte Wei sent 1887-88
1. All mein Gedanken.
2. Du meines Herzens Kronelein.
3. Ach Lieb', nun muss ich scheiden.
4. Ach, weh mir vergluckhaftem Mann.
5. Die Frauen sind oft fromm und still.
 20
OPUS TITLE COMPOSED

22 •Madchenblumen' 1886-87
1. Kornblumen.
2. Mohnblumen.
3. Ef eu.
4· Wasserrose.
26 2 songs 1891
1. Fruhlingsgedrange.
2. 0 warst du mein.

27 4 songs 1893-94
1. Ruhe, meine Seele.
2. Cacilie.
3. Heimliche Aufforderung.
4. Morgen
29 3 songs 1894-95
1. Traum durch die Dammerung.
2. Schlagende Herzen.
3. Nachtgang.

31 4 songs 1895-96
1. Blauer Sommer.
2. Wenn.
3. Weisser Jasmin.
4. Stiller Gang.

32 5 songs 1896
1 • Ich tr age mei ne Minne.
2. Sehnsucht.
3. Li ebeshymnus.
4. 0 susser Mai.
5. Himmelsboten zu Liebchens Himmelbett.
36 4 songs 1897
1. Das Rosenband.
2. FUr 15 Pfennige.
3. Mein Vater hat gesagt.
4. Anbetung.
37 6 songs 1897
1. Gluckes genug.
2. Ich liebe dich.
3. Meinem Kinde.
4. Mein Auge.
5. Herr Lenz.
6. Hochzeitlich Lied.
 21

OPUS TITLE COMPOSED

39 5 songs 1898
1. Leises Lied.
2. Jung Hexenlied.
3. Der Arbeitsmann.
4. Befreit.
5. Lied an meinen Sohn.
5 songs 1899
1. Wiegenlied.
2. In der Landschaft.
3. Am Ufer.
4. Bruder Liederlich.
5. Leise Lieder.
43 3 songs 1899
1. An Si e.
2. Muttertandelei.
3. Die Ulme zu Hirsau.

46 5 songs 1900
1. Ein Obedach gegen Sturm and Regen.
2. Gestern war ich Atlas.
3. Die sieben Siegel.
4. Morgenr ot.
5. Ich sehe wie in einem Spiegel.
47 5 songs 1900
1. Auf ein Kind.
2. Des Dichters Abendgang.
3. Ri..ickleben.
4. Einkehr.
5. Von den sieben Zechbrildern.
48 5 songs 1900
1. Freundliche Vision.
2. Ich schwebe.
3. Kling 1
4. Winterweihe.
5. Winterliebe.
49 8 songs 1901
1. Waldseligkeit.
2. In goldener Fulle.
3. Wiegenliedchen.
4. Das Lied des Steinklopfers.
5. Sie wissen 1 s nicht.
6. Junggesellenschwur.
7. Wer lieben will, muss leiden.
8. Ach, was Kummer, Qual und Schmerzen.
 22

OPUS TITLE COMPOSED

56 6 songs 1904-6
1. Gefunden.
2. Blindenklage.
3. Im Spatboot.
4. Mit deinen blauen Augen.
). Frulingsfeier.
6. Die heiligen drei Konige.

66 1 Kramerspiegel 1 ,satirical songs 1913-18

1. Es war einmal ein Bock.
2. Einst kam der Bock.
3. Es liebt einst ein Hase.
4. Drei Masken sah ich.
5. Hast du ein Tongedicht.
6. O, lieber Kunstler.
7. Unser Feind ist, grosser Gott.
8. Von Handlern wird die Kunst bedroht.
9. Es war mal eine Wanze.
10. KUnstler sind die Schopfer.
11. Der Handler und der Schacher.
12. O Schropferschwarm.
67 6 songs 1919
I. 1. Wie erkenn 1 ich mein Treulieb?
2. Guten Morgen, 1 s ist Sankt Valentinstag.
3. Sie trugen ihn auf der Bahre bloss.
II. 4. Wer wird von der Welt verlangen.
5. Hab 1 ich euch denn je geraten.
6. Wanderers GemUtsruhe.

68 6 songs 1919
1. An die Nacht.
2. lch wollt 1 ein Strausslein binden.
3. Sausle, leibe Myrte.
4. Als mir dein Lied erklang.
5. Amor.
6. Lied der Frauen.

69 'Funf kleine Lieder' 1919

1. Der Stern.
2 • De r Po ka 1 •
3. Einerlei.
4. Waldesfahrt.
5. Schlechtes Wetter.
 23
OPUS TITLE COMPOSED

77 1 Gesange des Orients' 1929

1. Ihre Augen.
2. Schwung.
3. Liebesgeschenk.
4. Die Allmachtige.
5 . Hu 1d i gun g •