SIXTY RUSSIANFOLK-SONGS

FOR ONE VOICECompiled from the Best Existing Sources

With Piano Accompaniment,

Introductory Essay and Notes

By

KURT SCHINDLERThe English Versions by

DEEMS TAYLOR and KURT SCHINDLER

In Three Vilutnes

dSVOLUME III

Price,each volume

, $1.25, net

New York • G. SCHIRMER • Boston

mmlift

Fit

Afit

:

SIXTY RUSSIANFOLK-SONGS

FOR ONE VOICECompiled from the Best Existing Sources

With Piano Accompaniment,

Introductory Essay and Notes

By

KURT SCHINDLERThe English Versions by

DEEMS TAYLOR and KURT SCHINDLER

In Three Volumes

VOLUME IIIv

"a

Price, each velum*, $1.2$, net

New York • G. SCHIRMER • Boston

3 ,/ o s t

1^3

Copyright, 1919, by G. Schirmer

28617

CONTENTS OF VOLUME III

• PAGE

Angry Father-in-Law (The) 25

Butter-Week 4

Captive Maiden (The) 46

Conscript’s Departure (The) 14

Conscript’s Lament (The) 17

Conscript’s Return (The) 18

Guests Arrive (The) 44

Impish Little Girl (The) 20

In the Fields 38

Lonely Waif (The) 11

Lover’s Lament (The) 12

Love-Spell (The) 22

Old Lover and the New (The) 34

Rabbit’s Story (The) 28

Round-Dance 37

Song of Praise (The) 2

Swan-Maiden (The) 41

Tartar Host (The) 8

Towing-Song (Dubinushka) 50

Wooing of the Titmouse (The) 5

23617

CLASSIFIED INDEXPage

Songs of Praise

:

The Song of Praise—CjiaBa 2

Butter-Week—MacJiamma 4

The Wooing of the Titmouse—3a MopeMt CHHHija 5

Lyric Songs:

The Tartar Host—Oxt> He 6vhhuh B’fcrep'b 3aBHBa.TL 8

The Lonely Waif—Hcxojtiuia MJia^eHLKa 11

The Lover’s Lament—IIoAyfi, HenoroAymKa 12

Soldier-Songs:

The Conscript’s Departure—CoOnpafiTecb, 6pambi-pe6aTyniKH 14

The Conscript’s Lament—He KyuynienKa bo cwpoarb 6opy KyKOBaaa 17

The Conscript’s Return

—

Axt>, Taaairb jm moh, Tajiam> 18

Dance-Songs:The Impish Little Girl—

A

xt> tm XpncTbKa, XpncibKa HepHeHbKaa 20

The Love-Spell—B’kiojnnta, Kpyrjiojmna 22

The Angry Father-in-Law—Kaieb y Haiunxi. y Boporb 25

The Rabbit’s Story—H3t» no^T* /jyba, larax nofl’b Ba3a 28

The Old Lover and the New—Ilofi^y MJia^a no JJjHaio 34

Roundelays

:

Round-Dance—3aiuieraca imeTeHb 37

In the Fields—Bo JiysaxB 38

Wedding-Songs

:

The Swan-Maiden

—

03t> 3a jrfccy, jrfccy xeMHaro 41

The Guests Arrive—He 6biJio Btipy, B^pyrb noBanyao 44

Robber-Song:The Captive Maiden—Tbi B3ofijtH, B3ofi^n, cojimje KpacHoe 46

Volga Song:

Towing-Song (Dubinushka)—^yOnnymKa 50

28617

CLASSIFICATION OF THE FOLK-SONGS OF GREAT RUSSIA

ACCORDING TO THE PREVAILING SYSTEMS OF RUSSIAN FOLKLORISTS.

I. Builmui. Ballads of legendary, semi-historical character; also Bogatuirskia (describing

the exploits of the heroes of Kieff and Novgorod), and, in general, Poviestvovatelnuia

piesni (narrative songs).

II. Dukhdvnie Stikhi. Ecclesiastical folk-songs in the style and mode of Byzantine church-music; especially, songs of the beggars (nishtchie) and “wandering cripples” (Kaliki

perekhozhie).

III. Proti&zhnuia. Literally, “Long-drawn-out melodies,” or, in brief, lyric songs (Goloso-

vuia), mostly of a plaintive character. Among these may be reckoned the

Soldatskia (Soldier-Songs) and the Rekrutskia (Recruit-Songs).

IV. Pliasovtiia. Dance-Songs, mostly gay, always accompanied by dancing. To these

belong the songs termed Shootlivuia (humoresques), Tchastushki (patter-songs) andYamshtchitzkia (songs of the Yamshtchiki or Postilions).

V. Khorov6dui. Roundelays, choral songs used in connection with games and pantomime.Those which are sung during the winter evenings are often termed Posidielotchnuia

or Besiednuia (home-party songs);

others, sung in the open air during spring andsummer, are further subdivided thus:

1. Vesnianki, Spring Songs, and Semitzkia and Troitzkia, Songs of Whitsuntide.2. Kupalnuia, Songs of St. John’s Eve (Ivdn Kup&lo).3. Rusalnuia, Songs of the water-nymphs (Rusalki).

4. Monastuirskia, Songs of novices.

VI. Obri&dnuia. Ceremonial songs:

1. Svadebnuia, Wedding-songs, accompanying the festivities of the eve and the dayof the wedding, and the following morning.

2. Velitchalnuia, Songs of Glorification, sung at various festal events; and amongthem Maslianitchnuia

,Songs of Butter-Week (Carnival).

VII. Svisitotchmiia. Songs of Christmas week (from Christmas to Epiphany).1. Koliadki, Christmas-Eve songs (of heathen o: igin).

2. Podbliudnuia or Gadania, Songs of Fortune-telling (pod bliudom = under a bowl)

.

VIII. Razboinitchii. Robber Songs, ballads describing the exploits of famous outlaws of

historic times; for this reason sometimes called Istoritcheskia (historic songs).

IX. V61zhskia or Burl&tzkia. Songs of the V61ga Burl&ki or barge-pullers. Some of these

tunes are also called Rabotchia (Workmen’s Songs).

Not included in this list, because not strictly speaking folk-songs, are the types known as

Liritcheskia (modern sentimental folk-ballads).

Fabritchnuia (modern factory-songs).

Kdtorzhnuia (prisoners’ and Siberian exiles’ songs).

y%The Song of Praise

(Slava)

Moderato e maestoso

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1. Glo - ry now and for - ev - er to God in Heav - en!

sun of right -eous- ness shine_ on Rus - sia!

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28617 C Copyright, 1919, by G. Schirmer

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28617

4

Butter -Week

Allegretto scherzando

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1. Soon,— O soon wilt- thou leave us, O but - ter - week, We mustdrink - ing_ and dan - cing will be no_ more, All the

5

The Wooing of the Titmouse

Un poco andante

J J'J> lO £

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good. She bought malt and bor-rowed hops, and set her- self to work,brew, The beer may brew_ and the bran-dy may di - stilt—

28617

6

Piu vivo

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8 .“I’d be glad to mar - ry, but I don’t know whom to choose:

9. I would take the Lin net, if she were not my aunt,

10. I would take the Mag - pie, but oh! she chat - ters so!

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28617

7

Andante (Come prima)P

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Piu vivo

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28617

The Tartar Host

Solo

Obbligato voices

for chorus(Optional)

Piano

ModeratoTV

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1. Ah, ’t is not the ra gmg wm - ter wind,

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Howl - ing chants of_ woe; Howl- - ing woe;_ ’Tis the Tar- tar-

28617

9 ^

m mCroak - ing songs of_ doom;_

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Croak-ing songs of doom; Croak-ing doom;. ’Tis the Tar - tar

28617

28617

11

The Lonely Waif

Moderato

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2.“Woe is me!” cried the maid-en, ‘Where, oh where shall I lay my head?

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28617

13

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28617

14

The Conscript’s Departure

Largo

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28617

15

28617

16

28617

17

The Conscript’s Lament

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si- - - lent night? It is not the cuck - oo’scall In the for-

sol- - - dier lad; Lo, he sits and weeps_ a - lone, Burn-ing tears

ev- - - er - more! Bound and shackled are myhands, Fet-ters bindsigh

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for_ me, Save a moth-er’s heart a - lone. She

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-est_deep, Nor the night- - in - gale in the gar- - den_ green.

he_ sheds. They have sum- -mon’dhim, he must serve the Tsar.

my_ limbs, For the Tsar to serve, five and twen- - ty years.her_ son, Though the oth - - ers all have for - got- -ten him!”—

2861*

18

The Conscript’s Return

Andante

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1. Ah, my fate is bit - ter; sad my_ lot. Now5. ‘Ah, my son, thou bright - est, dear - est_ child, What

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28617

19

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at her win - dow sits

care for wife and child

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not

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The Impish Little Girl

Vivace, scherzando

PHi; .*• % ii h . £ i

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pret - ty ra-ven locks all a -curl! From a thick - et in the woods did you dart? Did you

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28617

21

rnf > cresc.

hav-oc and dis-tress did you make! There are naught but bro-ken hearts in your wake. In the

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nyou who made me such as I be. Sue

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pret - ty, such a wise lit - tie cat, Such a wit - ty, such a bright lit - tie brat!’’—

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28617

The Love- Spell

Allegretto

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Dret-ty,_

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and 1

der b

wit - ty,

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lo! a m)’er the p;

f j

aid -

ath -\

sn_vay

1wan - - ders

strew them;

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Un poco meno mosso

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3.

“Come thou back, my_ heart's be - lov - ed, to this lone - ly maid- -en!

4. “If thou wilt not_ look be - hind thee, wave thy wool-len bon- -net.

5.

“Once the locks were long and curl - y, now they dan - gle_ loose - - ly.

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28617

23

J»l| p*5

1

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pIf thou come not_

Lo! a rid - dle_

’Twas from joy the_

back, I pri - thee, look once more be - hind_now I set thee

5canst thou read its mean

locks were curl - ing, ’tis from grief they part

m i

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6.

Comes a bold and youth - ful schol - ar rid -ing from U - krai

7. Lo! a mer - chant’s fair - est daugh-ter wove his smock of lin

8.

“Love her not, my bright young fal - con, leave the mer - chants daugh

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28617

24

4JLAllegretto come primamp r

m E m9. “Bind

10. “Such

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28617

25

The Angry Father-in -Law

Allegretto

V

^4 ll:«S -g..p-.

p P: p p |J3 % P

1. To_ the door-way of my house, Liu - li,_ liu - li, to my house

6.1, how.ev- er, stay’d so late, Liu - li, liu - li, ver - y late,

mmu

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P" -f~-p P p- p p- p- p- p- p-

1—-K fc^

. <1

—hfo— > t

1.JL ", J >• k. A - J J )» N N \wfft

“ M ^ _) \ ml *41v\; w m m m a — —W W

Came the girls with song and dance, Liu - li, liu - li, song and dance.

Stay’d un - til the break of day, Liu - li, liu - li, break of day.

j^ a— (_ J

,

\>

.*- j y i 4 ;

>

_—«-0 v •

(bqtf.f-f h=4 3 f T T ffffi

^ r ii— r-pg

—

>#L . a 0 0m m — a a

a

»—

a

wff > y r n p n 7

—1 i n 7 n§* Isd V r—Lp—£—1 B y K 1V—^

2. Such a crowd of pret - ty maids, Liu - li, liu - li, pret - ty maids!

7. In— the_ ear - ly light of dawn, Liu - li, liu - li, just at dawn,

—i— ^

1? —J—V • • =H=* —** j 4—

rrf

iTVi J Hi 0 0 0 0 0 0 0 —

0

I'l .

J m m _ j ... - m

28617

26

k s ^=EJv . b_s=^r-t Sfry - * ->

—

Gai - ly then to

J)*' =b

me they call’d,

* *' =i±=^3=

Liu - li, liu - li, t

J =1hen they call’d.

To my friends I

^P-M - , r— said fare - w<

—1

ill, Liu - li, liu - li, 5said fare -well.

-r- K =-i

-

r :gsfc—^^ y jzJ-r^ --1

[ fWfl -

-£~1 -Lw J

vr^' g" j"~" m? r ~ ' -0 m«[

• ;=*=

28617

27

feeLiu -

Liu -

A

S P M# 0rpzzr>- JUuiv i ^ ji HIli, liu - li, was not pleas’d. Though he let me go, he frown’d,

li, liu - li, reach’d my_ house, What do you sup - pose I saw?

piPI'a m « m

marcato

y Tr :

;—

rff

tp» * -9: m —z i =<1 P ;

P7 1

mp cresc.

wm P l -p~:.:p.ipLiu - li, liu - li, cross - ly frown’d. 5. “Go” he said, “but don’t stay long!”

Liu - li, liu - li, what I saw? 10. Hus - band’s fa - ther strut - ted there,

cresc. /.

i

m

[j i' mt

i n iy n nli, liu - li,

liu - li

“don’t stay_ long

!

strut - ted there.

Come be - fore_ the.

An - gri - ly he_

Hi ^ h- 1

e/7/ „9 9

^ ^ —

r

. 09 —

m

3^ ___ A ) I• I

tv M M i -— ~w i ^ m m -1 J m •.

1

Y=—— i S3 W 1 r |

roost - er crows,” Liu - li, liu - li, “roost - er crows.’

shook his head, Liu - li, liu - li, shook his head.

28617

28

The Rabbit’s Story

(Gooslee-Tune)

Allegro non troppo, scherzando

Xfyfy# ^—

fc-::

-'K f~r "n" _h \ q — fc—Jj—LaT —/— P= J |J| o1. Soft - ly sways the oak her branch - es, Deep - ly root - ed

(—•— <

11 Z 4 J «

(Wrif- 8 1

—LI 4

-w :w -

Jj 'tJ-JIII-

.

u

(I:J

•

L---J* ^ -t—gq -]"p. # i — k i j ^J n H m ' m nu 1 • _ _ _ T7 ^ J a •

%r ry r

stands the elm -tree. Oy, Ka - li - na!

(0, my ber - ries red

h A L^ -efl - Ea

_ Oy— ]

0, my 1

r w v v

Ma - li - na!

jer - ries_ blue!)

- Ja— JJ i E ! •1 i

^ T

f. T'I t J J J.mrl ^

_ . r p m ^ _ m - •All? r w _ _ ;

, ,

w

tat 1

^ V

-i *

W

t1if i f.ivci, i r *

.* P W 0 r pr p V

p

p p p p p p pr r r r r” r r r! r" Ll

JiLlJr

-

•

W if LLTlif Tv,

p\m. ' u tt m — p

—

“r — n — 'SH w~r ~ / n H •

. v \y N m I m )

^ P 17 T7 ai

^i Ll U.

2. Sing and s

- a A_

pin,A

my_ sil

K K r*

- ly sto - ry! Wind a

A A

W m y j-

- way, my_ wheel of won - der!AAA/ i+aTT,

»i c=^r— m mr p

—

m m P P ^ P_ p

—

r -a w

‘ » 0.~ zr r J E

mj

ii

~ 0r _ —

"

w ^

A m A m A _ A

= =====

A

=A AA

fl p ^ a•I. J if ii—

i

m r m m w~ f P—r-, ,, r 1

1u L “

38617

29

I** n=*ELiOy, Ka -

(0, my ber -

rsu

- li - na!- ries red!

jn3._0._T_S ..— .

— yz=

pl-h_ I

Oy, Ma -

0, my ber -

1

- li - na!- ries_ blue!)

(p** r-— TT?

J tA £ £

r t =^e

f=

f= !

r--

—

A £f——i

...'

•jr HM=\ J- H*— —y-11—-

—

1*

28617

30

"B*!

—

yV ?F=-- . Ki

s : -s c K k*

«

4. From ]

,-6tX i»H

iis m

i.j

|J

outh a— 5

P »

p V 3

^am is roll - ing,1

pf f f f

f

-0-1

Tis the

i=±foo

# p

1 i

1 - is

P=h }

rarn I’

P - =

i• J^--J

m spin-ning,

&'T« 1r r r 1 1 1 -fcsbzt

_ A M JK L- . L.

J legffii

\ VP^

?ro

9 : E -f- ~ w 1r

-par 0

t — E t r m u w -L W1 p 1 - w g B — w

\ -S -vff ff

-F imr 1 — L

* r —r—=_ 0

^j=tl s— Sj—^—f—y— 1 -K *

—

* 1 ^ k i, h kJl- —u -) :«bi=i+=»± J '

6. On a raft up - on the riv - er Once a maid-en wash’d her wim-ple.

28617

31

n ji t "/ „—^ A i ^ aL5—ii" ~--fl 3--) * — ^ F ft —V-

11 ^7. How she rut

, a if p—

D—

s

)b’d it>—^ -

_k__P P J*

how she scrubb’d it,

A

1

P {j?Till her 1

Ji-ga -1

it - tie

-V v P ^ 1

fin-gers dropp’d it!

/ hy Si 1— 1 Ji -ye ^ —jr^-- m P ITT" gJ

( ^ fllL nh 1 V W

jTi r r ffP ffm m

)0

# a it 1

'vi

?resc.

zl7 ^ L J mf° cresc.

V*

ft * Lit 1# 4.1* IJIj L 1 ub m u Jr Iff n > k * aP ....

* Jm ~1 IT1 "!* B ® * . Jt__

.

1 ./ TII

!. I H*T •r • • *1 F p P 3 3H i- »\|—fLg-vr^j L^=3—F—f- 1 —

28617

32

p-p ^i p

O'i 'P p p

^11. Fa- ther bought the_ shoes for moth-er$ Moth-er said that_ I might wear them.

/Ljb;V g , i |

m

—

s—"^'"3

\PH

P7 *—

/ fmarcato ^S.

1

—

m.—_ Mp

-

————

«

. - -

| -^J d

- « 1 •—m

s=4=3=td

3 •

m m

28617

33

-r t=fcresc.

=k=\=£=\—

=

Y" u — • i

g> j). iv tJ_) dJ Jl J) -iJp p

-d2—15. "VVan-ders o - ver vales and moun-tains With his goos-lee* ’neath his jack - et!rm

16. Sweet- ly does he play up - on it, Sweet - ly does he sing a dit-ty:

U. f Iff y j % j \* j at

u.& &m 0-

28617

34 The Old Lover and the New(Gooslee-Tune)

Allegro (2^ volta piii vivo e sempre accelerando)

MffP p p p I ^ p p I P p p pip

l.By the Dan - ube do I wan-der, I, a pret - ty maid - en, wan-der,7. By the Dan - ube do I wan-der, I, a pret - ty maid - en, wan-der,

1P*=• * -J——J P •

^^4 B.

P p pip !p p I P p p p -HHP2. Then at eve-ning8. Then at eve-ning

I shall en - ter Where the vil - lage maid - ens ga - ther.

I shall en - ter Where the vil - lage maid - ens ga - ther.

m ^ -h-T

m § * P 1 I ; -y-y I%

m r i q r i rDull

Gay_

the

the

meet - ing,

meet - ing,

Sad.

Glad.

the

the

greet - ing.

greet - ing.

i 3T7T

|

r~

r

P28617

35

-6-tr^ =i k k - —

T

K k-J „ H i M 1 1 ^ x J M. ..... ^ . .... . . .

7 ~7 n m m J T n r)

V V P—p

—

1*

—

y-—-P—P

—

P P- J

3. For a - mong the pret - ty maid - ens Sits my old and griz - zled suit - or.

9. For a - mong the pret - ty maid - ens Sits my young and hand -some lov - er.

- 0 ^/ 7 T P » • - — • -w jm m * A— U—j

/ mf

) ,H l'

-f- %j

*j f j j± :

it

r —i—

i

F Fr Vs-m*—L—- 1 —\ ; ss—

9

* "== = “= —

M, Vr=r 0_J

p-

F

]

'r '

Mo

aone

ITT—

^

wants him, Fa eh

a - 1

one taunts him.

]Mo one taunts him, Fa eh one wants him.

/bi9—— 1-gafUi-$44=h |NNL

niL1®

• •

04 04=4r

28617

36

£Hearts

Hearts

#

drear - y,

dan - cing .

£Feet.

Feet.

t i jr~r‘

inpg

are wear - y.

are pran-cing.pm-r- I . i

1“^ |l

ft— -fl-n n _a

pito

(verse 6pp, verse 12 ff)r£-\r-m — rK—Kjc ^

i

1 ti i : LJ LJ a ar#\ ? n m rr w r ur’ pr^ m v n m vrr. m * m a=JZ=r=i7= P =f7-

—

r r V |7== V- r

6. Now my lit - tie hands are droop - ing, Now a - las, mine eyes are dim - ming;

12. Now my lit - tie hands are wav - ing, Now mine eyes be - gin to spar - kle,

£J FtPr f f"£

^ u ^ =

(verseJSpp, verse 1 m1 4- | 1

ft

1& 1* :

11.

' - iIti. s a % . ...J•1. T P P “ P • P— .. =d

asei7

37

Round- Dance(Spring Song)

Andantino, quasi allegretto

o y o —

p

m 1-

—

N rV m—

1

r. -v-) 3 B m.

FfK o i ri ) i i n 1 W\ m ...

.

... r 1

" v T rT r v bsd -y ~y -L-

fad--1 r ^

—

1. Be thou twi - ned, O hedge-row of wil - - low?

. Be thou

2. Now un - twine thee, O hedge-row of wil - - low;Now un -

28617

In the Fields

HH h—h—z 1 k

—

K K - \"

lA K B » ' M n HS? V V 1

V—Y— V—mead-ows and the pas - tures so green Grows a smooth and silk - y car - pet of grass,

feed and I shall wa - ter my horse, I shall cur - ry him and bur - nish his coat.

o*1

L_|J

z' — • • • • r—iM|

J L i ] i >

i ^ a i <rm- mu* w m m 1 1 V " J rvv . > w « Z fts P P • * * m _

P1

a

c

I

Li r t r L_rJ. a

L-T r

» i *V t w m 9 * ^

•1.1

• w m r j r tS U w 1*_ 1 _ at fV

28617

39

i .hP Ip

p5

heath-er and the pop - py so red, Are for - get-me-nots and corn-flow- ers blue,

sad - die him and bri - die him well, I shall take him to my fa - ther at home.

m m t m mftr r-? rr

v

15

m & &*

Piu vivo

dWJ-—i—- —r

_Jfi i' E m _r—

^

^ ^— 1 kP L L W. M m a—•

—

—m— *— r

—

w—

m

r—n— —4 + ] ^ l=f k—1

5. Fa- - - ther mine, Fa- - - ther_ mine, Take the

*P P

**’«! P

*-P

fond and lov- ing greet - ing I bring! Pri-thee, heark-en to thy daugh-ter who speaks!

Jp E

j. p

;

ip r 'i* rr04rrrpr^m ?

28617

40

i/A -

6. Give.r r <L±

me not,.

mf

, a- .

give.£ r p p

me not To the

~ =h_s:

f f-y—

y

-

”f,j

ai

jJ j

7lip

-^P 7 *

A

3—JX-7

?o o

/p p

Jp

[,

p 1 p p pj) J t

grey and a-ged suit - or that woos, For I nev- er could a - bide him at all!

* i JTTTJ» P ’ p

'p

" p-p ’ * --

fM.

| ^ ~ W- f —-p—«? •f ^ it ^ •* *=f^-r—

—

+4 •< C •< X ^ p/>- ^=- . 7-_y 7 r 7 = y-TT-vj—rr

—

v -7-.- r p7 " 7 *

28617

41

The Swan Maiden

Molto moderatof\ \

JP k— ~

L^

—

p- — rrX k *1 i E m <a LJ m f\ 7

ig2 3L-1 1 L_p •—

M

1 LJj —

L

— 11

From be - yond the for - est green and dark,

28617

42

lit - tie swan stray’d far a - way,- Lo, she

tear my down - y feath - ers white,- Lo, I

left

did

her flock and join’d the

not join you of myflock-

own—of_

ac

iI i l \ 1 1

geese.

cord.

f r^pi

T*jrrjqi 2=

5

5. “Do not rob me of my shin -

6. Thus a maid, a - mid_ wild stran -

m- ing plumes,- ’Twas the

- ger_ lads. They have

marcato

28617

m cresc.

7.

Do

8.

“Donot

not

£ 5 £ £»/

Pmock me,

rob medo

of

not.

my.break.

maidmy_ heart! Lo, I

en charm! ’Twas the

morendo

S .! K 1 ,

d,m- TJB. b m U — • 1 . IM ‘ m ] . 1

I

tF--9— J V—V—L ' L 'ltd

' J.did not join you of my own ac - cord.”

hors - es of your chief that brought me here.”

^617

The Guests Arrive

Larghetto

r? J i -i.

1. Qui - et was the

3. All the court- is

5. All the hall is

7. Now her moth - er

day,

fill’d,

fill’d,

speaks,

.

qui - et was the.

all the court is_

all the hall is

now her moth - er

f* '

mf

£WL - d-

day;

dThen the wind.

fill’d With their ra -

fill’d With the hand

speaks: Hear her sooth

wcame up and be

ven_ steeds in a

some lads in a

ing_ words to her

gan

—

tram

merweep

to blow.

pling host.

ry throng.

ing child:

pt 3 35 mill fJI f f f f-iTfs Wf

jpp

S' «"

2. We a -

d

wait— no

1~

guests, we a - wait no

r i • —_ guests;

—dThen so

4. All the cham - bers fill’d, all the cham - bers _ fill’d With the

6. Lit - tie Va -• #

rxa wept, lit - tie Va - ria _ wept, And the

8.“Do not weep, my dear, do not weep, my dear, Dry your

31 cresc.

£

Ii=lIE ffil

cresc.

3i

—

* Varia is an abbreviation of the name Varvara, which is the equivalent of our Barbara

28617

m mfL

P=^F ^ i n ill9. Thou shalt have_ a gift,. thou shalt have a gift, Lo, a

I I jjg j -j

Cr r r§> -»

rmf

m m 0- jT~j W W J jm p

28617

The Captive Maiden

Allegro moderato e maestoso

28617

47

28617

y48

mp dolce

28617

r\n* * a n r— r\ r*— •* *J a. »--- » „ j Pv

.. .

•Irr\ a J L J5 r 0 m /a * i• * _ < 1 #-* i

stands a chest c

voice both loud c

>f_

ind

• ^

gold,

clear,

f~£

AA

J

h!

h!

stands a

voice both

in^

9 0 *

chest

loud

i

. of {

and c

ojold.

dear:

2/ i/ m rs X a ^

0

n 1 •! 9 M > il M v & 9

10 10 — 7" •* » 1 ' ri I rF - r0 ^ J 7 e •

I

L—^ ? ..

~-qi- ^-S L~. 1

i

i v ~ W- T* 1- —

^

v ^ [-r\

f -f—P—55

—

j n / o J -v 1 i 1

™1 Si •

j i j J_: ml r. 0 h J LJ ~•

\ ** w 0 w 0 .. 0 -^. ',

rw 0 w a _ r.

9J f»

1f tsr Ejr *v rr

Towing - Song

Allegro energico

*J- V - ..

— p m p-H 1 1

Ac ^

—

-0 -0- * J. J. . ,

\fr\ ft—14 4 4- m 1 7 n 9 P s7 r P T ”^ V 1

L - -V *1

1 1 L =F=I1. Come, fel - lows, let us pull_ to - geth - er! Push the

-f—p—J—

H

r "J 1

'

"I: 1'

(5 % 'r r-=P-

/iy o

—"H” —n

—

f f- rT>

—

-f

—

r —p—

-

) % r - J 1 -- Ur. 1 ,-j'---—

: —

1# ^ • T\ r- - V- -r m .

: .i5 « _ 1 1 m TT^ •? _ 1 ! 1 1" _ * r 7 f r/ 7 )

'L—4/ — r

1l

pole with all your might now! Eh, my oak - en sap - ling,

±

28617

/, J . y a- i & "jf '

P’ g^ p IP' =g^Tp ip- g-i*?

i

* » p ii^ =£

slips a - long, She swings a - long, She slides a - long! 2. And you, my

U J ' p i§r\

i:* f

f m r\

mf

si

^j£=p=p ppbroth - ers, don’t be lag - ging! Do not spare your stur - dy for - ces!

I ^ ^i

ri' n i

-j -j¥J -gy-^ ^

p • -p--r—•— 9

w • — •—

—

•" J 1

• * • m *

m f p±pp p2

Eh, my oak - en sap - ling, thrust now! Eh!_ the_ green one, how she

±iv^l1

P ~ p % • - -

^—I —^> A •*

yr f•-

A J+jr-f

C-T LT :

n j

-f ^4

'

j

...

A-»|u.

r r- -=^1f r r f

—^—! 1 =: 4- ... .. ... 1. 1 ~ ~ >~~~ 1— * =

^--P IPfgoes a - long, She slips a - long, She swings a - long, She slides a - long!

J i if m • tM p

» > ^

^ m i

28617

t'

'pip' i

Mas ter soon will give us vod - ka! Eh,Pmy

^ j-'h

9 i J —i •i

i —r-i%-• —

1

9r p

' * -—i" •"

fr

-

A t-

PJ

i?--4- I

, ks,

—

r 1 1n

—

k?

—

i w. n j , Hraw 7 -7 ar —

t

*—-t 7 TT W-4 7 J 1 9 1 J £ 9 .. L£|

* r

goes a - long, She slips a - long, She swings a - long, She slides a - long!

28617

ff £ m

ff j>

p I P‘ 6 P ? igoes a - long, She

|^p- p

f

slips a - long, She swings a - long, She slides a - long!

.A

*:—« J)$

cresc. al

* 4ffm nmi i

28617

ANALYTICAL NOTES

No. 1. The Song of Praise ("Sl&va Bohu na nebi£”). Thisis the most typical and most famous of all the songsbelonging to the category of "Velitchalnuia” or

“Songs of Glorification.” With its surging,

majestic melody, it proclaims a message of toweringgrandeur and splendor: known all over the wideexpanse of Great- Russia, it was used on manyoccasions, at official and private festivities, duringholidays and at banquets, being sung in praise of

the Tsar or of some dignitary or even of an honoredguest.—All the main collections of Russian folk-

lore contain this song, and while the texts slightly

vary, the melody appears to be unalterable. (SeeSakharoff, Tales of the Russian People, Vol. I,

1841; Yaktishkin’s Russian Folk-songs, 1815;Ivan Pratch’s Collection of 1806, Vol. II, Glory-song No. 1; etc.)—Beethoven knew the melody(probably through Count Razumovsky) and usedit as the “Theme Russe” in the Trio of the Scherzo(Allegretto) of his E minor quartet Op. 59, No. 2.

—Rimsky-Korsakoff’s “Collection ot 100 RussianFolk-songs” contains the melody in a very simpleharmonization, but in another larger work of his

the Cantata for chorus and orchestra named“Slava," Op. 21, we find some very ingenious andsplendid devices of harmonization and part-writing applied to it. However, even this workis outdone and superseded by the magnificenttreatment of the theme in the coronation-scene of

Moussorgsky’s ‘Boris Godunoff.’—Among the manyother notations oi tne song a complete choral settingin Slavianski’s ‘Vietcherfi pienia’ (Vol. I, No. 1)

deserves mention.The first English translation of the text (non-

metrical and, consequently, not applicable to thesinging of the song) is to be found in Ralston’s“Songs of the Russian People,” page 198 (London,1872).—Our version endeavors to give a syntheticpicture of all the best existing harmonizations,utilizing the patterns from the naive simplicity ofPratch to the splendid sonorities of Rimsky andMoussorgsky.

No. 2. Butter-Week ("A mui m&slianitzu dozhidaiem”).‘Maslianitza’ is the week preceding Lent, and is

celebrated by the Russian peasants much as is theCarnival in Roman Catholic countries. The nameis derived from the word ‘maslo'—oil or butter,

because during this week, for the last time beforethe "Great Fast,” the use of these is permitted.

—

Ralston, in his “Songs of the Russian People,”states that here, as in other cases, certain festivals

which the people had observed from time im-memorial to celebrate the beginning of Springhave been transferred by the Church to coincidewith the pre-Lenten season.To quote Ralston: "The songs appropriate to

this season have almost entirely disappeared, butsome idea of their nature may be obtained by astudy of the customs appertaining to it, the songsand customs having always been closely connectedwith each other, in some parts of Russia a largesledge, drawn by twelve horses, is driven about atthis time, followed by other sledges containingsingers and musicians. On the principal sledge is

placed a pillar with a wheel on the top, and on thewheel sits a man dressed in a peculiar style, withbells and cymbals attached to his clothes, and hold-ing in his hands bread and a bottle of spirits. Heprobably represents the Sun, of which a wheel wasso well-known an emblem, and he seems to be amale counterpart of the girl who, as the representa-tive of Kolyada, used to be driven about in a similar

manner on the days immediately following thewinter solstice.—In Archangel an ox, resemblingthe French ‘bceuf gras,’ occupies the place of

honour on the sledge; and in Siberia a ship, withsails spread, conveying a figure representing ‘LadyMaslianitza, and a bear.—Again in other parts of

Russia the end or death of winter is celebrated onthe last day of the ‘Butter-Week’ by the burning of

the ‘Straw-Muzhfk’—a heap of straw to which eachof the participators in the ceremony contributes hi6portion.—The same custom* prevails in Bulgaria,and, in fact, in every Slavonic country traces of theold Spring-rites may be found: in Poland, in UpperLusatia (‘Lausitz’), and in Little-Russia.”—The‘Driving out of the Winter,’ as represented by astraw-puppet, is also found in Latin countries,namely in Italy, Spain and Provence, in whichlatter a song called “La Caramentran" has beenpreserved, which was rendered by the peasants atthe mock-burial of the winter. (Compare thepoem of Charles d’Orleans: “Hiver, vous n’estes

qu’un vilain.”)

Our specimen of a Butterweek-song was collectedby Andreas N. Engelgardt in the province of Smo-lensk, White- Russia, and harmonized and insertedby Rimsky-Korsakoff in his ‘Collection of RussianFolk-songs,’ Vol. II, No. 46. We have condensedthe text from seven to four verses, leaving out afew all too local allusions, and have enriched theharmonization by drawing upon some pages of thePrologue of Rimsky’s fairy-opera ‘Snegurotchka’(Little Snowflake). This Prologue contains achorus of villagers singing the ‘Farewell to Maslia-nitza,’ in which the composer has cleverly utilized

this folk-tune. (This chorus is published sepa-rately, with English words, under the title ‘Fare-

well, Carnival,' in “Choral Folk-songs of Russia”led. by K. Schindlerl, byG. Schirmer, N. Y.).

No. 3. The Wooing of the Titmouse (“Zfi-morem sinftza

ni£ puishno zhila”). We have preserved the an-cient title of the song,“TheWooing of theTitmouse”(Sinftza= titmouse), although the content of thetext would rather demand to name it “The Bul-finch’8 Wedding.” Under this latter name, as amatter of fact, a very similar text is still sung in

Little-Russia (Ukraina); compare the Americanedition of “The Goldfinch's Wedding” in the above-mentioned choral issue by K. Schindler, publ. byG. Schirmer.The song was published first by Ivin Pratch

(1790-1806) as No. 24 of the lyric songs of his first

volume.—It is further found in Bernard’s book,Vol. I, No. 26, with identical melody and text.

—

Ralston’s work contains a good, but non-rhythmicalEnglish translation; only the last verse is missing,

which, however, seemed to us very important, asit determines the classification of the song amongthe ‘Velitchalnuia’ or ‘Glorification songs.’ Ral-ston quotes the following commentary upon this

song from Ter6stchenko’s work on the “Mannersand Customs of the Russian People” (Petrograd,

1848, Vol. IV):“The Bulfinch, after many unsuccessful attempts,

determines to get married; so his sister, the Tit-

mouse, invites the birds to her dwelling, in orderthat he may choose a spouse. The person whorepresents the Bulfinch wanders about inside theKhorovod, seeking for his bride among its members.—This song is said to have been written during the

reign of Ivan the Terrible (A. D. 1533-1584), butto have been prohibited for a time, on account of

its containing allusions to the life of a certain in-

fluential Boyar.”/ Verses 1 , 3, 5 follow the harmonization of Pratch

\/ and Bernard, the others are reset by the Editor.

No. 4. The Tartar Host ("Okh, nifc buinui vietifcr zavieval,

g6rie navieval”). This song, dealing with theinvasions of the Tartars, who during a long periodof the middle ages infested the Russian land andbrought terror and disaster to the peasants, is well

known to opera-lovers by its insertion in Borodin’s‘Prince Ig6r,’ Act IV, where it is sung by a chorusot peasants in flight/ Borodin has meticulouslypreserved the typical harmonization and part-

I(54

ANALYTICAL NOTES ( Continued

)

leading, which is the Russian peasants’ own. Thevoices spread out, fan-like, only to sink again to-

gether to a unison, or they surge to the richest

harmony, only to finish in melancholy emptyoctaves. Borodin’s genial notation (from memoryand by dint of his genius) was written several

decades before the phonographic researches of

Mme. Lineff, which latter bear out the unerring

correctness of Borodin’s ear.—Of course, ourarrangement retains Borodin’s harmonies in every

'detail" and the work ot the Editor was merely

concerned with the task of making the song avail-

able for solo singing. The choral obbligato voices

are added on an auxiliary staff, and can be used for

concert performance.No. 5. The Lonely Waif (“Iskhodlla mladenjka”). In Its

purity and sweetness, in the prevalence of a majortonality this song represents the very ancient types

of Russian lyric song. Moussorgsky, who was in-

defatigable in his search for the primal sources of

Russian folk-melody, wrote the song down after the

singing of one I. O. Gorbunoff. He communicatedhis finding to Rimsky-Kdrsakoff, who at that timewas compiling his books of folk-songs, and whoproceeded to include it in his publication (Vol. I,

No. 11). Later, when Moussorgsky composed his

opera “Khovanchtchina,” he needed a folk-like

melody of particularly pure, sweet and mystic

character for the scene in which Marfa voices her

complaint against Prince Khovansky, who deserted

her, but to whom she feels bound by supernatural

bonds. Moussorgsky remembered this melody,and used it, with convincing effect, for this scene;

of course, to a new text. In this form the “Song of

Marfa” (Martha) was published with an English

translation in ‘A Century of Russian Songs' [G.

Schirmer, 1911). Our present offering has, to besure, the original folk-text, and the harmonizationis in the first verses like Rimsky-K6rsakoff's, in

the last like Moussorgsky's.No. 6. The Lover’s Lament (“Podui, niepogodushka”).

Similar to the afore-mentioned song “The TartarHost,” this melody shows the typical long-drawn(‘protiazhnuia’) phrases of the lyric peasant song.It was printed in Balakireff’s “Album of RussianFolk-songs,” No. 21, with the remark that it wascollected in the province of Ryazan. A malechorus setting of the melody exists from the penof Rimsky-Korsakoff, Tome II, No. 3 of his ‘Rus-sian Folk-songs for Chorus.’

No. 7. The Conscript’s Departure (“Sobiraltigs, bratzui-

rebiatushki”). This melody belongs to the class

which is termed "Soldier or Recruit Songs”(Sold&tskia, Rekriitskia)

; it was recorded by MiliBalakireff after the singing of recruits in theprovince of Nizhni-N6vgorod, district of Knia-ghlnin, and published as No. 18 of his album.Another more elaborate harmonization was issued

by M. E. Slaviansky in Vol. IV of the collectedworks of the Musico-Ethnographical Commission,published under the auspices of the University ofMoscow.The “Evenings of Song” of Slavi&nsky contain a

third version, referring to the melody as an, ancient song of the Siberian Cossacks (Vol. V,

No. 8).

Our edition follows Balakireff inverse 1, Slavlan-sky in the other stanzas.

No. 8. The Conscript’s Lament (“Ni€ kukushetchka vosuirom boru kukovala”). The harmonizationis modeled, with only minor changes, after Ber-nard’s setting (Songs of the Russian People, Vol.I, No. 66, ed. Jurgenson). A variant, that ringsless true and is obviously more modern, is con-tained in Slaviansky’s “Evenings of Song,” Vol. I.,

No. 7.

In the original the poem has 17 short verses,each of which by means of stretching out longphrases over one syllable covers the entire lengthof the melody. This proceeding would not havebeen possible in an English translation, at least notwithout torturing the language and—at the same

time—the singer. It was therefore deemed ex-pedient—also for reasons of brevity—to condensethe poetical content into four stanzas.Thus verses 1 and 2 of the original are combined

in the first stanza, verses 3 and 4 in the second,verses 5—10 in the third, verses 11—12 in the laststanza; verses 13—17 are left out, since theyproduced the effect of an anticlimax.

No. 9. The Conscript’s Return (“Akh, talan li moi, talan”).Beethoven knew this melody—probably throughCount Razumovsky—and used it in the Finaleof his F major Quartet Op. 59, No. 1. He mayhave owned the edition of Ivan Pratch, who first

published the song in 1806 in the second volumeof his collection (lyric No. 5). Pratch, however,marked the tempo as “Molto andante,” which is

probably correct in view of the character of thetext, whilst Beethoven, for the purpose of hisFinale, transformed it into an Allegro movement:—Rimsky-Korsakoff (who refers to Pratch as hissource for the text) made two harmonizations ofthe melody, one as a song, the other as a three-part chorus; see his “Folk-song Collection,” Vol.I, .No.. 13, and his “Songs Set in the Folk-style”(piesni, polozhennuia na narodnui lad), Vol. II.

In our edition the harmonizations of verses 1, 2,

5, 6 are taken from Pratch, the remainder fromRimsky-K6rsakoff.

No. 10. The Impish Little Girl (“Akh tui Khristka Khrlstkatchornenkaya”). This dance-song, with its buoy-ant, stamping rhythm and the quick patter of thetext, was collected by Yekaterina SergelevnaBorodin, and published by Rimsky-K6rsakoff in

his ‘Folk-song Collection,’ Vol. I, No. 35. Especialcare was taken with the translation of the text, sothat the words might easily and volubly roll to thePrestissimo of the melody, and whatever the re-

sult, singers might find comfort in knowing thatthe English version is a great deal easier to singthan the Russian original is—to Russians! Theword ‘Khristka,’ referred to in the Russian tide,is the name of the ‘impish’ peasant girl: ‘Little

Christine.’

Tchaikovsky’s ‘Dance of the Reapers’ in thefirst act of ‘Eugen Onegin,’ is conceived in a similarmanner, with stamping rhythms and chatteringsixteenth-notes; it was probably modeled afteran original folk-song.

No 11. The Love-Spell (“Bielolftza, kruglolltza”). Classi-fied sometimes as a lyric song, sometimes as adance-song, this melody is found in Bernard’sCollection (Vol. I, No. 15), in Artemyeff’s book (No.47), and rather crudely, but complete, in Pratch’sedition, Vol. II, lyric No. 22. In this latter cfree

the tempo is marked Andantino.No. 12. The Angry Father-in-Law (“Kak u nashikh u

vorot”). This typical dance-song is found inPratch, Vol. I, dance No. 9, and in Bernard, Vol.II, dance No. 28; further, with slightly different

melodic intervals, but identical character andrhythm, in P. Prokunin’s and Piotr Tchaikovsky’sVolume of “65 Russian Folk-songs for one voiceand piano” (ed. Jurgenson, Moscow, 1881). Thislast-named version, collected in the village of

Kulevato in the Morshansk district, tells also thetragicomic end of the text, which is obliterated in

the other editions. After the verse describing howthe husband’s brother takes the young peasant-woman home in the morning, there follows a stanzasaying:

No sooner did she open the little creaking door,When, lo, upon her neck the whip came swishing downl

For further comparison see the choral setting of

this melody in Slaviansky’s “Evenings of Song,”Vol. Ill, No. 21 (as recorded in the province of

Kostroma), and the almost identical tune sung tothe text “Vdol po ulitzi£ v’konietz” (‘Down tothe end of the street’), as recorded 1876 by W. F.Odoyevsky and set for four voices by V. S. Kalln-nikoff.

Rimsky-Korsakoff’s opera ‘Sadko’ contains inthe Finale of the sixth tableau a stirring } dance-

[ 55 ]

ANALYTICAL NOTES ( Continued

)

tune, which is either consciously or subconsciouslymodeled after the pattern of this song.

The harmonization of the melody, as printed in

this book, is newly provided by the Editor, andthe setting of verse 4 (and 9) purposely alludes toRimsky's treatment in ‘Sadko.’

No. 13. The Rabbit’s Story (‘‘Iz pod duba, iz pod vi&za”).

We find here the prototype of a dance-song, as it

was sung to the accompaniment of the Gooslee(Gusli), the favorite instrument of Old Russia’speasants. It is included in nearly all the collections:

by Pratch, Vol. II, dance No. 26; by Bernard,Vol. II, dance No. 19, and by Artemyeff, No. 45 of

his book.—It became famous by its insertion in

Sieroff’s opera ‘Rognteda,’ where it is sung by thebuffoon (‘durak’=fool) during the hunting scene

—

by the way, with an unusual and brilliant orchestra-tion.—However, since Sieroff’s operas are not givenoutside of Russia, this buffoon-song is known andlikely to be still better known by its reflected gloryin Mouss6rgsky’s satire on Russia’s musicalcritics, the song called "The Peep-Show” (in

Russian, ‘ray6k’). In this unique piece of musicalpersiflage Moussorgsky wished to portray, amongothers, his critical opponent Sier6ff, and he choseas the theme of his caricature the buffoon-songfrom “RogniMa,” which is none other than ourfolk-song “Iz pod duba.” At the end of Mous-sbrgsky’s song-satire, the music describes theappearance of the Muse Euterpe, and the critical

fraternity of four (among them Sier6ff) intone adithyrambical paean to the goddess, again to thesame melody, this time transformed to a ‘Maestoso.’

In our setting of the "Rabbit’s Story” the entiretext is translated, but, in order to shorten the over-long piece, the refrain (‘Kalfna, malfna’) is left out,from verse 5 on to the encj,. Most of the har-monization is new, but for a few verses the varia-tions from Sieroff’s opera are utilized

No. 14. The Old Lover and the New (“Poidu mlada po Du-nayii”). Recorded by Pratch, Vol. II, dance No.11, and by Bernard Vol. II, dance No. 7.—Ourharmonization is entirely new.—Musically speak-ing, the melody is perhaps one of the least interest-

ing, representing as it does a quite rudimentarytype of the ‘gusli’-tune; but the quaint text, withits characteristic parallel form of six correspondingverses each for the old lover and the young beau,demanded its inclusion. Compare especially thechoral song "Interrupted Slumber” (in "Songs of

the Russian People,” O. Ditson, Boston).No. 15. Round-Dance ("Zapletisia plStyen”). ThisSpring-

Khorov6d is described by Ralston (pp. 224-225of his book) as follows:

“In the game called Pletven, a word meaning awattled fence, the dancers stand up in couples, and,with hands locked together after the manner of afence, form in line. Their.leader begins the follow-ing song:

Be twined together. O fence, be twined together!And do thou be coil£d up. O golden pipelBe folded up. O rustling damask!From behind the hills the maiden has driven out the ducks.Come away home, duckie!Come away home, gray one!

When the chorus comes to an end, the leadingcouple lift up on high their joined hands. Then,as in the English country-dance, the other couplespass under the arch so formed, while the chorussings:

Untwine. O fence, untwine!Uncoil. O golden pipe!Unfold. O rustling damask!"

The melody was first printed in Pratch’s work,Vol. I, Khorovod No. 5. The complete text is

found in Sakharoff’s “Tales of the Russian People.”In Rimsky-Korsakoff's collection we find the re-

mark, that his version (almost identical) was re-

corded from the singing of a peasant named S.

Troitaky in the district of MMo-Arkhangelsk in

the province of Orloff during the period from 1810-1820, and was handed down traditionally in thefamily of the composer.

The Editor has adopted the harmonization oi

Rimsky-Korsakoff, and disregarded another less

skilful one by Bernard (Vol. II, Khorovod No. 3).

Rimsky-Korsakoff has further made a setting

for chorus of the same text, but with a different

traditional melody, which is very distantly—if at

all—related and quite odd and capricious with its

changing rhythms of J, f , f (see his Russ. Folk-songsfor mixed chorus, Vol. III).

No. 15. In the Fields (“Vo lusiakh”). Two musical versions

sung to the same text have been drawn upon to

make this new setting:

(1) Pratch’s notation in Vol. I, dance No. 14 of his bookquoted by us (tone by tone in verse 5 of our arrange-ment).

(2) Balakireff’s notation, No. 19 ot his Album, as re-

corded near Nizhni-N6vgorod, showing the samerhythmical structure (used in our setting for verses

2, 4 and 6).

The last-named Balakireff-Album contains still

another tune sung to the same text, an odd andbeautiful melody, entirely different in outline andrhythm, alternating between J and f time.

—

This version was not used in preparing our edition.

—A practical setting for mixed chorus was madeby Prof. A. T. Rubetz of the Petrograd Con-servatory ol Music; he followed the simpler modelof Pratch, but with slight modifications (as adoptedby us in verses 1 and 7). His choral setting wasprinted in an English edition by G. Schirmer,

publ. 1914, and has been sung various times in

America since (Schola Cantorum of N. Y., 1914

and 1917).

No. 17. The Swan-Maiden (“Iz za liesu liesu tiomnavo”).Out of the ancient, legendary times of Russia’s

past this beautiful wedding-song seems to havecome down to our day, depicting, as it does, underthe symbol of the swan-maiden amidst a flock of

geese, the prehistoric Russian custom of the cap-

ture of the bride. The Editor is led to think that

we have in this melody one of the finest and purest

specimens of Russian folk-song, if not the mostbeautiful of all. The interweaving and rhythmicalinterwining of the ending of each stanza with the

beginning of the next give it a character of breadthand majesty like an eternally flowing river,

and a sentiment of touching pathos appeals fromout the simple contours of the melodic phrase.

Rimsky- K6rsakoff made two harmonizations of

this tune:

(1) In his collection for one voice and piano (Vol. II,

No. 81), with elaborate accompaniment and with

the remark, that the text and music were recorded

in the province of Smolensk by Andr. Nikltitch

Engelgardt.

(2) In his “Russian Folk-songs for Chorus,” booklet I,

set simply and in the folk-style for three-part

women's chorus with a foresinger (zapidvilo).

The identical text, but with a less good tune (in }rhythm), can be found in Pratch’s work, Volume I,

wedding-song No. 3. The finest artistic realization

of this tune is to be seen in Glinka’s superb song

“The North Star” (‘Sievernaya Zviezda’), com-posed 1839, for the occasion of the wedding of the

Grand-Duchess Maria Nikolaievna, to a text bythe Countess Rost6ptchin, beginning with the

words "Dfvnui tierem stdlt.” While this songis comparatively unknown outside of Russia, an-

other work by Glinka has made the melody famousall over the world, namely his ‘Kamarinskayji,'

an orchestral phantasy on two Russian folk-songs.

Not at all beautiful, but interesting for com-parison, is a melody to the same poem as collected

by Nik. P&ltchikoff in his “Peasant Songs" fromthe village of Nikolayevka, district of Menzelinsk,

province of Ufa, No. 85 of the book, publ. in Petro-

grad, 1896. It contains the three characteristic

melodic turns, but in different rhythm and connec-

tion.

Our version is modeled after the harmonizationsof Glinka and Rimsky-K6rsakoff.

ANALYTICAL NOTES ( Continued

)

No. 18. The Guests Arrive (“Nig bui!6 vietru, vdrug povia-nulo”). This is also a wedding-song, published byBalakireff as No. 1 of his collection of 50 folk-songs,

and collected in the province of Nizhni-Novgorod,district of Kniaghfnin. It was set for chorus byA. L. Masloff. The harmonization of verse 1 is

by Balakireff, the others by the Editor. Note thesimple mirth and naive pomp, as expressed by themelody!

No. 19. The Captive Maiden (“Tui vzoidf, vzoidf, sontze

krasnoyS”). With his peculiar instinct for the

finest and most racial traits of Russian folk-song,

Moussdrgsky took a special interest in this tuneand narmomzed it beautifully for four-part malechorus with a foresinger intoning the hrst three

bars. How magniticently and proudly soars this

melody, as on eagle’s wings, how hearty and rich

the harmonies with which the chorus joins in!

Nothing could better express in music the bound-less longing for fieedom. If this tune be classified

as a song of robbers (razbofniki), then they musthave been truly noble brigands who invented it!

Other records of the song and of variants of it

are to be found in the following sources:

(1) "DtJmski Kruzhok” or “Repertoire of Lovers of

Choral Singing,” an edition of part-songs, Vol. I.,

Petrograd, 1882.

(2) Slaviansky’s “Evenings of Song” Vol. Ill, No. 6,

with slightly different text, and much simpler(apparently less correct) melodic structure ; markedas a robber-song of Stidnka Razfn’s time.

(3) Prokunin-Tchatkovsky’s oft-mentioned collection,

No. 32. Here the tune is quite different, withalternating rhythms in } and | time, distinctly

heroic in character. The locality where it wasrecorded was the village of Ibergus in the Kazfmoffdistrict.

The present setting follows Moussorgsky in thefirst stanza; the others are newly harmonized bythe Editor.

The Kerzhenetz river referred to in the fifth

stanza of the poem is a tributary of the Volga,famous for the dense primeval forests of its banks,which served in mediaeval times as hiding-places,

not only for brigands, but especially for religious

sectarians, the so-called "Raskdlniki."No. 20. Towing-Song (“Dubfnushka”). This is only one of

the many versions of this famous Volga song.Our setting follows in all the main features the

phonographic record taken in Nizhni-Novgorodby Mme. Yevgenia Liniova (Eugenie Lineff) andpublished by her under the title “The TowingPole” in “Folk-songs of Great Russia,” First

Series. She heard it sung there by a group of menbelonging to the guild (artiel) of quay porters

(kriutchniki), all natives of the village of Promzinin the province of Simbfrsk. We quote from her

commentary the following:

"Each of the men took the lead in turn. Theperformance was wonderfully energetic, as if the

singers were actually dragging an immense weight.

In this song there is a characteristic use of parallel

thirds, which does not detract from the peasant

style of the song, passing freely into the unison at

the end of the refrain and into the fourth and fifth

on the last note, so that the song does not end as

usual on the unison but on the fifth.”—The Rus-sian text of the foresinger begins with the words:

“Da vui, rebiita, berl druzhnd”; the refrain is

always: “Ekh, dubfnushka, dkhniem!”Sldnoff’s song “Dubfnushka,” dedicated to and

sung by Fyodor Shaliapin, utilized the refrain of

this Volga song as a symbol of the outcry of the

laborer against his oppressors; during the monthsof the uprising of 1905 this ‘Dubfnushka-song’became tremendously popular, so that it wascalled the song of the revolution of 1905. (It is

published with English words under the title

"The Song of the Cudgel” in K. Schindler’s “Songsof the Russian People,” O. Ditson, 1915).

Slavidnsky’s “Evenings of Song" contains a

choral setting of the melody as recorded in the

province of Kostromi (Vol. Ill, No. 11); it is the

same tune, but in a major key and quite modern-ized.

Rimsky-K6rsakoff and Moussdrgsky have availed

themselves of the tune in their operas, or songs.

Thus we find it in Rimsky’s fairy opera “The Taleof Tsar Saltdn," Act I, first scene (in a major key);

further in Rimsky’s song "Notchevdla tfitchka

zolot&ya” (‘The Cloud and the Mountain," publ.

with English words in “Masters ot Russian Song,”G. Schirmer, 1917), this time in the minor tonality;

finally, in Moussdrgsky’s “Boris Godunoff,” wherethe theme appears (in major) at the height of the

Revolution-scene, sung in quick tempo, and dis-

closing the tremendous force and seething energyinherent in this melody.

157 ]

TEo the memorp of mp bear tmfe

Vera Ulirijatlotma

toijose arbent bebotion to Russia

toatcheb faitfjfullp ober the completion of these paged

buring our all too short companionship.

tt)i* toorfe shall be conSecrateb.

iflap it bring goob fruit anb map it tain

manp frienbs for the Russian people

in their hour of neeb t

Rurt £>chinbler.

New York,

May 24, 1919.

» •

MASTERS OFRUSSIAN 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

Vol. II. Twenty-five songs by Balakireff,

Tchaikovsky, Rimsky-Korsakoff, Borodfne,

Gretchanfnoff and Rachmaninoff.

<%>

Paper edition, 32.00 net each volume

Both volumes bound in one in cloth, gilt, 35.00 net

New York • G. SCHIRMER * Boston

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