’ P OPL ’ I ’ PEOPLE S M USIC LEA G U E OF THE E E S N S .
U N D ER T H E D IR EC T ION OF
M A X M E R Z A S S I S T E D B Y R E I N H O L D W A R L I C H S IX C EN T U R I ES O F F O L K S O OF EU R OP E A N D N O R T H A M E]
N I N T H EVEN IN G
T u e sd ay, M arch 1 8 ,
Sw edish , N o rw egian , Icelan d
Artists : reta T or adie So ran o elli G ardin i So ran o G erard D uberta G p , p ; N , p ; ,
M aurice Eisn er M ax M er iano . , z, P
T en t Even in : an is u c lemis . h g D h, D t h, F h
" Artists : M arie Gim bi' re S o rano Fld t wan W esten C on ralto Sam uel e p , , ra , t ; L, ’
T en or erar D u er a B arit n e M ax M er ian o. ; G d b t , o ; z, P
z T he program book containing texts an d bther information may be obtained a few e ’ ach concert at T he P eople s subscription of $3 . 00 , s ent in w ith t! A, ' ‘ slip , w ill secure prompt delivery of. :the . entire set of program books upor A d ’ ' ‘ ' f ’ dress all com m un ilations tb T he D epartm ent o Folk Lore, of the People s
70 Fifth A venue, N . Y . TA B LE OF TH E EUROPEA N LA N GUA GES .
T he follow ing table is here presented in order to afford a brief survey of the languages o f the on e the e e e in peoples of Europe. If on e considers the fact that each of languag s h r d icated xte its ti , is subdivided into many dialects , according to the e nt of circula on, it will be possible to form a picture of the manifold possibilities for poetic expre ssion to be found th in e folk song literature of the European countries .
I I o- n i : . n d Germ a c Lan gu ages de D t R e e : Mo rn Greek ialec s : H ellenic . Albanian . omanc Languag s Spanish , Por
' tu uese lan ien i R t -Ro e e g , C ata , French Provencale, Ital an Sardin ian , a o man squ , Ladino , and , ,
R t x e et . e oumanian . C el ic Lan ua es : Irish , Gaelic Man , W lsh , r on G rmanic Lan g g , B e N E : e i : w e g uag s ( orth , West and ast Ge rmanic) 1 . N orth G rmanic ( Scandinav an) S dish ,
ete . 3 . e t e m : D anish N orw e ian Icelandic . 2 . East Germanic : Gothi c obsol ) W s G r anic , g , (
er . ti e En lish Fri esian D utch Flemish , Low Ge rm an Modern i h G man al c Languag s g , , , H g B i 1 E n e t v : . t Lithuanian Letto an . Slavic Lan ua es East South and W s Sla ic) as Slavic , g g ( , 2 t S Great R ussia , White R ussia Ruthen ien s Li ttle Russia Ukrainian) . . Sou h lavic ( ) , ( - l e w t the r r . : ve Serbo C oatic, ul a ian 3 . West Slavic Polish C z ech , S o nian , W nd ( i h Ma B g , s urian) , Kaschubin k, Old Prussian ( obsolete ) .
“ II in n is -U rish an ua es . F h g L g g E t U r sh Suomi Finnish , s honian , Livonian etc . Difieren t D ialects of g i , un arian ( ) , H g E ( mixed w ith old Turkish lements) .
" III T ur is an ua es . k h L g g O smanie, Tartaric , Turkoman .
I I ola e u V. s t d Gro ps Et e . Basqu , Old ruscan
S C H E D U L E O F C O N C E R T S
C oncert 1 9 1 9 LA N GU A GES
. e J 21 I Tu sday , anuary Early French P rovencale
. 28 e II January . . Mod rn French F rench and Italian in , S w itzerland e 4 F bruary Spanish , P ortu u ese , Italian Roumanian g ,
A N GLO~ C EL TIC F ebruary 1 1 Engli sh e 18 F ruary . Irish , Gaelic , Welsh Manx reton b , B
S LA VIC Gre at Russian Little R ussian ( Ukrainian ) P e n olish C z ch , Slovenia , S e C t rbian , roa ian, Bulgarian
T E U T ON IC March S w e N w e e w e in dish , or gian , Ic land , S dish IX S C A N D IN A VIA N . Finnland
X. D n D t a ish . u ch . Flemish ’ XI - . li an derin l S n II . g Fo k o g s , Baltic P ro n e n a vi c s , Fi nl nd , Hungarian Mountain -Songs
XIII . G erm an
D I VERSE RA C ES XIV. B alcan He rew , b N OR T H A M ER IC A N A i 29 pr l 3. g A merica
P age T w o SC AN D IN AVIAN FOLK-M U SIC
- the Scandinavian countries have a rich heritage of legends , folk lore and songs and
e to on e of e e e nfrequen tly happens that songs b long ing th s nations , gains an qual
he t e . . ty in t o h rs
- h e e folk music of Sw eden is more prolific than that of t e oth r Scandinavian countri s ,
iough Gustavus A dolphus gave an imp etus to the preservation of this music as long
163 1 it w as n ot until 1814 -15 that any systematic attempt w as made to pu lish a , b
E. e e A . A . A fz elius w e e the t o m n ho n of this music . G . G ij r and r w e w made the
e g of Sw e den accessible to musical scholars and lat r , J enny Lind and C hristine
contributed to the fame of their native songs by introducing many of them to the
audiences of Europe and A merica .
r he - the e v n pa ed w ith t folk songs of oth r Scandina ian countries , w e find thos e of t more tender and melodious than hose of D enmark , less tragic and intense than those way and le ss monotonous than those of Finland .
’ ’ l . E t n pi ed from L C . lson s In roduction to Schirmer s Edition of 87 Songs of Sw eden
ry little histori cal data in connection w ith the Sw edish and N orw egian songs is avail 'hich w ill explain the o mission of the foot-note s explaining the origin and purport of lividual e as is t h numb rs , cus omary in t e editing of these programs. O r a m
Sc irm er. -12 20-25 are ta en from 87 Son s of Sw eden Edition G . Son s N o . 1 k g h g ,
- - - 8 10 12 22 24 arran ed b G . a ) . N o . 1 5 7 g y H gg ( , , , ,
an d 23 arran ed b M ax M er . D tt n d T erz etts N o . 11 12 17 19 g y ue s a , , z ,
S W E D I S H
GERARD D U B ERT A
m la da fria du f allho a N ord D u ga , , j g Son g of the N orth k R . D ybec ( 181 1—1877 )
- he du f allho a N O glorious old mountain c row n ed land of t D u amla du fria , j g ord , g , N t D u ty sta du gladj erika sktin a ! or h ,
e t ee . a ord Thou quiet, thou joyous land , I lov h J ag balsar dig van aste land upp j , t ee e t the e t an der . z : I hail h as fair s of lands on ar h , z : D in sol din himmel , dina g grona ] l , ’ e w ee the a I: Thy m ado s gr n , sun in h av u above thee
’ Thy throne is the m em r of gr eat days of tora y D u tron ar pa minnen fran forn s dar , yore , D a aradt ditt namm flog ofver jorden . Wh en all through the w orld thy name w as J a vet att du ar och du blir hvad du var . g , carried ; a do N e . : Ja a vill lefva, g vill i ord n I , j g j Thou art w hat thou w ast and thou shalt be e once mor , ’ ie In th ee I ll live and d , in thee be
buri ed .
M an dom m od och m ors e m an , k M an ood m i t an d m en as w ell h , gh ,
k 181 1— 1 877 R . D ybec ( ) Manhood , might, and m en as w ell , e m an S I: Mandom , mod och morsk till in good old Sw eden dw ell , an Fins i gamla Sverige , Strong of arm and strong of he art Kraft i arm och kraft i barm H ot as youth in bardic art U n dom svarm bardalarm I: E e e g i y s so blu , bla Ogon , C lear and true , ’ 51 D a och (1 , Lau gh in flow ry valleys fair Le blom stardalar 0 t E t i dar , hou giant limb of ar h orden s attelem h N ord , du j j , e e t e e t t e N t . : l Hom of g n l h ar s , or h artan s hem N ord , du milda hj
l Toner an fran forna dar Songs of famous days of old ’ u dar R o er Lj da i skog och dal , g e , w o in vall y hill and o d , a - Vilda som en storm p haf, W s e t e sea t e i d a w h s orms rav , l h n t , - en ta A . a te dru e Milda som p graf Mild s ( ar gs on a grav : L ssn en as e I y , L l f d ar a Vanner p , an d h ear
H em lan dsk hun draari a . olké on s tsuh t t g s ng F s g g his housand year . i en e den « L ssn en , alsk , lar n , l sten sw éetheart to o e y , , and l arn ’ S eun en s un den s alfve se n ! H o ‘ i t e to s t . : j g , j g , j w, ug h m in your urn I
P age F our A T ORPAD IE
N ecken s P olsks
’ i hafvet pa dem an tehallen N eath the w aves on crystal rock reclining - e the N e his sea ree , hvilar i gron an sal . Li s ck in g n hall r tw tarn or spanna morka p ell en W hile the maidens of the night a e ining ’ e o er e . och dal . V ils of gloom hill and dal t the e e t e t , g , gtidsskrud. Fair v ning s ands in f s al bri h array is e eez e lj ud Far and near no sound h ard , no br astray ’ e the o er the t e n gar . : I: Br aks calm land tha li s W hen n ow the Sea-King from his w aves
doth rise .
e n st arn or Maids of ni ht all stars so brightly b ami g, r, klara y alla , g , t den t kvall Go e dance in the evening s ill , s illa , y ’ silverton er skalla While his harp s clear silver tones are stream a a m n fr n h ll till hall . g ’ tar O er the shor e, over rock and hill . , ’ the e t e de och radd den blida stj arn an gar ; Wh en the day s red king doth in as aris , - t afsked blickar n er Pale and fearsome then the shy star maiden g hon , r le h gylln e ha p an klinger icke m er. fi s , Sad farew ells then her glances pour l: T he golden harp-strings n ow are heard no more
Kristallen den fina
’ Like C ry stal that s gleam in g
’ istallen den Like crystal that s a- leamin fina g g, a i e e - n solen m nd sk n a, Lik sunshin a beaming , ' st arn orn a a sk n ! r star that in heaven doth shine m j bl nka i y O , a e en flicka I know a maid rarer g k nn r , l n n fin ygde de s , Than diamonds and fairer , 1 fl k A t i ic a i denna har byn , maid of h s village of mine. ' 11 van , van alsko sblom m a My love, my love my dearest flow er min och g , , e illsam m an e t e h k , om vi kund t s komma , To com og ther had w e t e p ow er , ’
.h n du vore van n en min , A d t w be w eet e t e hou ould s s h ar min , llr kar st A n d h j ag a a a en din I could be lover of thine . 1 a e for llan de skrin ! e t d la ros och gy Thou b au iful rosebud thou glitte ring shrine.
’ z A n h om du an fore, d e en if for ever, v rld n h 1 a e es ande, T e w orld should us s ever ,
i ropar mitt hj arta till di . My h eart w ould be w eepin for thine g g , ’ h om du an fore, A n d e en if for ever , 11 valrleden e T he s anda , w orld should us sever , ’ tt h arta di e t w ropar mi j till g, My h ar ould be w eeping for thine . ' ' 11 di alsko so i’o For e e g, min van och lo ma thin , my lov , m dearest flow er g y , 3k du e van n en m in h , vor To come to ether had w e t e pow er etc . g , h j ag allra karasten din: 1 adela ro s och f6rgyllan de skrin !
P age Fire 0 m Dagen vid m itt arbete
B da w en I am w or in y y , h k g
w Om e tt ete By day, w hen I am orking, dag n vid mi arb , ’ Ar du uti tt Then I ever think of thee, mi sinn , r A t t w e ee Om natten da j ag sofve nigh , h n I am sl ping,
e e see . A r du i drom m en min . Thy fac in dr ams I w e 0 m e da a vakn ar A t morn, w h en I a ak n , morg n , j g ? ? Hvem sakn ar j ag val as Who miss I th en alw ay m a tt e n Ja sakn ar lilla va n n I miss my li l darli g, g — air langt har ifran ! Who is far far aw ay .
N ar j ag blef sj utton in
W h en I w as seven t een
’ F orton a j r tror j ag visst att j ag va , Fourteen years w as I happy and free , ' ’ ite flicka sa e h l L n , munt r oc sé g a ; Just a gay little maiden like them all ; . ’ l e i n n fr e re horde a a. N o on e t e w eet e t to m e J g alk d of a s h ar , o g ’ A in e e e a a . g n h ll r J g tankte upp . A n d of a lover I ne er thought at all
La , la , la, etc.
Serratre a bl f w a e e e tee nar j g e sj utton ar Three years more , I s th n s v n n , ’ ’ e e ok n o] h h w e it w as Sol n sk n , g e , oc da va var Bri ht t e sun , cuckoos cro d , and g , g ’ A llt v skon t e r him len bla a , jord n g on , , spring , M en likval e e i a a A ll w as e e w as e e t w as t m t a . f l s g n go nd fair , h av n blu , ar h
e . La , la , la , tc green , 'ar bor allra karestan min Where waiteth my loved on e for m e ; lortom e P t the t e n rg och djupa dalar, as moun ains high and vall ys ,
ll 5, A ll ee e ee . . t under 5 gronau en lind . under a gr n lind n tr
’ : Ja b a en h dda A n d t e e cot m e ! g dar vill ygg y , h r a I ll build , l h i h ar m arken star stan digt sé. gron Wh ere green all t e year s t e ground , 'vh dar traden aro p rydda Where the trees are full of fl ow ers l r - [ ed b om m o som dof é A n d w eet e te . ta s t. , skou s sc n d blossoms abound
l: D ar en e lan terad A garden the re has been planted ar hag p , lf h e w w e ter ett ogt forstand , With w ond rful isdom , as ll ; h trad och orter form erad, B ut t e nam es of all that grow s there ! ri e e e om ingen besk fva kan . N o mortal has ev r h ard t ll .
h h I: Och midt uti den hage A n d there in t e midst of t e garden , ) stan dar en lifsen s e e t et the ow e e ar blom Th r s and h Fl r of Lif , Bar tolf frukter a e A n d t tw e e it e et slags rad of frui lv kinds b ar h ,
n k its fe . ) eh lofve far la edom . With healing foliage is ri
T he te t t e e o N et e w t t x of his song b ars clos kinship t a h rland song of unkno n an iqui y, h “ ” ic e A . 1 he as arly as cl. 300 w as sung to the w ords N a Ostland w il ik varen . T Scan e the is avian v rsion of ballad als o very old.
P er Svin aherde
P eer Sw in eh erd
' r Svin ah r : e d satte sig pa tufvan och sang P eer Sw ineherd he sat upon a tufiet and sang, u f ll r - - - m a e all l l l l l l l l l f lale . ll r e a a a a ej , la a a a ej a j Sing fa e alle la la la la lay . in n ska e n r l m n 6 d e j un gf u al t uti sin fa . To clasp to him a maiden n ow he doth long ,
1m l l - - - falala , lala , lala , a ala le , fa . j Sing fala la lay, lalay m falalale s un falal le l l g j , j g a j , fa a ej .
e r e som uti buskarn a la A s erp ent th ere lay amon the ushes n ar , h o m n han sad , g ; g b ” “ t he : e it du n a on n r a. t far g Ju gf u annu p stt ar . Quo h Thou shal no maid n clasp for a ” year . n or e e m on en , e blef l us Then early in the mornin , lon befor br ak g innan dag n j , g g 3d svin a erden utan f r k n un n g o o ge s bu s. of day
T he Sw ineherd to the palace w ended his w ay .
1111 da ern é a “ h te th g e s g r j ag vallar dina svin 0 King said e, by day I am nding y n n atteren sé driim m er j ag om drottn in gen sw ine
B h e t t ee . din . ut all t e night, I dr am of ha qu n of
thine .
h svin aherden to af sig am lade hatt T he Sw ineherd th en from his head took his g g ,
(if). l kr n h fick man hvar gu d o an satt. tattered old at
t e e e i sat. A n d 10 , a golden crow n h r und r t a g ar val in en svin aherde, fastan n i t cker N o w e e o e e g y S in h rd am I , as you supp s I hav sa been ‘ ’ g ar den storste kon un g som pa jorden B ut I m the gre atest king that the w orld s a ’ a” m nd g . ever seen .
P age S even N ELLI GARD INI
9
rm elan d d kona A ck, Va , a s
O Verm elan d t ou lov el , h y
Fr xell 1 795—1881 A . y ( )
l A ck Varm elan d du skon a du harli a , O Verm e an d, thou lovely , thou lorious land, , , , g land g D u krona bland Svearikes léin der ! T he crow n thou of all the lands of Sw eden . ’ Och e a an t det forlofvade e er e the e e e e komm j g mid i land If I r ach bl ss d , promis d , paradis V r a Till é mn elan d j ag tindaAtervéin de . a ’ r v a erm l n d E e . J a, déi vill j ag lef a, j , dar vill j ag do To V a , I ll turn again from d n ‘ ein a r n e i h e e w die Och om en g g fr n Véi m la d j ag tag r m g O , th ere w ill I liv , and oh , th re ill I , en m 6 A n d t ee Verm lan d e e , from h , o , a brid som day r SA vet a , att aldri a m i An ra . take I j g g j g g g ,
I know I shall never be mistaken .
du en é n skall ifta di n t w o t e e t to m e J a , nar g g bort och g g , A d if o o hou g o st, my fri nd , lis , r r min vilu, Verm lan d be e t t t e ai e st, To , sur ha hou p
D a kall da t éirm elan d . h te t e e s ill V fara For there t e sw ee st, pre ti st maid ns still ai D iir fin n es n eg Guds g fvor af fiickor kvar you w ill see , 1 en h g , Most charming and all t e very faire st. ’ ’ ch d rak i in b O alla a e p t a och rara . B ut if thou w ould st w th em e jolly and a g g y , M u r é var t rm l en friar d da , s mun er och glad , For gay the maids of Ve an d and m erry r l Ty raska gossar vilka Va m an dsfiickorn a ha , lads like th ey : é it D e sor sn a sem e de u te . A rt t e t w earest. g g pp b n los , if a sorry fac hou
“ ' ” A j z inta a j a
T he M aiden an d I — F A . D e 181 6 18 5 . ahlgr n ( 9 )
A ai é n T h j nta a allt uppalan dva e , A a e e the en j g j maid n and I , maid and I , ‘ ' A n a i a l n a en 0 11 h ai ta a : : t a dav . t e w I j j I a l upp g all upon high ay , ( an d ) D ar otte m e n it T he m ho j e mor on s klar e , the e g , maid n and I maid n and I , e é him m elen sé Oh h sola ho sk n p rar , all upon t e highw ay . ’ ’ A vacker som ljusa da en ho var w t e e w e m et w n e i t g , T as h r by da s arly l gh , ' ’ ? Mitt hj éirta hvar tog de vagen T he sun in the sky a ove w as shinin ri ht b g b g , A n d fair as the day w as she to my sight ; ’ e t w ? My h ar , hith er took st thou thy flight
' T he e h : A ain ta it a : : allt m idsom m ars maid n and I , t e maiden and I I j j I i vaka , , ’ A t e e a j a midsumm r s carous s ( and I ) , T h e h : a t a a : : allt m idsom m ars e maid n and I , t e maiden and I I j n a j I i vaka ; , A t ’ e e . D 5. m iitte ho m ej ma friisan de frtij d midsumm r s carous s Oh t e A aldri n é n sin a kiin t m e sa n o d , h n did w e meet in w ildest of joy har , j j j , ’ A n d Ka kasta mina ben i him m elen h6 d ne e r in my life b efore so happy I ; j , e -A ee t t the hoppa ofver alla taka . I kick d up my h ls righ in o sky A n d jumped over roofs of hous e s
O T he e h : : A a t a : : allt R an saters a maid n and I , t e maiden and I I j n a a j i kyrka , I , ’ J A ll at the church s altar ( and I ) T he e th : A iin ta a a : : allt ran saters maid n and I , e maiden and I I j j i kyrka , I , ’ A ll at the D ar stodo dé altaret t church s altar . vi jus , ' ’ A lofvad r w t e e t t e e the e t o 116d 5. t T as h r ha for prie st w e did o i lus , b g , A all t e e e e w e t t t in ill lifvets sistaste pust Th r pl dg d our ro h , for w e al and eke , T ro et u r w oe g binan an dy ka. for , e To ch rish , and love , until death us lay low , B e t e e fai hful and n v r falter . e t e e th th e T h hav s rongly influ nc d some of e songs of e p ople . e dainty e i n th i h h re given , s o e of e favorite dances n time in t e province of “ ” r h a y similar to t e Springer w hich is danced and sung in N orw ay , w here m n i t - p a ed w ith a s urdy drone bass on the Hardanger fiddle.
” Jag tro j ag far borj a ofverge att sorja “ ’ T om orrow I ll ave don e w it sorrow , h h
I declare tomorrow , ’ 1 I ll have done w ith sorrow , ’ 1 star m ig em ot Tho all the w orld against m e did turn
A ll for a maiden , ’ :a I ve ee e e , b n h avy lad n , ’ d godt mod . I m too w ise for aye to mourn . [11 hair pa din kropp B eauty like thine must ever inspire e karleken opp . In heart like mine tru e love and d sire ; Eyes ever jokin g,
Pretty , provoking ,
F eet that w ere made to dance .
borja I declare tomorrow , ’ a I ll have done w ith sorrow ! ’ ver te l e ee mun r och sn a l. I know a lass that s m rry and fr ,
Jolly and blooming ,
komma , She w be ill coming, a i ’ ’ m ! pp m g. She s the girl that s w aiting for e har n ow har du m i , Here little sw eetheart, take m e back , g , ’ sviker ’ ee v w j ag dig. N e er in this w orld, I ll cross th , I o , a e , Look n ot so sad d ar, a e Let us be glad , d ar , n d in min . Lay thou thy hand in mine . G E R A R D I) U B E K 'I 'A
N O R W E G I A N
N orw egian Echo Song
i e t e ! C ome hither , come h ther , com hi h r ! Hoah , hoah , hoah
C om e cow com e calf and w eanling roo d , , b C ome all my cattle de ar ! t e w t - T he blacksmi h app ars i h his brand iron ,
To p ut a mark upon you , e For so the sh eriff hath ordain d . ! Hoah , hoah , hoah C ome all ye poor dumb dears !
T h ett e the e sun is s ing b hind hills , w T he deep ening shadow s longer gro , ’ e r the T he night is falling o plains , A n d holds us in her close embrac e
T he kettle simmers on the hearth ,
h w e w a . A n d to t e A lps I nd my y ‘
GRET A T ORPA D IE an d N ELLI GARD IN I
V sa v a V sse , v ssa et y s , y ss , darlin , y y , barn , g r n h r i n Ste ett e the e t G ysta éin ge i sp se , aming k l on h ar h , t Kokar full of griiddegrtit Some hing pleasant is in store ,
ett . At det lila barnet. For my pr y darling ’ sté r é e n t e the e - e Far p log n och harpar kor , Fa h r s in barl y fi ld , ’ é e sé vackert t e the Mor hon bl s r i horn , Mo h r s playing on horn , r tte e S te the red red Sy ste hon si r och spinn r gull , is r spins , gold , ’ é - Boor han g r i skogen , Brother s gone a huntin g, Vi ! w Jagar alla lda djur To shoot a ild beast. r hvit e A han If he is w hit , ’ A k r em hit h S 6 , Then drive im h ere , r ré h A han g , Should e be grey , ’ A la en é S t g , S o let him go . A r han brun i bogen A n d is his breast brovm ’ Szfi léit eu éi e ! C e him w to the g i skog n has a ay forest.
P age T en I C E L A N D
GERARD D U B ERTA
Sj era M agn us
Icelandic Folk-Song from a C ollection of
e A . B er reen . compil d by P . gg
Sj era Magnus settist upp a sk on a j , ’ kk S é. var e i likur n eium dona : ladur hofdin m a r Hann var g gs du . Hatt s etta dur honum be rad pj on a !
T olf Syn ir
B ravely Sails M y B ark
Folk-Song edited and arranged e by Granvill Bantock .
Eikur sé eg tvaer saman stodu e he sea at t , Brav ly sails my bark upon t nigh , , n n ur ’ (i raen , 0 m ed o o D ark n in g g var bl mi g du , g cloud aris e and hide the shore from in var elkin fol 0 fa si ?1 H g g is. Furdu visin lauf par 51 et e be e , Wh h r land far or n ar , E soddan sé g ; Fairies guide m e, free from fear , eikin leiz t m er t e Lauf a fyrs ad r ina t. , Till morning brigh stals r i Lundar nam e n a. O w t e w ihthout t t w g n ard h n a hough of sorro , . ’ H a n h st n i g to t e morrow . Stakk eg hn if stofn in n i ad bra di g , ' Strax 1ir trenu eiturgusu lagdi stofn in n b u kk I j ga sta eg pa, Strax kom hunan hn ifn um a g , Eg sodden sé ; Fan n st m er m ikid fyrst um ettad sfn i p ,
Fram pé lengra stefn i.
U t te E r h t nfor una ly Mr . Bantock has given us the nglish of only on e st op e of his song, ‘ but the title and the text of the op ening stroph e w ill furnish a sufiic1en t st1m ulus to the h imagination of t e listener . N O R W E G I A N
GRETA T ORPA D IE an d N ELLI GARD INI
Je tj en te paa Kj olstad i fj or I served dow n in Kj olstad last y ear
r t t e J e tj en te p aa Kj olstad i fj o , I s erved dow n in Kj ols ad las y ar , M a m S o M oi t tte e e ye org g e ; Wi h bi r car and anguish , t e T it s n tes e N ha va stor Too reat w as my n ee d , I mus av r, y j , g
M en j e maate la m e n tiie ; Yet there I w as doom ed to languish . Li Je sette m e t te Gud, ’ 0 g ingen a en Mann ; T e Vaaren j e slepe r vel ut
Ifra den slem m e Fan .
N ELLI GARB IN I
Gj eite Lok ’ - G oat h erd s C all.
- Old N orw egian Folk Song . l rr K eru f. A . by Halfdan j ( Oestlan det)
Killa B ukk, Killa B lakk, te Killa Li n , N eva tapp , R D osa , okka ,
N ykla, S okk a, r n au ll Sto sp e a, Spj ti , Fager l eik , F l Sp elem an burti j e lom .
’ This rather curious assortment of w ords represents the goat-h erd callin by name the e e i various l ad rs of h s herd .
N ELLI GARB INI an d GERARD D U BERTA
T ellem ark
Halling)
’ From C arl W arm uth s
N e N t o F - orsk a ional g olks M elodi en . ’ i Ha du kj hoppa , Have you neve r hopp ed in your life efore b , ’ ael So hoppa du v no, You ll surely do so n ow ; V e du k e so w or y galin , In such a mad hirl you w ould never engage
F du k i . U e w e e lang j so nl ss you r mad w ith joy . S n llam du S urli , surli , urli , ullam etc . ,
Suttam surlite dui .
Page T w elve ’ n N ow h kli or a dor , mongst t e cliffs the horn note doth die pp , Strom karlen s elar N ow is the Sprite heard p , , S or ern a e Sorrow the N i htbird g d lar, g , C t e e. an krin gf berg och dal . as s ov r hill and dal
H éirtat t My h eart w as breakin j vill bris a , g, e -t A ck den t Wh n at leave akin , , nar sis a g e her e w e m kens rost. H ard I voic h n et w e to part ; H ow our eye s b eamed then H ow our tears flow e d then t! e t t e e bros Lip agains lip , and h ar agains h art. r ta e e sk ud, Moun ins and val s w ere decked for the
é. sin spring , drill p drill for brud , Strom karlem s elar irds to their brides th eir carols did sin p , B g , ' Sor ern a e N ow is the Sprite heard g d lar , w the N t an kring b erg och dal . Sorro igh bird ,
C asts over hill and dale .
21
Allt un der him m elen s faste
’ ” In Heaven s vault ab ove m e
’ : : A llt e him m elen s e I: In heaven s vault a ove m e I und r fast , b D ar sitta stfirj n or sm a; T he little stars do shine ; : I: B D en van n en a a , ut he I love most dearly som j g lskat ,
D n a aldri fé . Oh ! H e e e w i be h e kan j g g n v r ll mine . O !
foll uti tt t cke : e e on e to e I. Han mi y ; I I l arn d day lov him e ' D et rar j ag inte for . : That naught can take aw ay ; H ’ Han lofte m ig trogan e said he d love m e truly,
i blek ii . ! e e t h ! Intill s n e d d Oh Till pal in d a h e lay . Oh 22
” Och flickan hon gar i dansen A m aiden on e day w as dan cin g D ance Song ch fl icken hon gar i dan sen m ed rodan A maiden on e day w as dancing w ith golden ullban d : : r g , I ed band ; ’ et e allra karasten s : : She it bind r hon om hand I bound around her beloved s on e hand .
“ k r 8 5. ch a aste du min fl icka, bind inte N ow t it so t t e e t e bind hou not i h , d ar s maid n g , hé r dt I pray. ’ a ern ar visst te r m m o t : : n ot t g in att y bor I For I m hinking of running aw ay.
Ich j un gfru hon loss e r sakta pé rodan T he maiden unloos ens slow ly the gold band ullb g an so red, A hastigt den sven n en i skogen fors A n d sw ift thi' o gh the forest her lover has fleg
P age T hirteen GERARD D U B ERT A
23
Och hor du un ga Dora
N ow list en little D ora ,
“ e Och du D i du ifta di : : N ow list n , little D ora , w ilt thou this hor unga ora , v ll g g i I ” ? ? air year married be : I: ’ ’ E t e w e t e tw be t I fir a se Atta Aron gin gn a forbi igh y ars , h n his is ov r, ill ; dos ” t see ? U ti rosor. hou ’ h ” N eath t e roses .
“ ri m ed Ja a ifta m i m en ald g : I Well , yes I shall be marrie d but I shall val vill , j g g g , n di ot marry thee, g. ’ ’ t. b l orn a e sn art e the w te he s o Jag har en viin p o j , som komm r My fri nd s on a r , and coming t m e igen , ’
N e t the e . U ti t osor . a h ros s
’ A vill in t du sé vill fall a , j
’ W ell if ou w on t w h t en I w ill , y , y h
D ance Song
’ ’ 5. a e w w h A vill in t du, S vill fall j , W ll , if you on t, th en I w ill y , ’ ’ SA vill j a dansa m 5 kulla ; For I ll go dance w ith my lassie ; ’ ’ 5 ai a e A vill in t da, 3 vill f l] j , W ll , if you w on t w h then I w ill y , ’ ’ sé a m a . o e w t vill j dansa kulla For I ll g and danc i h my lassie . tc Kullo kullo kullo , e . , ,
GRETA T OPARD IE an d GERAR D EUB ERTA
R es ol k p s a.
e e M A X Harmoniz d and arrang d by M ERZ .
vackr b l r n kvall! R Klang, mian a al a, i de sena in , my b ell in w in tr j g , C t t ' y hris mas ni h g , S i e f z ill! A w pring , min raska f le, ofv r mo och j ay my rother e b , ov r moor and hill , H em zit m ed vin den s sn abba t ew ila vi far , If hom ard w e are bound w ith the s w ift D ar sé h l vi a vi 1 m j uka armar sn art, w inds a , Och V e m 5 fort cka. S w e lycka ing n y oon shall r est by the w arm fireside
ken flam ta k n ° A lla kvfillen s n orrs dar i s y ; N one shall b egrudge us our mirth k A til e s am ta . A ll the t e lla s la minn n for min syn nor h rn lights are blazing in the sk l kr s g, vac a o w . A ll e Klan m an my happy m mori es pass before my eye?
‘ R atsch ! det spi kar n o en frost i bj ork och e g In birch and pin is heard the snap of the tala t fros , h e e i t Kratsc ! t rak i skog n b dar furans fall . t th - b Wi h a migh y crash e C hristmas tree goes l m a k or l’ G ran en s f g s ugg darra citt i). snon ; w p do n , v ig ar dess piils och hvarj e kvist ar ran T he e t w g ; spruc hro s w avering shadow s on the ko en s ar evi t un S g kung g g och fagar . snow e éirn or n istra heir Tusen , tus n st g i hans R e its j ; ob d in mantle of rich e st ree n g . e sé dan fé - In en kung pa jord n krona r. T he e t g For s King reigns in undimmed b eau ty , R t ! det s rakar osw . a sch p A thousand stars are low in in his hair g g , N o e t ’ ar hly king e er w ore a co ronet so fair .
P age F ourteen
Printed by T H E LA N GU A GE P R IN TERY — 344 34 8 West 38th Street N ew York C ity G I V E N B Y T H E
LOPLE ’ S M USIC LEAG UE OF THE PEOPLE ’ S INSTITUTE
U N D ER T H E D IR EC T ION OF M A X M E R Z A S S I S T E D B Y R E I N H O L D W A R L I C H CENTURIES OF FOLK SONGS EUROPE A N D NORTH AMERICA TEN TH EVEN IN G
T u e s d ay, hdarc h 25 , D u t c h F l e m i s h
.ists : M arie Gim brere So ran o lora van W esten C on tralto ouis Gaton T en or , p ; F , ; L , ; erard D uberta B ariton e M er n G , ; M ax z , Pia o .
I — ven th Evenin 1 . art : W an derin ol Son s II 2. art : Danis B altic Prov g P g F k g ; P h, in ces an d inn lan d F .
- tists : 1 . art: ran E enieff B ariton e. 2. art : M arie Mieler N arodn S o n P F z p , P y, pra o ; n uel L un kvist T en or W illiam On cken B ariton e M ax M er an l j g , , , ; z d Rein ho d W arlich ian , P o.
1 program book containing texts and other information may be obtained a few days before ’
. e A t e 1 concert at T he People s Institut . subscrip ion of s nt in w ith the attached e the e t e set o f w ill secure prompt deliv ry of n ir program books upon issuance . ’ i T he D e en t f h lress all com m un ilat on s to pa o Folk Lore, of t e P e ople s Institute , 7 A 0 Fifth venue N . Y . , TA B LE OF TH E EUROPEAN LAN GUAGES .
' T he follow ing table is he re presented in order to aflord a brief survey of the languages o f the e h on e the e n p oples of Europe. If on e considers the fact that eac of languages h re i dicated i i , s subdivided into many dialects, according to the extent of ts circulation , it w ill be pos sible to form a picture of the manifold possibiliti es for poe tic expre ssion to be found the e in folk song literature of the Europ an countries .
I In do- erm . G anic Lan guages de ee e Mo rn Gr k D ialects : ellenic . A lbanian . Romance Lan ua s : Spanish Por H g g , tu uese C atalan ien e e e ta Raw-R e e g , , Fr nch , Prov ncal , I lian Sardinian, oman s u , Ladino , and , q R e ret e oumanian . C ltic Lan ua es : Irish, Gaelic Manx , Welsh , on . G rmanic Lan g g , B e v w guag s ( N orth , West and East Germanic : 1 . N orth Ge rmanic ( Scandina ian : S edish ) ) , D w e ete 3 e e : anish, N or ian Icelandic . 2 . East Germanic : Gothic obsol . . W st G rmanic g , ( ) E F e D L r ti n lish ri sian , utch , Flemish , ow Ge rman Modern i h Ge man . Bal c Lan ua es g , H g g g i L n an . t i 1 E ithuanian , Letto Slavic Lan ua es East South and Wes Slav c ) . ast Slavic g g ( ,
h . 2 . t Great Russia , White Russia ( Rut en ien s) , Li ttle R ussia ( U krainian) Sou h Slavic
‘ - . r e w t the S erbo C oatic, Bul arian . 3 . West Slavic : Polish C zech Slovenian , W nd ( i h Ma g , , s K hub n k l urian asc i , O d P russian obsolete . ) , ( )
I« I in n is -U rish an ua es . F h g L g g E t U ri h Suomi ( Finnish ) , s honian , Livonian , etc . D ifferent D ialects of g s , Hungarian E ( mixed w ith old Turkish lements ) .
III T ur is an ua es . k h L g g
Osm an ic, Tartaric , Turkoman .
I I l V. so ated Groups
e Et Basqu , Old ruscan .
S C H E D U L E O F C O N C E R T S
C oncert 1 9 19 LA N GU A GES
. e 21 E I Tu sday, January . arly French P rovencale
. J 28 II anuary . . Modern French French and Italian in , Switzerlan d Fe 4 P ruary . Spanish , ortu u ese Italian Roumanian b g , ,
- A N GLO C EL TIC IV. February 1 1 Engli sh
. e 18 V F ruary . Irish , Gaelic , Welsh Mannxx Breton b , ,
S LA VIC e t R tt e R Gr a ussian , Li l ussian ( U krainian ) P olish C zech Slovenian , , e C t an S rbian, roa ian , Bulgari
T E U T ON IC March 18 S w e N w e dish , or gian , Iceland , Sw edish in X SC A N D IN A VIA N I . Fin lan d
X. March 25 D D anish , utch , Flemish ’ XI. A 1 IVan de ri - pril n S . g Folk ongs II , Baltic P ro
vinces , Finnland Hun arian , g Mountain -Songs
X . A 1 5 III pril German D I VERSE RA C ES XIV. A pril 22 B alcan e ew , H br N OR T H A M ER IC A N A 29 pril A m erica
P age T w o Those interested in the systematic study of folkp oe sy , both in w ord and tone, w ill find a - w ealth of available material in the N ew York P ublic Library at Forty Second Street. It w ould be manifestly impossible to include a detailed list of the se publications w ithin the limite d e space of these program books , but all desired information in regard to popular an d sci ntific e he th the w orks on this subj ect may be obtain d from t card index at e library . But in Music
D ivision Reference D epartment are to be found the follow in collections of Scandinavian , , g D utch and Flemish Folk Songs
“ A C e t w e N M osic e t t t . oll c ion S dish a ional publish d by Lundquis , S ockholm “ A hlstrtim . N oc P v sk Folks n er T . h . C . Boman , Walda S en a a g . “ r n B ellman , C . M . , F edm an s Sé ger 179 1 .
' “ ” e e R N e Folkevisur . 19 1 1 B rg ikard, orsk .
B r re n A . e t e e . C . 1 65 gg , G oll c ion of Scandinavian Folksongs 8 . “ l B orn en es Musik sam ede of en Moder ( Hansan) . ” “ D M elodibo 900 n an sk e I- anmarks y , e Song III . , published by Wilhelm ansen Kop en H , e hag n and Leipzig . “ ” D m M elodier e Erslew an arks , publish d by Hasselbach Koben ha n . , y “ e t e A ubor R . A e T he N w A 1881 For s i r and asmus B nd rson , or ay Music lbum . “ ” G arbor D an s r g , Hulda , N orske evisu . 191 3 . “ lin T r r G6t d J ohan , Visor yckte i A . K “ app ay , T . A . , Songs of Scandinavia “ an d' A e Olrick D an ske Folke i r Laub Thomas , x l v se 1899 . “ ” N e M elodier e W ilhehn e e e org s , publish d by Hans n , Kop nhag n and Leipzig . ’ “ e t 87 w e Schirm r s Publica ion , S dish Folksong . 19 1 7 . “ ” a A e Sven sk Folk r St hl x l Tvar , a eviso . 1855 . T he A A C ollertion N Hals lbum , orse N ational Music .
“ Lie erbock C oers . R . d N e e F , van Groot d rland . “ 10 r n B uyse Fl . van , onde n ede la dsche Liederen “ - D u se Fe . H et e n ederlan dsche y van, oud Lied I. III . 1903 . “ Frederic D r. t i e Volkslieder n q Paul , His or sch e 1894 . “ ” n ri kx n H ey d c D r. Karel , Studen te liederbock . “ e Riem sdi D r Lange D aniel d J . van j k and g Kalff N iederlan dsch Volksliederen boeck
Rontgen Julius , A lt n iederlan dische Volkslieder “ ” ‘ h Lie - “ S een off . . d e W z en en P r n t e I s e s . . . h p T j , y II S een oii T . H . Lied e s W z en H j p j , y ” en P ret es j . I . IV . e - i derl n d r e Will ms Fonds , N e a sch Liede bo ck. “ ' C Er t C ham son s e des P v e losson ns , populair s ro inc s B elges . “ Studentenverbindung Lovan ia C hansonnier des Etudian ts B elges l‘ o a m
- - - 1 ar from the collec ion N ederlan disch T he S on s N os. 4 7 9 10 13 15 17 2 e t g , , , , n d r G Volksliederen boeck edited b Daniel de an e T . G . M . van Riem sdi k a D . . , y L g , j
Kalf. ’ 2 1 are a en ei er from W illem s collec ion T he Son s N os. 2 3 5 6 11 12 0 2 t t t g , , , , , , , k h of Oude Vlaams che Lieder ( about 16 00) or from the C ouss‘eem aker collection “ ” e ran ce C han ts Populaires des Flam an ds d F . li ere w ere m ade b C aro n e . Kerr T he free En glish version prin ted h y V .
n ed M ax M er . uartette N os. 1 8 16 22 arra b Q , , , g y z
D u t c h M ARIE GIM B RERE ORA VA N W EST EN , FL O IS C AT ON GERARD D U B ERT A L U ,
W ilhelm us van N assouw e
W illiam of N assau
arn ix M van St. A ldegonde
N assouw e t N Wilhelmus van Wilhelmus , high of assau , schen et B en ick van duyt blo , Of forei n blood am I , , g ’ H et Vaterlan dt ghetrouw e Our fatherland I ll cherish
den t. B lyf ick tot in doo U ntil the day I die. Een P rince van Oron gien A P rince of Orange also n v rveert B en ick, vry, o e , A m I free and unqu elled ; D en con in ck van H isp an gien T he Kin of Spain in honor g ,
l i t heert. E r e H eb ick a t j g ve mor I have held .
t e betrouw en Myn schil end My faithful p eopl e, turn e y ,
h ee . Si t , o G odt mijn H r w w e e o j g y To follo h r I g , il bouw en T O u see w ick , he Lord w ill never spurn e p y ,
Verlaet n im m erm eer. e e are e e w my Wh n y pr ss d by oe . ’ D at ick doch vr oom mach blij ven , e er w e t Who ould liv arigh , ’ dien aer t e ston dt L U all r , et him pray n ow day and ni ht g , D e tyranny verdrij ven That God may still uphold m e
D ie m n e t doo rw en t. e e w t my y h r To d f nd you i h might.
lof m e e B or . n e O y arm schap n , sure that he w ill bless e y , te c t ’ D ie z ij t in groo n no . U nhappy w ander in sheep g , U herder zal niet slap en For w h en sore ills oppre ss e y ,
A l z i t h verstroo it. Y S e e w n ot j g y nu our h ph rd ill sleep . T ot G odt w t be heven ’ il u g , Lift up your hearts to H eav n , ’ S n he lsaem w oordt n eem t aen On y y , the Lord s promise rely , ’ ’ A ls vrom e C hristen leven ; To all H is children giv n : ’ T S al e haest z i n he daen . the en d n ow hi r j g For is nigh .
Thi s song w as compose d and made y J onkh eer P hilip van M arn ix excelle nt po and b , et ”
S n te A de o e . lord of i l g nd This curious inscription ap p e ars u p on the title page of this son “ g w t e t te t t it n ew C t a so w i hich fur h r s a s ha is a hris i n ng . r tten in honor of W illiam P rince ” O n e C t of N a a t e C tr of ra g , oun ss u and Fa h r of his oun y . “ ’ l i e En n tw o t m on e t - Hol and , l k gla d , has na ional h y ns , of h em b e ing the se call ed Kin s ” “ ’ ” g the t e the e e m C m e o a hymn and o h r p opl s hy n . om m r tin as it doe s the nam e and fam g , e ’ a t u t e e l n on e of Holl nd s mos ill s rious rul r and r cal i g of the most stirring p eriods in the “ ” i t the N et e a — N e h s ory of h rl nds , William of assau longs in the first cate ory an d is h O b g t e l e t n at1on al m in e ste t a r e . s a e n ot eed to it o d s _ hy n xi nc Musical his ori n agr as origin but it I S a e th t it e It o - n pro l a cam from France . is a f lk so g in the tf uest s ens e of the te m b b r .
Page Four M oederke Alleen
On ly the M oth er
’ e W ie zal er on s kin deke dourven Who w ould rock our baby s cradl , ? ? En doet het syn m oederke niet If the mother w ere n ot there h e W ie z al er syn deven tyes vourven Who w ould deftly fold t e cov rs , ’ ? ? D at t schaarsch door een holleken ziet Leaving just a p eep -hole free ’ e e e e m oe derke alleeen Tis the little mother only , Kl in , kl in ‘ r r in e douroderidein e D ouro douro dou ode ide ; D ouro , douro , , ’ e h tt e t e e e e e , m oe derke e T is t e li l mo h r only, Kl in , kl in all n ’ h een t e e t . Kan man uw w ieg ske niet sc . She alone can do h s hings
W ie zal n aar ons kin deke vyken Who w ould tend our darling baby , h ee D ien bleuren den Stouten kap oen Gently stroke t e rosy ch ks , r r h tt e t e W ie zal er syn hem dekes st yken Wash an d i on t e li l nigh i s , ? Syn kaarken in krullekes doen Softly brush the golden locks .
d rke etc. Kleine kleine m oe e , ,
‘ W ie zal voor ons kin derke derven W ho w ould shar e w ith darling baby, ? Heur laatste kruim elke brood ? H er very last crumb of bread t e ee be W ie er w ie er sterven Would ive life, i s lf , if n ds , sou , sou voor g ? En lachen op kind en op dood ? M eeting death w ith a smile on her lips
D es W in ters als het reghent
’ In W in ter w en it s rain in , h g
“ From Horae B elgica
’ t het re hen t D es w in ers als g , In w inter w hen it s raining , ’ ’ D an z i n de aetj es diep , j a diep , A n d the o erfiow o er flow g p all pools , , ’ D an com t dat looze visschertj en T is then the w ily fisherman
Visschen al inne dat riet. D ow n to the pond w ill go ; e ri fstoc m et e stri cstoc H w n M e sin j , sin j , e t et t e e , out the w et e e i h his h r in th r , ’ et e cn a sac M et sine la sac, m sin p , C t t to w e he s to p as ing a lin , h n a mind , M e ee e et sine leere , van dirr vom d r , A ll in the lathery w ather w eather , y ,
M e e ee e leers es aen . D w hi e t sin l r j o n in s leath r boots he goes .
’ o m olen arin n t e T h D at l oze j , e W insome , w ily miller s w ife
Ghin c in ha er deu rtj en staen , a staen , as w t her her o j W ai ing by door , d or , Om dach dat aerdich visschert e th j For e goodly fish erman ,
Vor bi haer henen soe gaen . Must nee ds pass before ;
M et rif stoc etc. H e w t his j , i h n et th ere , etc.
“ ' ’ i i r v n W at heb c jou m sd e e , What harm have I e er done you , at heb ic m isdaen a m isdaen Or a ht W jou , j , ug of ill also , also
’ En dat ic et m et e e at t e e ni vr d n Th I mus f ar som mischi ef here , ? Voor bi j ouw deurtj e mach gaen When to the pond I go ? rif M et e stoc etc . w t n et e c min j , I i h my her et . ,
’ Ghi hebt m e niet m isdreven N o harm have you e er done m e , e t m e et m isdaen a m is N or Ghi h ni , i daen t , t w , t w b augh of ill I ro I ro , ’ Ma er ghi moet m e driem al soen en B ut kisses three you ll ive m e g , Er hi van ie m eucht e Ere to the g h r ga n pond you go . M et uw e rif s oc t etc. w t j , You i h your n et there , etc.
“ ’ T he text of this song w as w ritten by Vincent C asteleyn and published in Harlem s Old ” ’ “ 6 T h t e e Old S e t Book 1 7 1 . e melody is ak n from Will m s ongs of Fland rs and w as w rit en ‘ r dow n from the oral tradition p evailin g in that region .
Page Five .1
D e G efopte Vogelaar
The B ird-C atch er
’ - w e t t Een vo elaar t o e vroe w eg , Early on e mornin a bird catcher n for h g oog morg ns a g op g , n in h ee e e Om kn ippen e gaan hangen in booms e To hang his n ets in t e tr s and h dg s , fi9 w he - t e w as e w 8 , N o t bird ca ch r a jolly, good f llo , M yn vogelaar dat w as er een oolyke quit A n d trill ed forth a merry song to entice the .
lt. Hoor w at een lustig liedj e hy lokken de fiu littl e birds .
’ ' Maar t m ooie g yn e vin kj e den vogelaar bes B ut as soon as the little gray fink espied him , pieé t she said “ ’ En e t e a n l m e e e e el w but d nk j y b nt e s im ert maar my vang You think you r a v ry cl v r f lo ,
m et, catch m e if you can Vlie t d h r n lie h he flew g hoog e lucht in al sc ette e d s p uit With her finger at er nose , s quickly
W ie er tw ee w e] de ool kste . w is van om y quit a ay , ? ” Sin in Which of us n ow has be en fooled g g,
GERARD D U B ERTA
Piet Hein
eet H eb fe w e] gehoord van de silveren vloot Have you ever heard of the silver fl , , D e silveren vloo S t van Spange , T he silver fleet of pain i D ie hadden veel sp aan sche matten aan boord T he car o consisted of silver ars , , g b
En appeltj es van oranj e A n d oran e s and red apples . , g et e P e th e is , et e , P et e s n is P iet He in P iet Hein , P iet H in , y nam Pi H in i H in i H in , y naam , klein small S m e ben n n r re i dad n e groot, B ut thy dee ds a e g at,
e t ew e de silv r I w a h w ho t e the e eet. Hy h f g onn n e en vloot. t s e cap ur d silv r fl
’ e et de on en als e t the e the ts Klomm n ni j g s katten in t w ant Lik ca s sailors climb d up mas , En vochten ? h se niet als lee uw en A n d like t e lions they fought, Se sloe en d w g e sp an j ers w e] duchti te schand T hey struck the Spaniards such heavy lo s , g , b T ot s an l e k on k hr t t e e w e e S . in p j hun sc ee uw en . Tha h ir shri ks re h ard in pain
’ w er m e n o n K am g ee m al z oon silveren vloot If a silver fleet should appear once more , , Seg zou jullie n 0 zoo kloppen ? e m e w be e g T ll , ould you as brav , Of z oudt e veili en r w h g u g buiten schot O w ould you like co ards shun t e foe , , Maar sti] in j e han gm at stoppen ? A n d seek the safety of your hamm ocks below ?
W e] H olladsch loe d heeft n o w e] moe d' N o m en the N et e t are e b g , , of h rlands s ill brav A ] ben n en w e niet root U te e e ee g ndaun d f arl ss and fr , W e z ouen w e e n silver n v ’ inn n e loot. A n d tho w e our land s small , e still hav strength e e t e ee To d f a a silv r fl t from Spain .
T he e t h ro of his song w as the gallant D utch adm iral of the Indian company w ho in 1 628 “ , t e ” the o i e eet S w t its car o f 12 fl cap ur d fam us S lv r fl of pain , i h go million orin s. “ A e t ee t ” monum n has n e rec ed to the little admiral in the choir of the Oude erk in D elft b , t i “ and upon h s appears he follow ing inscription in Latin : Like a n ew A r onaut h f h d g . e etc e
0 Heer der Daer
Lord w ho ast S read , h p
“ - From Valerius Gedenek C han ck.
e e des hem els te te s rei t Lord w ho hast spread the w ide h eavens ov r O H eer die da r n p j , , ’ ’ En d w at e e t ee berei t he ad , op a rd is h b al n j , it t t f d H et schui m i w oedi m ee t kond make n stille W ho all that liveth w h boun y has e , j g g ’ ’ t o T h w e the e i e , En d alles doet naet uw en lieven w ille . W h by y po r oc an s fury stll s ’ e t Wij slaen het oo g tot U om hoo g A n d e er con trollest all things as Thou W ill s ; D ie ons in an cxst en n oot To Thee on high w e send our cry t Verlosen kom t tot aller ston t many a fe arful h ear ; ’ For e er e e t e Jae selfs oock van de doot. in lif or d adly s rif
Our shield and hop e thou art.
w n -w i ls e t e s W e w ho are t n w e o , A ls ghij ( o vrokm e. ) dick j h b g fai hful k o His lov your the m aeckt Lift up your h earts to Him , hi gh on , ’ Verm aeckt dat t e te raeckt throne ; u nu vrij u h r , T ' he w ho et J oo ft God den Heer m et singen ende ap elen P raise God t Lord , bring h you sal ’ ti r e . En d roept vrij uij t te sae m m et luidj e kel n va on , ’ Hadd ons der Heer ( H em sij de eer) R ais e every voice to Him in e xultation . H n ot e w e t w Alsoo niet bij gestaen Had e h ard , hos migh y ord to e Wij W aren lang ( ons w as soo bang ) Was gi ven our souls sav ,
v r n e w oe , w e a o A l in den druck e gaa . In f ar and long g ,
Had found a mournful grave.
FLORA VAN W EST EN
’ k heb veel N achten lan g ghew aeckt
T hr ou gh the L on g N ight
’ hew aeckt t e w t e K heb veel nachten lang g , Through many lon g nigh s , I hav a ch d , s e A l een ande r hiel sijn rust, Wh en oth ers lay in deep sl e p , eha kt N aet u soete goust g ec , I w as w aiting and longing for you , ] t e D ien ick hie] voor a mijn lus , Who w as more to m e than lif . ’ D ien aer e Lief ! ick w as u imm r , D ear , I w as ever your handmaid ,
Mind my nu , o mind my nu , o mind my nu , m e t m e , . Think of , hink of I pray
Of mind my nimmer .
’ S ko or der S li terf ick doo r dee s ts min hould I e dying from love s pains , D w e e e e You n e e m e w aer u h lp my mach g n s n alo could mak ell , ’ W e It ee dat h ! it n ot e t a r g n schand , g y , Godin Is cru l hat you , O Godde ss , ( Love ) ' ? D oo rsack van mijn dood soudt w es en Should be the cause of my death ? Wee st geen m oorderesse immer B e n ot a murderess eve r ,
-Mind my nu , o mind my nu , o mind my nu , m e , t m e ! Think of hink of , I pray Of mind my nimmer !
P age Eight An n a M arieken
A n n a M arie
“ e w t e H be H e : Well A nna Mariek , aar gaa g e : Well , A nna Marie , w here w ill you , ” n aar toe ? going ? ’ e th h She Ik gane n aar buiten a] by de soldat n . She I m going to e camp to see t e sol
a e . e . Hoep sa s , fa la la ho p la la la di r boys
W e] A nna Marieke , w at gaat ge daar H e : Well , A nna Marie , w hat shall you do ” doen ? out there ? ’ Hasp en en spinnen soldaatyes bemi She I ll r eel and spin an d play pranks on ” h n en . t e lads . e Hoep sa sa, tc.
’ e r H e A e w h W e] Anna Marieke, h b t gy e gee n Well , nna Mari , and y have you ? man . no husband “ h : H k kr l e She e u e n ot e S e eb ik geen man , i yge geen s ag . If a hav no h sband , I n ed f ar
e sa sa etc . e t . Ho p , a b a ing
‘ A e e H e : e A n e Well nna Mari k , hebt gy er geen W ll , na Marie, hav you then no ” kind ? children ? She : H b ik e ik m oe She N o e e e g en kind, te ni et zor , I hav no childr n , and therefore ” en e e . g . hav no car s e sa etc Ho p se , .
This song w as sung during the carnival s eason in D unkerke at the tim e that C ousse e e his e t the - the N et t mak r mad coll c ion of folk songs of herlands . ( C han s populaire s des
Flamands et Fran ce .
Page N in e 12
H et Lo dderig M eisj e M y D arlin g M aiden
k n aa d k e e M eis e jong , m yn m g e en teer , H e : Maiden young , my maid n d ar , ? ” ? ” H oe kom t m en in dit huiseken neer H ow shall I find my w ay to you “ “ - see e e het koordeke de P ull the latch string , you outsid , Tr k an van klink , ” ” D at het deurken op en sp rin g A n d then the door w ill open w ide .
Ja m e e e . , yn lodd rig m isj e . 0 , my darling maid n
“ M eisken m n e ow n jong, y m aagdeken tee, H e : Maiden young , my maid n , ? ” ? ” Waar leg ik m yn voeteken s neer T ell m e w here shall I lay m e dow n “ Le uw e voeteken s de m n w the e m e g by y She : C ome and lay do n by sid of , ” ’ ’ ” a] S . an sda v w e be . t t e s . E e ed I J g K rmis yn For on St. J ohn s , ll marri Ja m n , y lodderi meisj e . 0 e . g , my darling maid n
M eisken m n m a k jong, y agde en teer , H e : Maid en young , my maiden fair , ” ? ” Waar leg ik m yn han deken s neer ? Tell m e w here shall I lay my hands “ “ Le uw e han dekan g s op m yn hart, She : Lay them upon my h eart, I pray , ” ” ta] verdr ven I y n en smart A n d e e w . py , driv all gri f and pain a ay J a m n e , y lodd ri meisj e . 0 e . g , my darling maid n
“ This son g is sung in D an derm o n de in a game called U n der the crow n in w hich the an d e T he young lads lassi s join hands and dance around in a circle . popular time for village “ ” ’ w e w as th e t. h ddings during Kirmess or fair w hich took place on S J ohn s D ay . T e most ’ e te e use t t e th v n D a w a x nsiv of his mo iv of e rural fe sti itie s of St. Joh s y s made by Richard “ ” e the t act T he Wagn r in las of Maste rsingers .
H et Kw ez elken
T he Little N un “ From Hora e B elgica
’ ? l n ? a n un n ikin w t e an n ow Zeg , Kw ez elken , w i degy da sen S y , , on you com d ce , ” ’ ”
I en i e w i . k zal u geven e e . I ll giv you an egg if you ll ”
] i a n N a . h e i W e neen ik, z e d t kw ez elke , y , nay anon t e nun r pl es , e n ik w w t e Van de ns n be vry ; My vo s ere hen k pt ill . “ En an n t k kan ni et d sen , For dance I can o , En m a et dan sen A n d dance I may n ot k g ni , D n D a sen is in onze rege] niet ; ancing faithfully w e forsw ore, B a n t es en kw z elken d T he th e gy j e s an sen niet nuns and e novic s dance no more . LOUIS GAT ON
M yn e M oedertaa]
M y N ativ e T on gue
r l in re Myne m oe de taal w ie of haar ook k e ee , Min ik als m yn vaderlan d sta ik voor m et hand en tand m n n eerlan dsch dat ik ee e e O y houd st ds in e r .
Myne m oe dertaa] is de schoon ste taal ’ En zou se t ook niet w ere n v r Haar e kiesen zou ik toch , w ant z e is de myn e toch O m n n eerlan dsc y h w as eeuw ig m y gepriesen .
is t the This a song in glorification of the D utch language, w hich the unknow n poe of N et e n t h rla ds na urally prize s and praises above all others .
Gy schittren de kleuren van N ederlan dsch vlag a r r W at w pp e t gy fie langs den vloed , H oe klopt on s het haart van vreugde en on trag W an n eer het uw banen begroet On tploi i] w aarm it nu by dag en by nacht Gy blift on s het teeken o heilige vlag r i Van trouw uw van v om he d en moe d .
Of is niet dat blauw in syn sm etloose pracht D er trouw on ser vadren gew yd'? Of tuigt niet dat rood van hun m an lyke kracht En moe d in zoo m an lyke stryd? Of w yst ni et die blan kheid zoo rein en zoo z acht Op room heid die z egen van Gode verw acht ‘ D en Ze en u en i d g die ee w ig en e g ge yt. M A RIE GIM B RERE ORA VAN W ESTEN , FL O IS GAT ON GERARD D U B ERTA L U ,
i leven vri wi leve li W j j , j n b j
’ W e Lead a Life that s Free an d B old
' ’ W i e bli e t t ee W ij leven vrij , j lev n j W e le ad a lif ha s fr and bold , ’ Op N eérlan ds dierbren grond ; On Holland s w ell-loved soil ’ l rn i h t t e On tw orsteld aan de s ave j , D elivere d from t e yran s yok , n r h t en i r e ee Zij n W ij doo r ee d ac t groo vr j ; U nited w e a e gr at and fr , ’ l n i Hier duldt de grond gee n dw in g a dj , W e suffer n ot the oppre ssor s hand
Waar vrijheid eeuw en stond , Wh ere freedom aye has stood . uw n t Waar vrijheid ee e s ond .
n tri d h Zij n w ij als Maurits in de s j W e stand like Maurice in t e fight, h ea A ls R uyter op de z ee , Like R uyter on t e s , - D e e bloei e t. Our e e t e sea e t e hand l door onz vlij " comm rc hriv s on born rad ,
D lk d r te e w i d . n at e e kuns n off rs j Our art is k ow n in every land , ’ En N eérlan ds vlag link w ij d en z igd Our proud fla w aves far and w ide b g , T e te e - ot aan de v rs z e. On all far distant seas .
e i al i n bl Zoo lev n w t j d vri e i , S o w e e l w e die , j j j shall liv , so sha l ’ Op N eérlan ds dierbren grond ; On Holland s w ell -love d soil ; D oor trouw aan ei en w etten vrij e ee t e e ee g Brav d ds and fai h hav mad us fr , P raalt N ee den volkren A n d e e rland in rij , giv n us an honor d name . ’ En t Vaderlan d blij ft gr oot en vrij S o free and reat shall be our land g , ’ T ot sw erelds avon dston d. U ti the e t D a n l Judg m en y .
C . V . K .
FLORA VA N W ESTEN
M boi Lievert e oo Je het Grachte m ee R on d? j , L p
M darlin w ill ou w al w it m e ? y g, y k h
“ lievert e e het rachte m ee ? ? ” Mooi j , loop j g rond My darli n g w ill you w alk w ith m e “ V “ V eel ee . W ee ] ee . N o n n n n ee ee n ot . ind d , no ind d I , ’ Krij g k dan ni et een kussj e op j e suikeren Will you give m e a kiss on your sugar-sw eet mond ? mouth ? ”
ee . ee . w w Loop h n Loop h n Go a ay . Go a ay . Leave m e be ! “ J e e e n e e t m e nt m e zoo di r , j n e zoo w aard , Yo u are c e are w ee t b b so l ar , and you so s , ’ Z e het e e ee kw ell n ” ond r jou is l v n m n i g op aard . W ithout you my life w ill be incomplete ! “ “ ” N ou e e em een . N ow r jok j , nou jok j g you a e telling a terrible lie ! u m een N o jok j e , nou jok j e ge .
’ ? “ ’ K Moet niets van j e hebben jou fij n e sin j eur N o I ll have nothing to do w ith you my “ ” ” h . Och hee . Oc hee fin e fellow ! ’ Vertel i e raa es e ’ ” j j j p t aan and ren veur . t too t t too had ee ! j Tha s ad , ha s ind d b , “ ” ” O w ee . O w ee . e t t to t e T ll ha o h rs , but n ot to m e ! ’ “ ” EEn vrij er w il k w e] een trouw hartige A h m e ! A h m e ! H ow sad ! t maa , I like a lever more constant than you ’ En vrij er w il k w e] een trouw harti e maat You are but a e e e t t g , a g y d c iv r , of ha I am sure , se t ee ” plaa Go, s k you another sw eetheart ! M et a een e e m ee jou g and r .
P age T w elve 18
Vier W everkens
Four W eav ers
r Vier w everken s z ag m en ter boterm a kt gaan , Four w eavers set out for market r e th t e En de hoter die w as e zoo di re . B ut they found e butter oo d ar, ’ Gig hadden geen duitj e in hunne tasch , They had nt money enough in their purse n En z e kochten een pond sa vieren . So they bought only o e pound , all four . - rr - e oelz a Schiet sp oele, sj e e bekk , sp .
rr k l lit kl s. D ikke, dj e kke ke e o t es k s et j , j ,
En se kochten een pond sa vi eren .
E i a r nals z g d t bote ken hadden gekocht, N ow w hen the butter w as bought and paid Si e n o e l l n g hadd n g ge n p atee e . They found that had no dish , Sig spraken dat vrouw ken z oo vrien delij k So they asked the good -w ife kindly
aan , If she w ould give each a share . m rk ) hun bote en te de elen .
) h at z ou il n 0 g w e] geren doen , To this s e assente d gladly f a h . , z eow el als een vrouw ken vol eeren , A s a w oman of honor s e w as ’ VI r - aa k w eet w el w at er de w everken s z i n B ut she said : Mark you w ell , I know you , j , rk r n o e 11 de w eve en s z ij n geen hee ren . A n d w eavers a e t g ntlemen .
F l e m i s h
GIM B RERE an d GERARD D U B ERT A
M adonn akin dj e
M adon n a C hild
( C ath . Van Rennes ) .
n adonna kin d e m et het oudblo d haar , Madonna aby, your olden hair j g B g , i l te e lan z en A n d o tw ee buine oogen d e a s s rn n g tw brow n eyes that shine like stars , ’ e in t w iegske dan sen Your are dancing in the cradle ! ? en z eg het maar. You love this oh Speak right up !
5-1 voort D id ever a mouth bring forth more charming ’ t vroolyke grypan n aar de gouden stralen soun ds ’ ’ t gretig han dj e t z on licht aan wil halen Than yours w hen?re aching for the sunny rays i h r t e i als gy j u c en d raden komen hoo t . Wi h your pl ad ng little hands against the
A n d w henJ yp fie in glee as your father a , p i ry a hes me; , p . c “ . M fl . M denna kin dj e als ge uw moe der tegen lacht Madonna B abyjfla' n d w hen you smile into your ’ n denk ik still aan hoo e heil e lin en t e e g g g mo h r s fac , ’ kom t de le nte in onze harten sin en t e t et t g Tis h n I hink of qui , holy hings z k een duif e ' e g y j dat ons vrede bracht. Th n Sprin comes singing into our hearts , ‘ You are the little love that brought us p eace !
P age T hirteen 20
D e Vlaam sche Leeuw
e e den e e Vlaam Zy sull en hem ni t temm n , l r n sche leeuw e A l dre igen z y syn vrijheid m et kluiste rs en hr uw gesc e , Z!? zullen hem niet tem men z oo lang een
vlam in g lee ft, oo lan h Zooland de leeuw kan klauw en , z g y h ft tanden ee .
H et w raaksein is gegeven hy is hun tergen m oe ’ M et vuur in t oog m et w oe de aprin gt hy den vyan ds toe Hy scheurt vern ield verplettert bedekt m et bloe d en shij k ’ En z egep ralen d grYn st by op s vy an ds tril
lend lyk .
Zy zullen hem niet temm en etc .
“ e has tw o t on e w th e the B lgium na ional hymns , of hich is e Fl mish Lion sung in prov “ in ces e w e the ette - w B raba on n e e the of Fland rs , hil b r kno n e is mor popular among Wal lachian s.
H e Kloos er v n t Ar aan t t a S . j
T h A r e C loiste r of St. j aan
i S he : Willem z eg : zoo gan sch aleen , kan k She : William I can no longer live alone toch niet blyven leven C an you n ot tell m e w hat to do ? ’ ? N aar een kloo ste r w il ik geen . Of a nunnery I ve b ethought m e k te e e H e : W e] dan w eet i raad g v n H e : If this be true , I counsel you e e r n N aar het klooster mo t g gaan To choose the cloister of S t. A j aa A r aan N aar het klooster van St. j Where unde r each bed stand tw o pairs r e schoen en Waar e tw e paar aan of shoe s .
H et beddeken staan .
Z at en t She : e m e w t t e w She : eg w at is d voo r e S icht, T ll , ha is his plac of hich you W aa ik ein del k te e ? e g . y frag n sp ak w t A n d t e e e v ? Is de boet daar z aar of lich . mus I do p nanc h a y or light ’ Ei H e : A h w H e : . z e U st e e be e sed t t zou va b hag n , you ill pl a , of ha I m
N aar he te t A r aa e . e t kloos r van S . j n , tc assur d A t the te St A r aan clois r of . j . She : Zeg hoe w are myn habyt ie G ew d She : e In d odg y e veste , T ll m e w hat kind of a dress shall I H ] on ker en o f ? w e of d g wy d ear , ’ H Ei het e t t ? e : er t e e. e , simpl s is b st In his plac of God so ble st N aar (let ste van r S the be kloo r St. A aan , etc . hall color li ht or dark j g , T he skirt be narrow or w ide ? H ’ e : T he simpler it is the bette r tw ill be A t the C te S t. A r lois r of aan etc . j ,
She : l d - ' e le 1k n aa . U V W 0 0 1 d She : e m e an d ' T ll , if I should do as you sa i Z y, 1e iele1dt m e w “ e; ”I t er b , g w . Who ould accompany m e thith er ? , C h l en “ l d t A n d w ho w ould give ord ers to let m e in H e : gi dgq figéfié én ie gagfgf A n d see t at the portals w ould ope n N aar det o ste x an S n . klo r t. A r aa etc . g j , H e : A ll orders must come from the priest and the mayor , A t the te St. clois r of A r aan etc. j ,
P age Fourteen
COOPER UNION FORUM
Pro gram fo r the W e e k
rida even in M arc 28 F y g, h
W hat sh all w e do w ith our p rin ciples ?
r n r Ev e ett D ea M a tin .
Sun da even in M arc 30 y g, h
Lab o an d th e c n r r e P a e C o g ess .
ar ar r W d. D . r H y F .
S c ho o l o f Philo so p hy
Lectures held in the Stuyvesan t N dighborhoed House.
a evenin M arc 27 Thursd y g, h
’ h W rld s T ou s an Its ow in ain s T e o h ght d Gr g P .
M r A n dr T ridon . e .
Saturda evenin M arc 29 y g, h
H m an ism : H ow F ee M en T in u r h k .
E e n M a in v er ett D a rt .
Sun da af ern oo M arc 30 y t n, h The A esthetic C on ten t an d the S o cial M essage of the
’ W o ld s oun er oe s r Y g P t .
ar x n B ern d Se to .
M on da evenin M arc 31 y g, h
B iol an d E l i n ogy v o ut o .
D r M a c an d . r h . GREAT HALL OF COOPER UNION
F T E E ON C ERT S
G I V E N B Y T H E PEOPLE ’ S M USIC LEAG UE OF THE PEOPLE ’ S INSTITUTE
U N D ER T H E D IR EC T ION OF M A X M E R Z A S S I S T E D B Y R E I N H O L D W A R L I C H CENTURIES OF FOLK SONGS EUROPE A N D NORTH AMERICA
E l e v e n t h E v e n i n g
T u e s d a y, A p r i l 1 , - W an de rin g F o lk S o n gs II , B A LTI C P R O VI N C ES A N D F I N N L A N D
Artists : M arie M ieler-N arodn So ran o Devora N advorn M ez z o-So ran o ran y, p ; y, p F z E enieff B ariton e W illiam Ouchen B ariton e Rein old W arlich an d M ax M er g , ; , ; h z,
Piano.
Tw elf Evenin M oun in Son s ists : l a von Tiirck-Ro n S ran o er a th g : ta g . Art O g h , op ; H th von T iirck-Ro n So ran o aul Reim ers T en or W illiam On cken B ariton e Rein old h , p ; P , ; , ; h
W arlich B ariton e M ax M er Pian o. , ; z,
T he program book containing texts and other inform ation may be obtained a few days before ea ’ th t e ch concert at The People s Institute . A subscription of $3 . 00 , sent in w ith e a tach d d i h u on e. ) , w ill secure prompt delivery of t e entire set of program books p issuanc ’ A gd es l i h e rt e t e P e le s t t te r s a l com m un ilat on s to T e D pa m n of Folk Lore, of th op Ins i u ,
70 Fifth A venue, N . Y TAB LE OF TH E EUROPEAN LAN GUAGES .
T he follow ing table is here pres ented in order to afford a brief survey of the languages h n he e e e in of the peoples of Europe . If on e considers t e fact that each o e of t languag s h r dic i o h e te its t n it wi ated, s subdivided into many dialects , according t t e x nt of circula io , ll be possible to form a picture of the manifold possibilities for poe tic exp ression to be found h in t e folk song literature of the European countries .
I In do- rm ani . Ge c Lan guages e e D Mod rn Gre k ialects : Hellenic . A l anian . R omance Lan ua es : Spanish P or b g g , tu uese C atalan ien e -R g , , Fr nch , P rovencal e, Italian , Sardinian , R ate oman es ue Ladino and q , , R C e t t oumanian . l ic Lan ua e s : Irish , Gaelic Manx , Welsh , Bre on . Ge rmanic Lan g g , e N w g uag s ( orth , West and East Germanic) : 1 . N orth Germ anic ( Scandinavian) : S edish , " D N w e e 2 E ete 3 e r : anish , or gian , Ic landic . . ast Ge rmanic : Gothic ( obsol ) . . West G manic E Fsiesian D e es nglish , utch , Flemish Lew German M ode rn Hi h G rman . Baltic Languag , g L t L t n i n E l vir i huanian , e to an . Slavic Lan ua es East South and West Slav ) : 1 . ast S a g g ( , e t R 2 t S Gr a ussia , White R ussia Ruthen ien s Little R ussia U krainian . . Sou h lavic ( ) , ( ) S e — e t t the M a rbo C r a ic , Bulgarian . 3 . West Slavic : Polish C zech Slovenian , Wend ( w i h , , Kaschubin k Old P surian) , , russian ( obsolete ) .
II in n is -U i h . F h grs Languages
' Eshon ian U rish n Suomi ( Finnish ) , , Livonian etc . D ifleren t D ialects of g , Hun ari a , g e w t k E e e ( mix d i h old Tur ish l m nts ) .
T ur is an III. k h L guages
Osm an ic t hr , Tar aric , T kom an .
I I V. solated Groups
e E Basqu , Old truscan .
S C H E D U L E O F C O N C E R T S
C oncert 19 19 LA N GU A G ES
. e J 21 I Tu sday, anuary Early French P rovencale
. J 28 II anuary French , French and Italian in S w i tzerland F e ruary 4 P ortu u e se Italian R oumanian b g , ,
-AN GLO-C EL T IC English e Irish , Ga lic , Welsh , Man x Breton ,
S LA VIC e t R le R Gr a ussian , Litt ussian ( U krainian ) P e . olish , C z ch , Slovenian e a C S r i n , roatian Bul arian b , g
‘ T E U T ON IC w e N w e e a S dish , or gian , Ic l nd, S w e dis h in S C A N D IN A IA N X V I . Finnland
X. D . D t anish , u ch , Flemish - X] . e S Wand ring Folk ongs II . , Baltic Pro e vinc s , Finnland , Hungari an
X III . D IVER S E E XI R A C V. S A pril 22 e e ew Bal an , H br
-N OR TH A M ER [ C A N A m e rica F O L K - S O N G
II.
” 18th t e ef the te F or The program book of February con ain d a bri discussion of rm olk Song, w t n rather of the specific significance of the first half of this compound ord , and his discussio “ ” will n ow be resumed by laying emphasis upon the w ord Song. , In doing this it w ill be necessary to take in to consideration the relationship betw een w ord an d tone—that is to sa etw een language and music or the musical accentuation o f the tex y, b - e t t an d tual expression. Only a thorough going inv s i ga ion of physiological psychological condi us to i e e t e t as t is est e tions w ould enable ga n a cl ar id a of his r la ionship , and his manif ly impossibl ’ within the limited space here availa le a prac tica le illustration from the w riter s o wn expe b , b ricuce may serve to illustrate this point and lead to independent thought or individual res earch t ect on the part of those serously interested in his subj . In the sprin o f 19 15 I w as asked y a hi ghly cultivated N ew York w oman w hether I had g , b “ ” i n e e s heard any of the w onderfully b eautiful H aw a a music . Upon conf ssing my ignoranc on thi e su ect she selected on e of the most characteristic records , and proc eded to give m e an ex bj , ample o i w hat she and thousands of others e lieved to be the very ess ence of original Haw alah , b h w as e t c te at life as express ed in the native music . S e e vid n ly mu h disappoin d my lack of en “ thusiasm and still more by my statement that this music has n othing in common w ith H aw aian life b t bears strong ear-marks of having been w ritten y a G erman or G erman -Austrian com , u b e pos r. This w as just at the time when the H aw aian \ m usic cult w as sw eeping like an epidemic “ over the country an d the public w as going into raptures over the originality o f this music from ” w t at t h the paradisaical islands in the Pacific . 1 kne no hing all a ou t e origin of thts music b , but despite the enerous employment of ukelel e tones I felt that its reputed origin w as ues g , q te t e e re N ew k z e w tt m n tion able . About a year la r, an ar icl app a d in a Yor maga in , ri en by a a t e —l w h e t h e k whose name I have unfortunately forgo t n n hich e prov d hat t e inv ntor, so to spea , , f th H aw aian c w as n on e t e t e t e to H aw aia a c m m and o e musi o h r han a G rman conduc or, call d by o o f the ueen many years ago and since then thoroughly identified with the musical life o f the q , islands . r - In the sutum n of 1 9 17, I attended a lectu e given by a w ell know n sci entist, w ho had e the t Sea s the e t e e t i w ho te e mad Sou h Island subj c of sp cial inv s igat on , and had many in r st
a th t e th e e . r in g things to s y about e his ory , languag and music of e Polyn sian rac My inte
' est w as aroused and in the course of a private conversation , he produced authoritative refer en ces to prove that the original Polynesian scale contained only five tones , and th at the h h music essentially out of t e rhythm of the language and t e physical movements , and that, furthermore, it had not the slightest resemblance to any European music . T he w ords as r w ell as the melodies a e preserved only in the memory of the oldest inhabitants and are, therefore, practically extinct . ' “ From this hasty argument it w ill be seen that the se-called H aw aian music heard in every hamlet and city throughout the United States and made familiar to millions of fam i
lies through the medium of the gramaphon e, has absolutely n othing in common w ith the o riginal culture of the Polynesians and is rather to be considered as a hybrid production
betokening cultural decadence . A n d even though it could be proven that a number of genu in e Polynesian melodies had been interw oven into this music in order to give it a local - — flavor something w hich is probable but has never been scientifically established the treat
ment of these melodi es , both harmonically and rhythmically is absolutely European in c te t h harac r and spirit and is in no w ay represen ative of t e old Polynesian culture, n ew rap e idly b coming extinct . T he above illustration only serves to prove that the musical accentuation of every ling ui x stic e pression can only be born from the spirit of the language. T he transcription of a C e e e e e es th der te is act om hin s s qu nc of ton upon e mo n pianofor , an of vandalism on ly c “ ” e wit e m e e e e H e exa e w th the parabl h att mpt to r produc My Old K ntucky om , for mpl , i m usical resources at the command of the C hinese. Even w ithin the more nearly related E e - s h urop an folk group , t e translation of texts for musical purposes is alw ays attended by d slccation te e of the musical accent, in fact, of n r sults in absolute subversion s of the spirit 0 itile w ori “ ” T he translation of the French opera of Pelleas and M elisande in w hich all the finesse of the e i ve e Fr nch language s brought to such mar llous xpression , is just as great a torture to the highly sensitive artistic soul as the false and ridiculous pathos that cree p s into a e text w en e F E e u has it ow n e Wagn rian h translat d into rench . v ry lang age s inn r logic n d e w is fi a e w e l , hich robbed of its true spirit and signi c nc h n made subordinate to a foreign 1ifi om . s be ru r - e e s h - If thi t e of an a t son , how far r at r mu t t is be the case in a Folk Son g g g, 0 in w h the erm os e an d u ee s the F -sou] hic inn t lif tho ghts an d f ling of olk finds expression . M A X M ERZ .
P age Three “ " t e te e te E t s a ed N o. 1 and 2 are from Songs of I aly , coll c d and di d by duardo Marzo, ran l t Y e e . e N . . into English by Theo . Bak r , and publish d by G Schirm r ,
t e t e . N o. 3 a old C atalan N ativi y Song, arrang d y Kur Schindl r , b “ ” N o 5 the C e t N oélsfran ais e T iersot. . from oll c ion c by Juli n “ - i d h Erk B bhm e : D e t e L e er ort. N o . 6 from u sch r ‘ - o Er e e A . N . 7 and 9 , k Volksli d r lbum “ - e te e te E . w N o . 8 from En lish C ountry Son s coll c d and di d by Lucy road ood and g g , B - e t . J . A . Full r Mai land “ ’ 2 13 23 24 u e laulukoo ri Kon tserdi laulud . N o . 10 . 1 1 1 and from M nar rmann i II , , , H “ E lituita Suom alaisi 22 s . . . e e Va a N o . 1 8 19 and throu h courte y of Mr H Kr hbi l , from , g - Kanson Laulu a collected and arran ed by K . C ollan . j , g “ ” N o 21 T en t e t F e te t le ed . from S ud n Songs of inland, di d by Kur Schind r , publish
C N . . T he H . W . Gray ompany , Y A B r een N t . . e r . D i N o . 20 from C ollection of Folksongs of all a ions by G gg ( Music iv
s P - 4 2n d St. N . . ion , ublic Library, , Y )
I‘ O r a m
TheW an derin g an d the M etam orphose of the Folk-Son g
t ese h For the s econd time in the cours e of h concerts , a part of t e program w ill be devoted ” - S ee the o the e i th to the Wandering Folk Song . ( program bo k of g concert. ) By this te rm is m eant the changes a folk-song undergoe s in its w anderings from lip to
to . o li from eneration to eneration , and from land land N t alone the chan es that p , g g g w e bu h take place in the songs themselves w ill be sho n h r e, t also t e linguistic expressions w out the t te tw o e e w et gro ing of propinqui y and in rmingling of for ign rac s , h her this contact e e e the e w r be brought about for the purp os s of p ac or for purpos s of a . T he pre sent program contains inte resting examples of the metamorphose and the mutual h e s brou h ‘ in to e ta t influence exerted by t e p oples thu g t clos con c . A
n 2 re t e t e the N os. 1 a d a I alian dial c po ms from island of Sicily the melodies of w hich h e show a distin ce A rabian influence . T e xplanation of this is that the inhabitants of Sicily , a the ed te e w e e e e th A n island lyin in M i rran an, r g ographical n ighbours of e rabian s living r a t e - along the nort e n coast of A fric , and tha Sicily, lik Spain , w as at on e tim e over run by h e the armies of the A rabians and t e Sarac ns . art A s a result of the se conditions , A rabian dominate d a large part of the Spanish peninsula from the e innin of the 8th century to the close of the 1 5th c entu ry proof of b g g , w hich is n ot only furnished by the splendid architectural monum ents and oth er w orks of art but the e re t t e te the - ti , also by p culiar ci a iv charac r of folk songs s ll sung in Spain . This A rabian influence is plainly to be seen in the w ords printed in italics in the first t e e tw o as w e as t t the e t e e of h s Sicilian songs ll hroughou n ir s cond song .
FRA N Z EGEN IEFF 1
Seren ada P alermo ( Sicily)
’ e N ta sta van edda cci A B B IT A U m scursun i, Th re is a snake that live s in yonder all ey , ’ ’ ’ tts afl accia e In orn u un cum ari H e La no j , is abroad by ni ht, by day he s missin p g g, ' ’ m tt afiaccia versu U the t e La o a li du uri , pon s rok of tw o he forth w ill sally , S in ci al te t e ett fri car R e e p s a si m i a s i. ais up his h ad , and th en you hear him
hissing .
’ E uan n u ett LU FRISC U d am uri A n d - q j a , w hen the y hear the snake a love lay ’ ’ t dun n uz z i schetti fia i r Tan i fa cc a i, hissin g, ’ O tu icciotta t l on ouri , p , guarda i , Maidens w ill run to loo k and many are , A ccura ti m uz i , nun fari z cari. smitten ; B ut o y , my darling girl , bew are his kissin u g, ’ are n ot e For If you car ful , you ll be bitten .
is a R t e t e t e This ra h r han a r al folk song . Esp ecially characteristic of its o . i orn llo l rabic ( n in IS the i te v flat to g n r al from d b natural , w hich occurs tw ice in the cours e of e m e1 zi t:i o y . 2 C an to del C arcerato Son g of the Prison er P alermo ( Sicily)
’ A P alerm e w ho t are mici , amici , chi n u jiti , A h friends and comrad s all , for h , t t dda e t t Mi salu a i b dda ci a i , faring , ’ t t t e l am i i re e i Mi salu a i li fra i c , My love to fair P alermo ye a b ar ng ;
P dda vicchiaredda m e t . e e to e t e uru di ma ri A gre ting giv all my fri nds , my bro h r,
eet too t e . A tender gr ing , , for my old mo h r S atin i n i r pj di mia chi si dici , See w hat in tow n they all of m e a e saying, ’ Si li m e cosi sun n u ciiitati; A n d see if my affair is grow ing quiet ; D iu i Giacchi , si voli , comu si dici , For then if God so w ill as I am pray ng, , D i li i ee 1t. novu ci haju ghiri a b rtati. My longing eye in fr dom soon shall spy
T he w e t e t t e e the A ird s yl of his can ilena show s the mark ed influ nc of rab music , a cir . cum an c i i st e to be explained by the fact that the Sicilians are ne ghbors of the A rab ans , .
eo h e . g graphically sp eakin , and at on e time the island of Sicily w as overrun y t e Sarac ns g , b
“ ” “ N o . 3 th N o 4 e is a Spanish song of e Three Magi ; . is a G rman Spring Song sung “ ” the e h be t e by childr n in t e school ; N o . 5 is a Fre nch C hristmas Song , w hich may rac d to D T h e e ar e the e e t ee back an old rinking S ong . e same th m s e display d in m lodi s of all hr i h of th ese songs . First of all there is a strikin similarity etw een the e inn ng of t e , g b b g t t of the e m t e e t ee t e e I S on e Spanish song and ha G r an son , and fur h rmor , in all hr songs h r w i phras e hich is conspicuous by reason of the d escending interval of the s econd . Th s occurs in the third line of each verse of the G erm an ‘ Sp rin g Song w hich precedes the clo sm g theme the e t e h n e is and sam is ru of t e Spanish and French song s . A d again , this closing m lody n t te h — o h i o e for no t e same in both of the romantic song s that is t say, in t e Span sh and
French . Thus w e have h ere characteristic songs from three different languages constructed from the e e t te ‘ sam h ma ic ma rial and yet e ach on e indep endent in form and spirit. 3
C an co de N adal T he T hree Kin gs
Old C atalan N ativity Songs . A fter the harmonization by the R EV U R O EU B arcelon ia . LL IS M ( ) . A e E rrang d by KU R T S C HIN D L R . El D esem bre con gelat English version by D eems Taylor Kurt ' C en ftis se et r ira e . , Schindl r ’ A bril de flors coron at A s D ecember s Fros t y King T ot el m on admira e t w a w , W n his y , un illing, ’ Quan en un jardi d am or e the t e n Whil fragran hop of spri g , ’ N aix una divina E e t w as v ry h ar filling, ’ Flor d una rororo Then w ithin a garden fair ’ D a una s , sa, sa ew w e , Gr a blossom ondrous rar ’ ’ D ro - una , d una , sa e t ee fin e , From a ros r , ’ D una rosa b ella t ee e From a r divin , e n F condai o cella. e t ee p From a ros , from a r ,
From a rosetree tender , R i en r ich in virg n sp do .
El i e a pr m r pare caus G od the Father s ent the night La n it tenebrosa w Which this orld enshrouded . ’ Que a tot el m on ofusca D arlm e s s fell , and veil d the sight t e La vis a p nosa . rt e e w e e Mo al y s r clouded . Quan en una mitja n it e at w Th n midnight came a glo , ’ e ue n é t V lo sol q s exi N ever seen on e arth below ’ D be una , be , be C e a t am s ar so w hite , came a star w e hit , D ’ una 11a, 11a 11a , Oh w te t , so hi , oh , so brigh ’ ’ D be una , d una lla Was the starli ht beamin ’ g g , D una belle aurora t the Mids radiance gleaming. ue] cel Q enamora .
P age Fire Friihlin gsankunft F olk-T un e H oifm an n Words by v . Fallersleben .
A lle Vogel sind schon da , A ll the birds have come again l e A lle Viige all . A ll the birds are here . in S en e e Welch e ing , Musizi r n , What a singing w hat a trilling, w t e ir lieren Pfeifen Z i sch rn , T e , , tw tte tte , Piping i ring, cha ring h e e rii lin w e e . F g ill nun inmarschi r n , Spring will soon be h re i Kommt m t Sang und Schallen .
W ie sie alle lustig sind , Gay and m erry are they all , e e A s t e n ow e e Flink und froh sich r g n , h y ass mbl , A e D e F t r t ms l , ross l , ink und S ar, Th ush and blackbird , s arling finch , i e U n d d e ganze Vog lschar , Wish for th ee a joyful year ,
W iin schet ein e J e t e . dir froh s ahr , Full of ar hly bl ssings
Laute r Heil und S egen . i rk n e t e to us W as s e uns ve ii d t nun , T he m essage that h y bring , N ehmen w ir z u Herzen Let us take to heart ; r e e e W i auch w ollen lustig sein , W e w ill let our h arts r joic , l t w ie die Vii e e in e the tt e . Lus ig g , Lik li l birds ’ e t e e e e w her er w e o Hi r und dor feldaus , f ld in , Here and th r , g ,
Sin en sprin en scherzen . Sin and dance and plea sure show . g , g g
Quan d Dieu N aquit 3. N oel W h en T he S on of G od W as B orn
od w as Quan d D ieu naquit 5 N oel , When the Son of G born e e J e D ans la Pal stine A t B ethl h em in ud a , ee vit, ce e e On that solemn day w as s n On jour sol nn l , ’
n d v e . U e joi divine . A joy truly i in ’ I n étai ui et n i w a on e e t e e t a l t p it grand There s no , n i h r gr a nor sm ll ’ ui n a orta e t to the C Q pp t san pres nt B ut came bringing gif s hild , ’ Et n o -no -no-no A n d th ey offered w i thout c easing ’ '
E n fir frifr on . t o it l Their treasure s , e and all Et - no no , Et fri-fri ’ ’ E ri t n ofl t sans c es se ,
Tout sa richesse . ’ L un apportait u n a neau g On e e a tt e , cam bringing li l lamb A e un z él v c grand e With ardor and w ith love ’ L autr e un p eu de lait nouveau A nother brought som e fres h n ew milk D e un e é dans cuell e . w e e . In a bo l , so car fully carri d T el de e ts , sous pauvr s habi On e underneath his p oor cloak , C a t n u eu de bis ach i p pain C oncealed a bit of re ad P b our la la To give to the Virgin Mary P our sain sain e e . A n d her good spous , Jos ph Pour la Sainte-Vierge Et e C e Jos ph onci rge . ’ ’ Quoil u il n en eut as be q p soin A lthou gh th ere w as no need of this Jésus ot e t e n r mai r J e sus our divine Master 11 en t avec ue pri q soin Too k the greate st care P e con n aitre our fair To make it know n ’ Q t les té u il avai quali s , That he poss es sed all the qualitie s P ar cos dons représ entés , Repre sented by these gifts ’ D un v vrai rai vrai vrai Of a true King of Glory ’ D un r v ai roi roi roi e In w hom w e must eli ve . ’ b D un vrai vrai ’ D un roi roi ’ D un vrai roi de gloire ’ En qui l on doit croire .
T he virgin of this C hristmas song may be traced back to a popular drinking ” “ ” uan d la m er ran e a arat. o r ér Q g pp or N t e bon p e N oé .
t the tw o te t N . 8 w t e e the e It is interes ing to compare x s of o , hich al hough pr s nting sam t h t h idea vary in treatment, the on e eing a lyrical pic ure and t e o h er developed along t e , b t are th t e w ho bee e e e the s lines of a story . Bo h e plain of a maid n has n d c iv d , and symbol “ ” e e are o t the e w t the e e t the -t ee the t w mploy d ab u sam , i h xc p ion of oak r of firs song, hich in - w t ee . the second , is changed into a w illo r re e e t e e the t ee e e e t e u T he tw o texts a sung to diff r n m lodi s , hr v rs s in h avy prin b ing s ng to the melody from N orthham shire and the tw o similarly printed verse s of the se cond text —p follow the melody from West C ounty .
T he Seeds of Love Or : T he Sp rin g of T hym e
( N orthamptonshire . )
’ T o n en de T h r ru e is y u g m an d m a i n s all, e running , unning , r r e It he rue t u e m e T hat a e j us t in y ou r p im , is t tha has r in d , e e cle n A n f m w it I w ou ld have y ou to w ed y our gard n s a , d I o ti es ish in the place w he re A e m t n d l t n o on e stea l y our thy e . s ands , e -tree I had gain d a jolly oak . F or th m e is the n est thin y fi g , T hat doe s Yourish b n i ht an d da e e to m e y g y , My gard n r s od by ,
B u t there cam e b such a alse oun m an I asked him to choos e for m e , y f y g , ’ n e e the red e A d he s to le m th m e aw a . Th r s lily , pink and ros ud y y y b , w I refus ed th ese flo ers all three . ’ A n d n o I ve o d e w n o l hym e l ft, N o room or to lan t an m o re J e the red e f p y , In un is ros bud , ’ A n t w m F or on the sam e sp o t w here m y old thym e d hat s no flo er for e, s to d T he red e w o , ros bud I ill pluck up , t o er A n d - I is: all v run w ith ru e . plant a jolly oak tree.
Stand up , oh you jolly , jolly oak . D ’ w ’ on t ither and don t die . ’ e to h n For I ll prove tru t e o e I love , A s the t t t are th s ars ha in e sky .
’ T he w t e t w e e t e e t te . D ords and un of his song r dic a d by Mrs Wilson of King s angl y , H r s , t e N t t e T h w l h a na iv of or hamp onshir . e follo ing w ide y different version of t e same songs is te in the C r t to be h I he e t prin d amp on Ballads found in t e British Museum . t is from t W s C t e se ts e t oun ry and pr n a much mor amplified text set to ano her m elody .
w e the e e e T he e e t I so d s ds of lov , gard n r s ood by It w as all in the sprin , A n d t m e to ta e e t e g old k gr a car , A In pril . in May and in June likew ise the e red e d , For in middl of a ros bu , e m all d t e e e w Wh n bir s h y do sing . Th r gro s a sharp thorn th ere .
’ My arden is w ell planted t t e e t e g , I old him I d ak gr a car , With flow ers everyw here ee the t ; Till I did f l smar , e n ot i ert to e I hav l y choos for myself , te e e at the red e b For of n hav I pluck d ros bud , T he w e t t e e . it e e m e h e flo rs ha I lov so d ar Till pi rc d to t e h art.
en er My gard stoo d by m e , e e My gard n is run ov r , I aske d him to choose for m e e e t n ew ? , Wh r shall I plan a T he lily and pink I did overlook bed t t w as e e e w th t e , For my ha onc cov r d i hym , ’ A n d v w e t t J e . r o d I d s ay ill un Is all overrun w ith ue .
’ In June there s a red rose ud I l oked m arden ate b , o y g g , A n d that the flow er for m e A n d res lved to kee the ke , o p y , For ofte n I have plucke d the red ros e ud B u t a oun m an am e a - ourtin m e , y c c b g g ,
a e the w w t ee . A n d s tole m libert Till I g in d illo r y y .
T he w illow tree w ill tw ist, C om e ou als e oun m an y f y g , A n d the w w illo tree will twine , W ho le t m e to c m lain f o p , ’ ’ I w ish I w as in the youn man s arms T he rass that s trodden un der eet g g f ,
t t ea t e . In tim e w ill r w a n Tha had his h r of min g o gai .
P age Eight N o . 9 n e e ti , fur ish s an inter s ng and at the same tim e , humorous illustration of the “ ” w e - and ring folk song, as the melody is hat of a Spanish dance La C hachuca , introduced into Ge the e I rmany by famous danc rs , Lola Montez and Taglioni . t immediately found great favor w i th the stude nts of South Germany w ho soon adapted it for their ow n purposes to a , c text w tte a law t e t e e te e o onvivial ri n by s ud n , d stin d la r for a lif full of p litical honors .
H einrich von M uhler Spanish D ance
La Madrilena .
Grad aus dem Wirtshaus nun komm ich J ust n ow I sallied forth from the tave rn
heraus : Street ! You have a curious look to m e . ’ raBe w i e on e St , e w und rlich si ehst du mir aus ! Ri ht hand left hand, don t know from g , R e te e e u e e e t t t . ch Hand , link Hand , b id s v r a sch ano h r ’ StraBe m crke w da t e t ! S ee ! see w e e ee n too , ich ohl , bis b rausch tr t I ll , you v b n drinki g much !
U n d die e n a ! e ee ! Lat r en erst, w s m uB ich s ehn ! See the street lanterns Th y also look qu r ’
D i kiin n n o t . e e alle nicht, rade mehr stehen U pri ht n ot on e of them s a le t s and g ; g , b
Wackeln und fackeln die Kreuz und Qu er ; R eeling and staggering here and th ere,
e e et e m it e t w e ! D e t e e t be . Sch in n b runk n all sam sch r ad drunk , h y sur ly all mus
A i B e m t e ro es e A t m e se t . ll s S urm rings , g und kl in ; bou I e only curious hings W a te n r ? n the g ich darun r mich , iichte n all ein D are I the only so er o e remain on , b , D as e t e e ein W a estiick ! t eet sch in b d nklich mir , g s r , D a e e e t act g h ich , lieber ins Wirtshaus z uriick ! This s eems to m e a too v n uresome , ’ ! N o , the tavern s the only safe place for m e
Folk -S on g of Esthonia an d Fin lan d
T he the E t are the e e to the Finns and s honians a branch of Mongolian rac , and b long U ral -Altai linguistic gro up w hich originally occupie d the U ral Mountains and parts of the T h r i i h o w A ltai . e Finns a e divided into the four following fam les : 1 ) T he U gr sc e ( t hich the 2 h - h 4 h t et e Magy ars also belong ) , ) T e Wolga Bulgarian ; 3 ) T e P erm s : ) t e Finns og h r w th r w r t e E t th h . a odn te i h s honians , e Lapps and w hat remains of t e Livonians Mr . N y i s as follow s in regard to the folk-poesy of the Finns and the Esthonians : T he Esthonian and Finnish folksongs differ som ew hat from thos e of many other Euro e e to the p an nations , b caus e of the ir outspoken sym olistic or ma ic character w hich is du e b g , t e e tw o t e e te e e t the e Mongolian ori gin of h s na ions . Song and danc n r d larg ly in o lif of e ev t - m dia al Es honian Finnish villages and tow ns . Every village had its ow n musicians and e the t- e e ' e ba — e oru ill the e sing rs ; nigh sh ph rds altsilised usually played th ir g pip , t , maid ns , p w th e h e orking in e fi lds played the flute w hile the troubadours , t e professional villag musi , e u e e h te e Ican n el e e w a e t t w t ia s accompani d th ir songs on t e harp kan l or . Th r s no f s ivi y i h ou re t song or dance, and the instrumentalist playing for the dance w as accompani ed by a p cen tor he t ccu ati s for t singing and a le ader for the steps . T he great varie y !of p p onl and t e e pas im s accompanied by song and dance mad e for a gre at variety of folk tun s . From t his folk song of mediaeval Esthonia and Finland , dealing w ith the nomadic re alities of life t e h the e in h ir manifold manifestations , on e could almost reconstruct t e w hole life of rac , its t e e his ory , b liefs , sup erstitions , social and dome stic customs , its tragedies , romanc and h et . T e t re com m en po ry harves , love, spinnin cradle and various trade son s a a musical g, , g t as h e h t ary illuminating to t e historian as any other r lics of t e pas . l Many beautiful melodies still heard in the Esthonian and Finnish vil ages , date from the A e he Middle ges . Their charm and vitality are such that they have surviv d t onslaught
t of w e six e t e e . e t e us of advancing civiliza ion , ars and slav ry for c n uri s or mor Th y ak back to the time w hen fishin cattle herdin and huntin w ere the main pursuits of man song g , , g g ; te e hi e a ligh n d s labor and song cheere d his l eisure hours and music w as a solac to ll alike . e the e t t he E t - are te te to t es Lik Ori n al , hus t s honian Finnish folksongs of n limi d shor phras ,
e e te e e te c t t e e . T he n t r p a d and r p a d again , lacking on rast and only primi iv ly balanc d domi an e t e t e i f a ur in h m s an insistent and often unvari ed rhythm .
Page N in e M ARIA M IELER N AR OD N Y
Kann el
Esth on ian F olkson g
Kannel arm as , kanne l kallis , My beloved harp , - e r Kannel kulla keelelin e My golden string d ha p , r i h e A w ab haale a kam a e, A w akens t e voic s
i ai th . Lugus da len dam e , Makes e songs fly é i w i Laulusida l orim a e, C ome , dear nd , uleken e h r e t e , t e, t e, tu , C arry t e sound of my ha p Tul , ul ul ul l k n e e w e e t e e w e s W ii minu kandle hoeae e e To joyous p opl , h r h y hav dding Room sa w ridadesse w e t e rab a , To a ak n h ir song s
L ili e e t . ust ste laua taha , To kindle th ir h ar s
Kussa p ulrn a p eetan essa,
Kussa lustil luisatakse , l Et saaks boea ta argitam a,
Et saaks siidan t siititam a.
n e e Kan l armas , kann l kallis , e e My b lov d harp , Kannel kulla-keelelin e e t e My gold n s ring d harp , A w ab aa e arkam aie h l , A w akens the voices Lu usida len dam ai g Makes the songs fly . Laulusida lé orim aie , C ome come , dear w ind , e t e t e t e tuuleken e r Tul , ul , ul , ul , , C arry the voice of my ha p . W ii e haaleken e minu kandl In the midst of mourners . Lein aliste keskeelle e rt , To the p oor sad h a s , a m l W este kurw a siida e e , S o it et the can qui pain , Et saaks w w ai stam a alu gi , it e t the w So can x inguish sorro , Ku rw astusta kustutam a h ta e , A n d lull to sleep t e h ear ch . Lein am ista lepitam a - N utu ohku uin utam a.
Sealt Ju M u Kullake
Esth on ian Folkson g
i tab su e e e is Sealt j u mu kullake p a s maja There my gold n lov , your hom Kuulet kuis kutsub siit m etsastx sind kaja in g M ARIA M IELER N AR OD NY an d W ILLIAM ON C KEN
l ei ike T ule M ul e, N ts ns Esthon ian Folkson g
n i iken e H Tule mulle, tule mulle e ts , e i e e ii , n eits ken e, Take m e , little maid Tul mull , mul on k la e i e u kaitse aksa C ome be the uardian of my w ealth Tul mu ki la , tul mu k lla j , g
T e w e w w ahti aksa. C ome to w atch my riches . ul mu ara , tul mu ara j
i he Ole w aita, ole w aita noori m ees , S
Kes su kes su e e h0 1tls B e uiet dear y outh , be qui et . hulka , hulka nn , q Kes su w kes su w e e Who has been the uardian of your w ealth ara, ara nn g e are W ho has before w atched your riches ?
i i n Tule ikka , tule ikka n e ts ke e, e kaoken e Tule sisse tule sisse , Please take m e little maid , u e kiilla kaitse aksa o Tule mu k lla , tul mu j C ome to m e you little cucko ,
Tule mu hobe tule mu hobe hoidij aksa. C e to , om guard my gold C ome to w atch my silver ?
Ole w aita ole w aita eiuken e, ole w aita, ole She , p iuken w aita p e e . B e quiet little youth i Kes su kulda , kes su kulda enne hoid s W ho has e e e l b for guard d your go d , Kes su o e e e hoidis kes su ba e en n e ? h b nn , b Who has w atched your silve r before hoidis ?
n i ik Tule ikka, tule mulle e ts en e, H e k Tule mu kallis kao en e. Take m e please, little maid
Tubat seisub, tubat seisab tun dern ssa, Take m e you little golden cuckoo
Sada seisab, saga seisab salw etessa. I have thousands in my barrels
I have hundreds in my bags .
sa ett sa ett eiuken e Oh p is, oh p is p , She Kaw alik sa kaw alik sa kaasaken e e te e , , Oh you ch a r , oh you fool r T h l i a hk r u k su se s b, tu sul seisab tiin de issa A e es e are e sh s ash s in your barr ls , , y w seisab salw cedessa w seisab Sa i , sa i salw e C lay es clay is in your ags . , y b ' dessa .
M ARIA M IELER N AROD N Y DEVORA N AD VORN Y an d W ILLIAM ON C KEN 13
Kui M a. Olin w aikseken e Esth on ian Folkson g
ik k l e Kuima olin w a se en e, A lle a a lela . e w as t e w e g ew as l Wh n I li tl , h n I r a litt K asw asin m an n iken e, allea allela . w e e , e . flo r , all a all a Em a w a in am aale he ea w iis h lli he , allea alea , M y mother carried the cradle to t m do , Lithu an ian
he e t In som e re spects , the Lithuanian language is on e of the most ancient of all t xis ing lan ua e s of the Indo-Germanic roup and this people can boast of a rich and varied folk g g g , h h P ose e te poetry . T he Lithuanians , together w ith t e Letts and t e russians form a cl ly r la d t h th the t linguis ic group occupying t e territory along e shore of Bal ic .
M ARIA M IELER N AR OD NY
P rirodin o Sen i Zm on es
Lithu an ian F olkson g
P rirodin o seni z m on es Old p eopl e ordere d
aun ai bern eli O tar. M e . Man J , , , a young boy
Z barz da t t H e e e w te w e ila , s a i usai , had gr y b ard , hi hisk rs
N er o ad i w e e ut . kur j p et . I could no h r p him
A s a uldz iau 1 1 uz eciau s ut e the e p g 3 3 p , I p him b hind ov n
Kad blu so s ka otu t the e eat him . p , Tha fl as should Jis m iego o visa n akti H e e t the w e t j , sl p hol nigh N ei e n ekan i vi na do . A n d none of th em b t him .
n e T h Ir suva kastu . e old man w as like a piece of w ood S e k m n e n e i e e e the n ot te . nas b r as kaip p , Whom v n dogs did bi
Kur tas saltin elis
Lithu an ian F olkson g
Kur tas saltin elis W here is the spring ? Kur as jaunas geriau W h en I w as drunk w ith m er uz le Kur toj mano g e , Wh ere is my little girl le a ? Katra as m y j u . W h om I once loved
il u Katra as m ej a , Whom I loved r r Si delej tu ej au , A n d kept in my h e art k x r n li Kas n a t ele p e sap e , A n d every ni ght
Zodeli kalbe au . her e j Whispered to in my dr ams .
i Jau tas saltin el s, This spring is already
Zolele uz augo , Overgrow n w i th grass ’ r z l J au toj mano m e gu e e , Evidently my love U z t ise o ki o j . Married another man .
T w elve Fin n ish
M A RIA M IELER N AROD NY
ei F Tula tuulan tuli tuli t , innish Folksong . n Emme erkan e kon sa a ei W e never more shall part, m ar an i ulm un i aask n i w eet e rea M esi j p p y mun My Blossom s , my lov ly girl , my t Paras aarten i oot sina mun mina sun sure ! ’ i in n t e e m e e t Mita toivo s mina mu a ? You v giv n your h ar , A n d w ould I seek for further pleasure ? l ei Tula tun an tuli tuli t , h Om a onni se yhte en vei, Should rude storms oppress us J h t a a w e a tulko ot halla j harmit j muut, H ere ill I saf ly guard your nest, l ill n a t b Ilo huo eton m e a on urussa suu , Our life shall still e joyous , i M r Ja k rkan a paiva j a ilta . om an d even graciously a e blest !
Fin n ish Folkson g
Yk in is un lauleskelen s t j a , A lone I sit, by the sea ’ A ikan on n un ikava , A n d time travels w earily ; Vesi seisoo j a lin n ut laulau T he birdling sings at w ill
E a tuulkaan vedata. r ik T he w aves of the sea a e still .
Oisko ursi a un a ur eet p j p p j , Had I a boat and a sail , J e oilla m nna merten taa, I w ould sail over the sea l o aisi ulh ll T uo ta tu tt n s o en i, A n d bear to my lover much silver an d gold ’ kultaa a ho eaa. Ko on j p Which fortune w ould bring to m e.
Sittcn kutoa elsk ttaisin - h y My w edding robe I shall w eave, a Papin aitakan g sta, A n d w e sit p sing hil I and spin , Kihasorm us se kiilteleisi e h w , ( Se , o my golden ring shines in the sun ! ) Voi mua hullua n eitoa ! What a foolish girl I have been !
Kihlasorm us on saam attan i For e e , I hav no old n rin g g, Kan kana on sulhon i; e the sea My lov r sails far on , N ahn en ol ilm iii yt e s n sa, In fact, I have never seen him at all , ahn n k el ss n N e o ae a i! I never shall , may be !
M ARIE M IELER-N AR OD NY DEVORA NAD VORNY , W ILLIAM ON C KEN
Kullan Ylistys
Minun kultan i kaunia on , Sun on silla supukka ’ ’ Vaikk n kai luin en kk o ta , Vai on toista sylta. Kellan paa pahkin a En minahanta ham m asty ’ ’ i r u an sa Va kk on Vaa a a . Vaikk on pieni poika .
’ r k Tukka tum m an us ea, Kohta tulee toin en vuos ’ Vaikk on tappurain en Vaikka hilj allee n kin Sin iset silm at silla on T oin en kulta katsotaan ’ Vaikk n r l i e o kie on a s t. T oin en j a som em pi. I LIAM N N W L O CKE .
Kultan i Kukkuu Kan kan a. n h ore Far A w ay o t e Sh .
“ Kultan i n kukkuu Far aw ay on the shore of Saim aan kukuu , ka kana , S aim aan ran n alla ruikuttaa My beloved sits mournin , g Ei ole ruuhta ran n alla There is no raft on the shore ,
J kultan i kan n attaa t e e to m e. oka mium . Tha could bring my b lov d t a an karat aallot T he w ind is strong Tunli on uima j , Ruuhet on ran n alla pien oiset; A n d the w aves are high Ruuhet ran n alla ien oiset T he oars on the shore are small on p , ’ l rm t ien i A n d e e e are e te . Ku tan i so e on h o set. my b lov d s fing rs d lica ’ Ela lahe kultan i aaltoj en valtaan My darling don t start out on the w aves ' w ece e A allot n e pian sinun p ettaisi. Th ey soon ill d iv you tte ei heittaisi Then sorrow w ill n ot leave m e Si suru mua ,
he w e m e . Ennen kun m ultaki peittaisi. U ntil t ground ill cov r
r t la n s i N uo en ty on ulu j a ta s . ’ n i l an s n A y ou g g r s d ce an d o g .
ik n r atik n van h u R aat oo , a oo , at p at pan In a bo x , in a bo x ann Old are to be ut maids going p , ’ ’ : T on n n ri k e li vuoren I: u , tuo , y op n taa, Far aw ay , far aw ay ’ ’ Ett ei noita ett ei noita Back of Kyopelin mountain P o at saa e th m en r j naia L st e young mar y them .
Itkuani i v i en m a p taa o . I c n n o m e r a ot st p y t a s.
Itkuan i en m 5. i p taa voi , I cannot stop my tears ;
Silla m urhe on mun m otain , S w c y orro is my ompanion , Kun ei kukaan minna n ai e e o w e to m e , B caus nob dy ish s marry , Ykin aikan i vietan . I am spe nding my tim e alone .
M ARIA M IELER NAROD NY
H on kaen keskella m okkin i seiso the e t t , Far in for s my cabin is s anding ’ ’ Suom en i soreassa salossa C e , osily n stling mid fost rin g pines . H on kaen voelilta siin tava s elka Blue tw ixt th eir branches Vilkuvi koitehen valoss a. T he inl et expanding changes laa Hoi laari , laari , Hoi laari , laari laa . Its hues w h en the red morn shines R suloin en Suom en i aikuu mun maa ! i laa. Hoi laar , laari C u m ilan arols my jubilant S o d.
Kankana korvessa kakon en kukkuu D ee p in the w oodland Sulhon sa shloutta li T he is l y seaa. cuckoo cal ing P aim en ten soitan to laitom en tielta M ellow but urgent his un fledged brood Aiin tiin sa korvien i vilistaa N otes from the home i t i . e Hoi laar , laar laa In h ir rising and falling Kaikuu mun suloin en Suom en i m aa ! Flood from the valley an d stir my mood ,
Hoi laari , laari laa . w e Gaily carol on Suomi strand .
Om an a hen ken i kielta n e uh e p p uu, Pin s in th eir w hispers H on kaen hum in a luon to A n d , muu . birds in th eir singing Itse en sydan toe hillita taida w t e a ow , Borro h ir rdor from my n breast. Riem usta soikoho n raikas suu . a there Vainly I sigh , for non com es ringin g Hoi laari , laari laa . C ri es of rejoicing with new bo rn z ed Kaikuu suloin en Suom en muu i m aa ! . Hoi laari , laari laa to t ee m i w ea Hail h Suo ith h rt an d hand . Page Fourteen
24
Eston ian D an ce Son g
T h w t ee T erw e Wald on kokku aetud, e hole coun ryside has b n called to et e Kihelkon d kokku kutsutud, g h r e ar e t e e Kiilalisi igat s eltsi , Th re e gu s s of v ry kind , l E e are M oisaherra prouagagi p a utud! v n the landlord and his lady invited . ’ h e r o ara m e n kosin d M an n ikese en Tonni , t e st of youths has chosen dea T nni p j p i , b
aia e ; Manni . b l h n h l the e e e te o Manni n o edam nein , a eb T on ile m e e e . Manni , lov ly maid n has acc p d T nni . ’ r B rethen m et the V s W en n ad, w ee etage Wiru w altsi , usicians , l s glide iru Val e W e e tahaks tan tsim a e w ant to go and dance vi orously . M i minna , g h T ublist helista e T ul aku tan tsi Let sound t e Tuljak D ance, that makes the g j ,
an eb e kih m a to . See p w re a . blood boil
Tonni , the b st of youths has chos en Manni ien e . th Manni , Manni , e lovely maiden is w edded
to Tonni .
- P rin ted by T he Lam a“ P rin tery 84 4 84 8 W . 88th St. , N ew York “A T HALL OF C OOP ER U N ION
T E E ON C ERT S
G I V E N B Y T H E
’ ’ .E S M USIC LEAG UE OF THE PEOPLE S INSTITUTE
U N D ER T H E D IR EC T ION OF
M A X M E R Z A S S I S T E D B Y R E I N H O L D W A R L I C H CENTURIES OF FOLK SONGS EUROPE A N D NORTH AMERICA
T w e l ft h E v e n i n g
T u e s d a y, A p r i l 8 , So n gs fro m the Alps r Kaschubin k l P r su ian) , , O d ussian ( obsol ete ) .
II in n is -U rish an ua es . F h g L g g
' rish S o Esho ian etc. D ifl eren t D ialects of U , Hun arian u mi ( Finnish ) , n , Livonian , g g E (mixed w ith old Turkish lements ) .
III T urkis an ua es . h L g g
e t T hrkom an . Osmani , Tar aric ,
I I ol ed Gro s V. s at up
e Et . Basqu , Old ruscan
S C H E D U L E O F C O N C E R T S
C once rt 19 19 LA N GU A G ES 21 I . Tuesday January E e P e e , arly Fr nch rov ncal 28 II . J anuary e e e t Mod rn Fr nch , Fr nch and I alian in Sw itz erland 4 F e ruary , P t e e t R b Spanish or ugu s , I alian , oumanian
A N GLO- C EL T IC English ae Irish , G lic , Welsh , Manx , Breton
e t R tt e R S LA VIC Gr a ussian , Li l ussian ( U krainian )
lish , C z ech , Slovenian
0 0 0 0 0 0 0 0 0 0 0 0 0 e a C t 0 S rbi n , roa ian , Bulgarian
” w e N w e e a d w e h T E U T ON IC March S dish , or gian , Ic l n , S dis in S C A N D IN A VIA N I Finnland
? . D D tc e ) anish , u h , Fl mish e -S n x1: Wand ring Folk o gs II . , Baltic P ro v e inc s , Finnland , Hungarian
0 0 0 0 0 h 0 0 0 0 Song from t e A lps in S w iss and A ustrian D ialects
X . III Ge rman ‘ ' D IVER S E R A C ES XIV. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 e e ew Bal an , H br N OR T H A M ER [ A N C A merica
aP ag e T w o T he Alps
T heir C haracteristics an d Population
ed T he Alps are the most important mountain range o f Europe . They are divid into tw o parts ; the Western Alps w hich d escribe a curve extending from the n othw estern coast of the A t to the e e e C t e an d e M aa iore the E te A e te dria ic lin form d by Lak ons anc Lak g , and as rn lps x nd in ew t e t i e to he w e t o f It w d be e t g som ha obliqu ly from his l n t es t rn fron ier Hungary . oul manif s ly e to tte t e e dicussion t e e t but the w e impossibl a mp h r any of h ir g ological forma ion, follo ing bri f e e o a t tw e d scription w ill suffic t indicate the chief char cteristics of heir ou ard asp ct. ” Thes e mountains are unlike the customary mountain chains b eing compos ed of single w t are e t et e d e- e e e t w e groups , hich in urn join d og h r by sa dl form d l va ions and narro ridg s .
B th e 15 782 eet e e are 499 e Mont lanc , e highest peak measur s , f ; th r p aks of more than e e w e e de te w t e t t e feet, th ir sid s d eeply furro d , j agg d , in n d , i h pr cipi ous , of en perp ndicular e e n d e e n te e ted b ee . e a a d sides , in rs c y d p gorg s Wild and bizarr forms ; mil s mil s of glaci rs e w o f w et w e e snowfields in w hite lu and green ; lon alls rocks , glo ing in viol , ro n w hit y llow , b g b , , r e t t e e t e ed gray ros e and black ; sunny d s er s of s on , gr en pas ur s , thunderin avalanches dark , , g , t e o f fr e A e es w t e ee w te t e t w te he pa ch s i s , lov ly lpin lak i h blu . gr n and black a rs ; urbul n a rfalls (t t e t highest of w hich is over fee ) rushing, foaming riv rs and moun ain brooks ; cool , green w t e f th e e t the f w - t ew vall eys , fragrant ith he sc nt o e pin for s s and lo er s r n meadow s in the sum m er ee t w w te ar time and covered w ith a d p man le of sno in in r. Thes e e their characteristics .
T he southern and w estern parts of the Western Alps are Italian and French in their population , r h w hil e the northern and eastern parts a e G erman . T e inhabitants of the most southern parts o f he E t A ar t t ti rt e w e e e t as ern lps e par ly I alian an pa ly G rman, hil Slav rac s have s ttled in the south e te t as rn par s .
e e t e t e the A e e t e e h Th r is an as onishing div rsi y and , richn ss in lpin dial c s sp cially in t e more n e ts f specifically G erma districts . Thes dialec dif er from valley to valley and the w ealth o f poetic e e is e t on the ossibilties t diff en t xpr ssion a comm n ary p of linguis ic er ation . The inhabitants of the Alps are characterized by ardent love of home and country tenacious loyalty to old forms and , t e t t e e e e cus oms , by a liv ly fan asy, na ural xub ranc and humor. Th y have a natural gift for music and the attention paid to music in the C atholic ritual has b een the means of developing e t t e t P t- e te t the th s e ins inc iv tas es . ar singing com s qui na urally to inhabitants of the G erman A t e e e t ee to be e t e e te the t t t lps , and h ir m lodic inv n ion s ms fairly in xhaus ibl , d spi fac hat heir har e are te to the t t su - monic progr ssions limi d onic , dominan and b dominant. N o less plastic than the t e e n is the m e t t o f the - e linguis ic xpr ssio usical las ici y folk songs of th s e regions .
M . M . l' o r a m
N o 1 an d 2 are from C ansons des Al s fran aise b ulien Tiersot. . h p c , y J
4 6 10 1 llec i l s e N o . 5 1 12 are from the co t on of Swiss o on s Ros li arten . , , , , , , F k g g 1 2 i N o . 3 18 9 0 are from the collect on of Germ an ol son s D er Zu f ei en , , , , F k g , p g g ” hansel.
r ber rr i ar N o . 15 16 a e from the collection of O oste e chische ol slieder , , V k ran ed b osef Reiter g y J .
ua e N o 21 an d 22 arran ed b M ax M er . Q rt tt . g y z
T w o fol son s f h Al f n k g o t e ps o Fra ce.
n h r n l v ls b een in o ram N o . 1 2 So gs of t e F e ch an d Ita A psha e a o sun g Pr g , ,
3 an d 8 .
OLGA von T UERC K-ROHN
C hanson de M ai
Son g of M ay
h A e From t e lps of Franc . J ean n eton m a .lVlle ,
th A From e lps of France.
’ Vén i ve te , lou rion dirai ui siou . C e to he t , q om t foun ain, ’ Veni ve lou rion an eton ean n eton e , J ma mio , my lov , J , ’ Varon pa ana, ve lou rion touto soureto C e to the t om foun ain, sue lei as o Varon pa ana, lou mi on y p . I w ill tell you wh I am.
Viens vers le ruisseau ean n eton m i J , ma e , n ot w to o I do ish g , Viens vers Ie ruiss eau A e to the t n , lon foun ai e te e n ot w to J dirai qui j suis . I do ish go w Exc ept w ith someone that I kno . Je n e veux pas aHer Vers le ruiss eau toute s eulette , J c n e veux pas aller ’ le e n est as Quand mi n y p .
R t t t a e t This is an old igau don , a dance still very popular in ha par of Fr nc lying sou h of the D e t e e the auphine. It is of genuine southern verve and is executed w ith the gr a est n rgy on t the d e T he th R w e te t the t is par of anc rs . air of e igaudon is al ays accompani d by a x in pa o of th t e district; this text is of a sarcastic often malicious character an d has a distinc ly local flavor, , , as a conse quenc e of w hich the Rigaudon is on e o f the most picturesque an d characteristi c of all the a to b popul r chansons e heard in the French Alps .
REIN HOLD W ARLIC K '
In n sbruc ich m uss dic lassen k, h
After Fo erster ,
' Inns ruck, ich m uB dich Iassen D ear Innsbruck I must l eave you , b , , Ich fahr dahin mein StraBen An d fare forth on my lonely w ay In e de fr m Land dahin . Into a foreign land . M ein Freud ist mir enommen M o it n ow e t m e g , y j y has l f , Die ich n it w eiB ekommen w e to f d it b , I kno no mor in W o im Blen o he e t ich d bin . S avy is my h ar .
G roB e m uB e e t n ow e m L id ich j tzt tragen Gr a sorrow s oppr ss e, , D as e z u e A n te t m ich all in klag n , d I can only ll he
D em e e e e n on e w ho e m e e . li b n Buhl n m i . To lov s d ar A ch e laB A e Ah e e n ow Li b , nun mich rm n lov , hav compassion Im e e e e m e e t ef H rz n d in rbar n Tak pi y on my gri , D aB m u n o e t ich B dannen sein . For w I must d par .
’ M e r t e e he w e w f t m e in T os ob all n W i n Tho om n all ould com or , ’ ’ D e tu ew e e t ee I ll e er be t e in ich ig bl ib n To h ru ,
tatt t e der Eh en frum m An d ee m r t. S , r u , r . k p y hono brigh M uB dich Gott ew ahren An d n ow m ay G od e e e b , pr s rv you In aller Tugend sparen In every virtu e keep you B i a s d B I a C . . ich w iederkurnm . U ntil come ag in . V . K
’ “ T he text an d melody of this deeply s erious song are found in Fo rster s Frische Liedlein tom the ear 15 39 y . e n r a r d t o f E e M a m an w ho e a t 15 18 e t e H i ich Is ak, cou t con uc or mp ror xi ili , di d bou , is m n ion d 3 the arranger o f the melod but it is more th an pro a le th at the m elody w as also of his in y , b b e n tion S m e a th t re e e he th o f th te t to E e . o u ori i es a inclined to d scrib t au orship e x mp ror Maxi m h e f w ho w s e rt a f d e k the t the ilian ims l , al ay display d a pa icul r on n ss for Innsbruc , capi al of ius i d o f he f e t t tr an r In an he te m the en t t e e . Ty ol . y cas e t song da s fro fi n h c n ury Johann iebastian Each o ha th f w r t on , is reported to have said : that t have d e honor o iting his e melody, re w d d oul gla ly forfeited his gre atest w ork .
Page Five dem R e t e e the e i e t l t ied to b I OI’ aru u u Stellt man mich egim n vor. up b for r g m n ; r eg p Hab ich w ollen bitten um Pardon ; but this w as refus ed m e and n ow nothing re ’ e t t m b t d e W il ich s nich erhal en kann . mains for e ut o i . t M uB s erben schon .
O e e m t c. O e e e e e e . e m in H iland , rbarm dich m in r my Saviour, hav m rcy upon ; al e z t T h ee ! An d w e I ta t N imm m in e Seel u dir. my soul in o y k ping h n s n at the the u dm en t D a cas Und w enn sie kommt vor d ein G ericht ar on J g y 0 God , b , e m e n ot w ! O dann mein Gott verw irf si nicht. a ay , ,
N imm mich z u dir.
This is the story o f a Sw iss soldier w ho had entered the French army as a mercenary an . , ee e t to d the t a t e t ee his e t w as t t fo n s n guar rampar s t S rass ur . Lik all moun ain rs h ar hirs ing b b g , rt H e a e 0 111 t his e e he tte t e e . t e 0 a sigh of b lov d land , and a mp s d s ion is c ught and brough b for a ’ an at e t ff e n ot martial d s entenced to be shot the n ext morning igh o clock . His o ens can b ardo e h t i to be e his it b t t h p rt d and e commi s h s soul to God asking forgiv n for sin , if e ha , , is uilt g y . In the a e t t i he d o f the A d e w fill popul r v rsion of his s ory , t is t soun lpine her sm n air hich e his w th h e t t e has ee e t w e - w e soul i a longing for om , and his mo iv b n amplifi d in o a ll kno n op r “ ” e i ( D ie Kuhr igen ) y Wilhelm K en z l a G erm an compos er . b ,
risc auf S oldat en blut F h ,
Sw iss R osegarden
w S iss Folksong.
S te t Frisch auf, olda n lu , C h eer up rave soldiers and be of goo b , b FaBt e e i e M ut in n fr sch n . courage ; be n ot dismayed by the roar of th U n d laBt e t erschuttern but i t t h fi h uch nich guns . plunge n o he thick of t e g
rm h e tte . I w b h o Wa sc on Kanon n zi rn ill e t e first to g . S chlaget nur tapfer drein , w der e r t lch ill s e s ein .
D ie e ruhret The dr e n to e t the e te r Tromm l sich , ums b gi b a , nois is r is r l Ihr t fii chter ch . l Klang i fyin g. On e scarcely s ees the groun d for t e t t e e e d an d he de d e e t e lit Man si h fas k in n Bod n ying t a . H r li es a foo h re , Vor t e de t S e e . h r n n und To n an arm 0 Good ave mercy upon them . b ; , e e in Fu in Hi r li gt e B, e Arm , a tt erbarm O, d B es Go .
W ie e e t M t e an d w ee manch jung Brau , any a you hful brid , mourns D i w in iiberlaut n e t w e e e et . the o o she e t aloud . For hom has b n fai D en sie t e eliebet has e th o so r u g , ful , fall n in e fight and his life has g . Ist der h e e e ou h d e 0 w eet e t d l t . t t e . in Schlac g bli b n in arkn ss s h ar , goo nig S e L ist ht in auf nun vollbrac . S chatz li t N t! O e , gu e ach
Page Six
OLGA von T UERC K-ROHN
Still 0 Erden still 0 im m el , ; , H
r R e F om eich nhall .
t e B t 0 eart be t 0 ea e ! St O E de 0 . e s ill h , s ill , H v n ill , r n , s ill , Himm l ,
E er tt e t der Ruh G od n ow e t w ea m . u Go li g in . Thy r s s his ry li bs i 0 sea an d e e th t r t ee m t de G etum m el. B e still , , c as y u moil , S ill , o M r, im lie e e S n e z u R e a th w ater n t the r d ! S ch Be d in chra k n . c ll y s i o i boun s ’ i in n ta he s w ea the e Er ist w e e Hirsch gelo ffe Like a s g, ry from chas , ’ W P e der e et ffen : a r w has er ed e t ird vom f il Li b g ro Love s r o pi c his h ar , z a e t e Ei da liegt er iet t ganz matt U pon his h rd r s ing plac ,
Auf der te Lie ersta t H n ow e w e r an d e te . har n g t . e li s a y xhaus d
te de C t e e t er e e Has thou p erhaps , O n r hild , Has vi ll ich o h zig s Kindl in, , , ’ Ein Liebstrun k en en ein uaffed of love s s w eet potio n g omm , Q D aB du auf dem harten Kripplein That Thou so s w eetly sl eep est ? Has t so bald geschlafen ein ? U pon thy bed so hard ’ e e r e d Freilich ist der kalte Win ter Winter s cold is n v r f i n ly , S t ein e der te er T o tender littl e children ons F ind zar n Kind ; , A e dir die t n it t B ut Thou n eedst n ot fear the cold b r Kal schad , e e e ebron n en hat T h e rt w t e e ! W il d in H rz g . For y h a is burning i h lov divin
O GA V0 11 T ERC K-RO N ERT A Von T ERC K L U H , H H U M A X B LOC H an d REIN HOLD W ARLIC K
Still still ,
Folksong from S alzburg
St t t w e e e w h the tt e C ee ill , s ill , s ill , ils Kindl in schlaf n ill . , , g Hush hush hus , li l hild is sl pin a t t es n eidersin en re e it e to her e t M ria ua g , Maria p ss s clos br as e e C h w Ihr k usche Brust darbringen . rooning t e hile a lullab y St t ee t w e e w h h the tt e d . ill , s ill , s ill , ils Kindl in schlafen ill . Hush , ush , hus li l chil sl ps ,
S f f f e liabes d e n ee ee ee m e e t a ee chla , schla , schla , m in Kin l i Sl p , sl p , sl p , y d ar s b by sl ps , ’ A n r the e schlaf. d o e he g g his ad , an ls sin ’ D ie E e t a w h ng l u n schon musizi eren T he w eete t t t t e er e e e , , s s s rains ha r ard B ei dem e ub lie re n e t t- C ee Kindl in e . S e , ee ee the t e C . j l p sl p sl , li l hris hild sl ps , p S f m e ia s n e n chlaf, schla , schlaf, in l be Ki dl i
schlaf. See th H il , e ls an d Valleys !
w - S iss Folk Song.
Lue et vo e e g , rg n und Tal See w here on hill an d vale B , , Flieht scho der Sun n etstrahl! The last rays are shinin g, Luegen auf Au en und Matte S ee there on m eadow an d field , e die e e S chatte d w Wachs dunk l ; The dark sha o s creeping. ’ ’ D Sun n uf de e e s o B rg no t ht. On the mountain to the sun s still shining p, ’ ’ w ie et ot , si d Gl sch er so r ! 0 see the lacier s red low . O , g g
’ ’ Still a de B erge w ird s N acht N i ht hovers o er the mountain to , g p, A er der errgott da w acht W here the d ear G od H is w atch doth keep b H , Os cht-er sal Stern li dort schine ? S ee how the stars do shine b , , Stern li w ie h du ow e re , isc so frine ! Littl e stars h autiful you a . b , b ’ G seht-er N e e s t am l dort toh s . God reet you little stars b g , , ’ Stern li tt riieB di w i ? ? , Go g . e oht s Tell m e is all w ell w ith you g ,
et es e G ar et Al Los , s it is gu . A n d the little stars said : l is w ell . H et m i n it Gott i der Hu et? D o es n ot G od have us in His care ? Frili der t , Va er von alle Surel the Father of all y , t w iiB w ahrli n it e see t t w n ot a Loh mi g fall . Will ha e do f ll . ’ ” ” te im e da w t d he e w at e Va r Himm l , ach . G o in His av ns ch s , S tern li liebs St rn li o i , e , guet N acht! Goodnight dear stars g odn ght , , c K
’ N ien e ei s s sc on u lus i wi d im g t o h t g e ahe .
s Sw iss Folk ong.
’ N - e e N i ene geit s so schon u lustig o on l ads a jollier life, than the people W ie daheim im Aem m etal of Em m en thal ; everyone there is so jolly an d ,
B ert ist aller atiif R t a t t e e e . g us ig g y, ha lif pass s by lik a song ' D aB cim schw ar w ird die U sw ahl: Fine fello w s there are in the Emmenthal and , n hr fest w e ar t n M an e het es e e i, the om n e pre ty a d good; no sooner do es ’ W iber u he Art e t e e brav u h bsc r , a fair maid n pass by han a man s h ad ov r ’ i c i w s sehst e e M e ts h e d e g so heft di ars in lov . ' D ri verliebt so schon u zart.
’ is n K m lim an t e w e ea D a t ut vo u p e, Ther don t d l in compliments , but say “ ” “ ” A m D u e : w et i th llem s eit e neme , to all alik Thou ; h her t be to e milk ’ er M ilchbu b m it der B r he a e Sig s d e ante man , or t councilman so gr v . Oder tra er Ratsherr-S chueh ; The city peopl e do n ot like this esp ecially g , ’ ' ’ D er r cheu s n i the e t em en w t t n e bu afte it Stadt t ili t lid e, g n l i hou mo y ; t r all , ’ B sun rs H err hn e ald is t d t vex a t tt de e G . o e e o s upi on s br ins abou such ma rs . ' D da si n it schide och i m ein , g g , W 0 a ualt si fur so S che q .
D ke H u ts ch ist der W i: e e n ot r w in E e t but och i a p a Grap vin s do g o mm n hal , ' M ilch u C has ist fiserein er w ine is n ot the chief thing in life ; milk and n a l n te si hee e are fa r t o f t w Ordi ri a gs g ; c s our vo i e food , and his e W r n i h ha e a- e t a si t so dri w ill sc icke , v pl n y . ’ C ha w e ar s ra a ft verm ah H e w ho is n ot pleas ed w ith this arran ement , nn g d s u g , l i k an d w he to et d an d r h V0 de W ii tsche W i la bsch c e is s g goo d unk , can eit er ’ i h rder ta a w e or eta e e to th O e W rtshus a . e d r cha i s g o I li n in , b k hims lf
tavern .
Page N in e Vo Luz ern uf W agis z uc
C t Lake ons anc e.
e ui W a is z u w e Vo Luz rn g c On the ay from Lucerne to W ggis , d e ee e t e (Jo l r) On e n ds n ither s ockings nor sho s .
Brucht m e w eder Strumpf noch Schuch . (Jodler)
Fahr im Schiffli ubern See W e row in a little oat over the lake , b
i s hiin n M idl z s T o see the ett de . Um d e c e a i eh. pr y mai ns
‘ w ’t t m er n it z u e ohnny I arn you , don drink too much Hansli , rink vi l , J , ’ ” ” a o s Galdi m ueB verdien et sr For the money is h rd t earn .
HERT HA von T UERC K
w - S iss Folk Song.
t du t ! art t t e Warum bis so raurig Why hou so sad oday , my lov , ’ U n d reds t kein Wort m it mir ? A n d speakest no w ord to m e ?
’ Ich seh es d einen A eugelen an I look in your eye s and know full w ell D a du w ein e t e en w e w te t e e t . B ge t hast. Tha h y hav b t i h ars
W o w e Ve e te e e On the t w e e t e e e te sich z i rli b sch id n spo h r ru lov rs hav par d , ’ D w w e t er r a ei t e e . chst nich Laub noch Gras . Th r gro s n i h sh ubs nor grass
as m w u t e w t e Lau und Gras , d a ver elken Grass and shr s , h y may i h r, b g , b D t e e e e t B ut true e e e e och r u Li b nich . lov liv s for v r.
So n gs fro m the Au strian Alp s
D ie N achtigall
The N ightin gale
- Austrian Folk Song.
du schoan e u e N t 0 , s ass ach igall , 0 t e e hou lov ly, lov ly bird z d C om ‘ Kumm u mir un schlag a ma]. e an d sing to m e ; z u un d h C o Kumm mir sc lag recht schon . ome t m e an d sing your sw eetest , N a her t u e e A n w c kanns d g h n . d then you m ay fly a ay , o l i H d d riri etc. H o dl iriri etc , , d , .
0 du schoan e e N t 0 tha e suass ach igall , n lov ly , lovely ird b , z u a ] C m Kumm mir und schl g a ma . ome an d sing to e ; t he D e Thes e tw o songs come from that part of Upper Austria lying sou h of t anub .
- O GA von T ERC K RO N ert a. von T ERC K L U H , H h U , M AX B OC W I IAM ON C KEN an d L H, LL REIN HOLD W ARLIC K
H in dem isse
e - U pp r Austrian Folk Song.
’ D i ’ ern derl so n a hat Tho my sw eeth eart is so near, War s , ’ ’ ’ U n d do m uass i s g rat n Yet I can n ot go to her h , ’ ’ D enn i m uasset zu n ihr duri s For the w ater is b etw een us w a ’ w at n A the w . ssa . n d crossing ould be hard - - Tra la la . etc. llt’ ’ W o s s Wassa gern w aten I w ould gladly rave the w ater, , b ’ Wan s n iid so tief w ar e e it e e ee , W r v r so d p ’ Und w ollt s D iern derl gern g rathen An d my love I could renounce ’ n od w r e e sh n ot to m e e a e e . Wan s so li b . W r so d ar
Wia mehr Stern deln l euchten H ow the little stars shine ’ he e d N a H o t Wia ll r is cht w clear is the nigh , Und i han auf mein D iern derl B ut a out my dear sw eetheart b , A w n a t e e e e t . g an V rd ch . I hav my grav doub s T ra- - e c la la , t . ’ D ort drunten in n Wei a O e the e the - b v r r in duck pond , ’ ’ Th ant d Auteln scherz n T he little ducks play ’ W o kein Eifersucht is e e t e e ealouc Wh r h r is no j y, ’ e t H rz n e e t e e. G h koan Liab von e . Th r is no ru lov
’ ” In this song w e find a faint echo of the famous ballad of The T w o King s -C hildren w hich is m w e et ith in very land in countless variants .
S chm erz un d T rost
Pain an d C on solation D er Hore
J odler from the Sty rian Alps
’ ” d e f the Ste e n th te r e n This Jo l r rom i rmark really b elo gs in e ca gory of Wo km n s So gs . It IS sung high up in the mountains by the peas an ts employed in cutting the grass from the moun ~ “ ” ta t T he tw o - in pas ures . syllables H o Re form a rhythmical accomp anim ent to the forw ard an d w ard e e t o f the t Alter i n t t e e tw ack mov m n scy he . n at n betw cen the tonic an d domi n a h s o syl b g , “ ” lables f m a h r n the de n the w e w e te te r or a monic backgrou d for Jo l su g by om n , hich n rs af r fou m ea e sur s . W hile on his sum mer vacations in the S teir ” Lieblei n er on o f h mark, Karl t , director of e t e “ ” V en a sc t d w th e i n public hools , ook o n is Jodl r t et e w t t e the t t og h r i h many o h rs , from inhabi an s of the Sty rian Alps and later th es e songs or “ mountain c alls w ere publish ed by the Vienna C h a o f w he w as the e de or l Union hich l a r .
Three So n gs fro m the B av arian Alp s
’ Z Lauterbach hab i m ein Strum pf verlorn
e B Landl r from Upp er avaria .
’ te e St verlorn I t te Z Lau rbach hab i m in rumpf , los my sock in Lau rbach , t I n ot o O e St geh n ot Withou my sock can g home, hn rumpf i hoam , et t ge t w e e te c I must go ac k to Lauter ach J z hn i hal i d r auf Lau rba h , b b
t z m . A n m t e Hol mir an S rumpf u de oan d fetch e ano her to mak a pair .
’ Z Lauter ach ha i mein H erz verlorn I lost my heart in Lauter ach b b , b e n et l bn t he t n ot e Ohn H erz kann i e . Wi hout a ar I can liv . D a m uB t w ede te a t o to te i hal i r auf Lau rb ch I mus g back Lau rbach ,
n e n w e t t t e m e e . S D ia dl solls s eini mir g b . My s e hear mus giv h rs
Wenn i ins Zillertal ein i geh Wh en I go to the Zillertal , Z m ei P e w e m S d e i ehn i lud erhos n an . I ar y un ay cloth s , ’ Wenn i mein D ian dl in d Kirchen seh When I see my sw eeheart in the church , S chaun e e e t n ot at th t i k in H ilig n an . I hink all of e sain s .
Alliw eil n t t n n ot h t kann man e lus i s ein O e can be jolly all t e ime, , A lliw eil n e w n n o w e t e t w a e . kann man oan . O can al ys p D as ein i M al gehn i zum D ean dl aus On e day I o to m y o w n true love , g D as e A n the I a at e e e d e t da t . andr Mal bl ib i dah im . n x y s y hom
T an ruber tan n uber z , z
l B D O d avarian anc e .
U n d w e n t e t e , n du sau s olz Tanz rub r, anz nub r n M it e chotz la w t s i t . d im S ills e Tanz nauf und a z no , o z l o n em m Pa ierla Ei e de i S ch t a S a p , , l ih mir , i U n d w kk ls e . D os m ei is h it da . e en i I e dir e n it U n h emm a ro ats B and el l ih sch , dir n it U h tr se e t z u I ga sch e , s ick f s , m rutz er N achert kim m t dirsch ka Kaa saura S ch a , c n it S S chm arutz er derz u D en brauch i h j o . aua .
’ This is a dance song from the Bavarian Alps in w hich on e boy b egs the loan of an other s
t s ow n n ot t e e . s w eethear , a his is h r A s D ean dl m itu rotu M iada
- Upper Bavarian Folk D ance.
) can dl m itn rote Miada, The maid en w ith the red girdle - is die Allaliaba. Is e t e e ma my b s b lov d . o l n ot sei be ce e to m ? s l ts ma liaba , What can l ar r e ts n ei e e she i kimm, laB mi . Wh nev r I come, lets m e in , l t M ian dl m itn ro e iada, Maiden w ith the red girdle , ’ - s die Allaliaba. M e t e t e e i ma y h ar s b s b lov d .
R N agerl und osmarin, Sw eet pinks and rosmarin
D ean dl etz e . w ee t in s , j g hn i dahi S th ear , I am coming to you T r e zua da hintern ii , At the ack of th hous e there is a door b , l n s Ri rl fiir a k oa age , Raise the latch and enter in , erl e t t aus D e n ow e to m i h s hal e . g b ar boy, com h in s B iiaberl ge eina s aus . , H ’ An d w hen I leave my sw eetheart s hous e w enn i vom D ean dl w eggeh I w hat the s ing my in air, h n s chw ing i m ei H uatl auf d H e . Sw eet pinks and rosmarin , r D ean dl a z t w e t n w e l und Rosmarin, j t geh s dahi . S ethear , o I must l eave you rliabstes D ean dl e ! A e sw eeh art e adj di u , e adi u . , s h P e ht, daB i di mimma mehr e . erhaps w e nev r shall meet again .
So n g fro m Au strian Alps
GA von T ERC K-RO N ERT A von T ERC K U H , H H U X B LOC H an d REIN HOLD W ARLIC H
’ Un ter der Lin den bin i g sessen
U n der the Lin den tree
th t e From e S ei rmark .
’ s ssen U e the e t e U nter den Linden bin i g e nd r lind n re , I am restin g, n e the e t i Unter de Linden sitz i gern Und r lind n, I love o s t; ’ D a kann ma w ann s recht w indstill is An d w hen the w ind is very still , ’
D as e e hiir n . e the e t e t H rzklopf n I can h ar b a ing of my h ar .
der e te der e te From afar, from the mountain side Von W i n, von L i n , Kum m t obe e B iiaberl her A handsome youth approaches a s n s , ’ - Halt s H iiaterl an der S eiten lIis hat he carri es in his hand th w t e t kloanverz w ickt her. Looking e hile slyly a m . Und schau ,
Page Thirteen e A t U pp r us ria .
’ n v z w i kt o erl t You are tt e d A kloa er c s V g bis a sly li l bir , Fliagst daher iibern B erg You fly aw ay over the mountain A n W ischpla an Pfiff und dann A tw itter and trill An d are e ! Bist davon . you gon
B LOC H
- the A t Folk Song from us rian Tyrol .
fiberfiihren , iiberfiihren ! Ruaft a kloan Fischersdim m u um I B z Buan no h eut, e ar e t Weil s mich g so gr u , ib rf hr n berf h en l e ii e , ii fi r ! Ruaf in D t e kloan irn .
- - This is the song of a little fisher maiden , w ho is call ing to the ferry man to come and ferr ” the w te to her e w m she t see t e e she e so across a r lov r, ho mus oday, b caus lov s him
T H E LA N GUA GE PR IN TERY 344—348 West 38th Street N ew York C ity GREAT HALL OF COOPER “ iU N ION
F T E E ON C ERT S
G I V E N B Y T H E PEOPLE ’ S M USIC LEAG UE OF THE PEOPLE ’ S INSTITUTE
U N D ER T H E D IR EC T ION OF M A X M E R Z A S S I S T E D B Y R E I N H O L D W A R L I C H
SIX CENTURIES OF FOLK SONGS OF EUROPE A N D NORTH AMERICA
Thirteen th Even in g
Tu e sday, April 1 5 th
D a n i s h , G e r m a n
Artists : ulia enr So ran o M at a N iessen -Ston e C on tralto aul Reim ers T enor J H y, p ; j , ; P , ;
Rein old W arlich B ariton e M ax M er P ian o . h , ; z,
A ril 2 an ua es : B ul u n R Fourteen t Even in : Tuesda 2 . arian H n aria oum an h g y, p L g g g , g , ian Gree ebrew , k, H .
- Artists : M ar aretha ussar So ran o D evora N advorn M ez z o So ran o M il a. g H , p ; y, _ p ; k Polanz er-Sc n eid M e o-So ran o C on stan tin N icola B ariton e An ton oc T en or h , zz p ; y, ; H k, ;
' evic B ern ard Olschan skit B ariton e M aurice Eisn er M ax M er Pian o Em ilio Blaz , , ; , z, ; m B ela Nyary, Cym balo . -in h te t h t e folk song li ra ure of t e European countries .
' I In do- erm am an . G e L guages e ee D e e R e Mod rn Gr k ial cts : , Hell nic . A l anian . omanc Lan ua es : Spanish P or b g g , tu uese a lan i n - g , C ta e , French , Provencale Italian , Sardinian R am Romanes ue Ladino and , , q , ,
R . C e t e : e e et . e ni oumanian l ic Languag s Irish , Ga lic, Manx , W lsh , Br on G rma c Lan e N g uag s ( orth , West and East Germanic) : 1 . N orth Germ anic ( Scandinavian) : Sw edish , D N w e e . 2 E e ete . 3 . e anish , or gian , Ic landic . ast G rmanic : Gothic ( obsol ) W st Ge rmanic : E t es n lish Fsiesian D utch , Flemish Low German Mode rn Hi h German . Bal ic Languag g , , g
L t L n i n E e t Slavii : 1 . E t Slavir i huanian , etto a . Slavic Lan ua es ast South and W s ) as g g ( , t c 2 . G reat Russia , White R ussia Ruthen ien s Little R ussia U krainian) . Sou h Slavi ( ) , ( e - r i e e w t the S rbo C oat c, Bul arian . 3 . West Slavic : P olish C zech , Slov nian , W nd ( i h Ma g , Kaschubin k O-ld ete surian) , , Prussian ( obsol ) .
II in n is -U rish an e . F h g L guag s
o E h n D e t U rish r n Su mi Finnish ) , s o ian Livonian etc. D i fferent ial c s of g , Hunga ia ( , , e w t E e e ( mix d i h old Turkish l m nts ) .
I T ur is an ua es II . k h L g g
O hr smanie , Tartaric T kom an . ,
IV I l . so ated Groups l E Basqu e, O d truscan .
S C H E D U L E O F C O N C E R T S
C oncert 1 9 19 LA N GU A GES 21 E e e e I . Tue sday J anuary arly Fr nch Prov ncal , 28 t II . January French French and I alian in , Sw i tzerland
e 4 . t e e ta R F bruary Spanish , Por ugu s , I lian , oumanian
A N GLO-C EL TIC English
Irish Gaelic Welsh , Man x, reton , , B
e S LA VIC Gr at Russian , Littl e Russian ( Ukrainian) e Polish , C z ch , S lovenian
Serbian , C roatian , Bulgarian
w e N w e i e a w edi T EU T ON IC March S dish , or g an , Ic l nd, S sh in
S C A N D IN A VIA N IX. Finnland D D tc h X. anish , u h , Flemis - e n . t XI. Wand ring Folk So gs II , Bal ic Pro e vinc s , Finnland , Hungarian 8 Song from the A lps in Sw iss and A ustrian D ialects A XIII . pril 1 5 D IVER SE A I A R C ES X V. pril 22 B alcan Hebrew , N OR T H A M ER IC A N A r p il 29 A me rica
P age T w o D an ish Lan gu age
e D anish language is a member of the Scandin avian, or N orthern family of languag s, - eth er w ith Sw edish forms the south eastern branch of this group . was not until the middle of the sixteen th century that the D anish language took on f tent form . T he first outstanding monument of modern D anish , w as the translation o
5 e 1550 . th w e the e e the e e can n ot be Bibl in On e hol , influ nc of G rman languag e r ked in any consideration of the D anish tongu . There a e three distinct D anish dia ' h e theles e hich although t e most modern of the Scandinavian languages , is nev r s , l ss ous than Sw edish .
Owing to the illn ess of the artist en gaged for the group of Dan is fol -son s t ese in terestin n um bers had to h k g , h g ' l m — i stm n efl 4 m tfl a later. sn n n im cntarv p rog ra . G erm an Lan gu age
Ge e to the e rman b longs G rmanic family of lang uages , and is thus clos ely related to the E ext t t . nglish , Frisian , Scandinavian and inc Go hic languages Mor e sp ecifically classified, it elongs to the so-called We st-Germanic langua es and is therefore more remotely related to b g , the S e e t E candinavian languag s and arly Go hic than to nglish and Frisian . D uring the e A e the t the e h h Middl g s , his ory of G rman lang uage “ as t e history of t e German idiom . D iffe rent parts of the country had their ow n language w ritten in the local dialect such as w e — the N et e Lo r Saxony, h rlands , Middl e Ge rmany Sw itzerland and Austria . B ut w ith the , , e e t the N et e t e e e e ee te the e xc p ion of h rlands , h s languag s hav all b n incorpora d in mod rn High e e G rman w ritt n language . Just as the unity displayed in the w ritten langua ge has produced a strong and virile art et e the e e t t the e e t ee t e po ry, so hav manifold diff r n ia ions in G rman dial c s , b n produc iv of a - te t e e t e e t folk li ra ur of gr a richn ss and b au y. - — T he German folk dial ects may be divided i n to tw o chief groups : the Low German and h - t e High G erman , the latter of w hich is again subdivide d into U pp er an d Middle German n dial ects . Each o e of thes e roups is composed of i n numera l e provincial or local dialects g b , more or less characteristic . e his w - Firm nich , in ork on folk poetry , publish ed in the s econd half of the nineteenth e t e e e e t et e c n ury, giv s xampl s of a gr a vari y of thes dial ects . e t e t at e t the e e e e te This qu s ion of dial c s , l as , as far as larg r public is conc rn d , is l ss in r e t n e its t te eta s — s i g discuss d in in ima d ils , than a. urvey of the folk son gs and it is by a study t e e t t w e e at ette w e e h - of h s ha arriv a b r kno l dg of t e folk poesy of any country . “ T he t e t e t w t e t the D e t e Liederhort mos monum n al sci n ific ork on his subj c is u sch r , e e w i Erk ete an d e e e e the comm nc d by Lud g , and compl d publish d by Franz Bo hm by ord r of P russian governm ent in 1893 ; h ere are to be found 2000 folk-songs coll ected from c enturies - of folk poesy . N ot only is the text and melody given but also the man ifold variants w ith Literary note s , the for purposes of comparison , transcriptions of the e arlier texts and son s in extinct dial ects g , ” as w e e e th h ll as comm ntari s on e customs and manners of t e times . Franz Magnus oehme classified the son s into the follow ing groups B , g
HH E EN D A R . D A N C E A N D P A ON . L G Y SON GS . VII L Y S GS
H E e h cho s of t e Legends and Myths . - R D D E A N D A ER N . F - VIII . I L WISH W G SO GS ( Magic and airy tales Songs . ) e Songs of Heroes . ON m IX' D R IN KIN G S GS o Knights and Robber Songs . s “ Legendary Stories of Murders and C aptiv X ON E C E. . S GS OF W L OM 1ty . 1 - ( Sung by C hildren at Folk Festivals ) . 0 Legendary Love Stories w ith Happy En d 1n gs. : I A I O 3 XI. VOC A T ON S N GS . 1 Legendary Love Storie s w ith Tragic
the e e e C e . Ending . Songs of M rc nari s and avali rs 4 - F e . Waggish and rivolous S ongs . Soldi rs Songs and War Songs 0 t . 0 Farcical Songs . Hun ing Songs 5 arfd A e . 1 Legends of A nim als and Fairy Tales of Shepherd lpin Songs
S w tte t the e t . Flow ers and Plants . ongs ri n by and abou P asan s
1 0 P the e . . icture s of Family Life . Songs of Min rs - 1 D e t M e e Out O t . 1 . a h Legends ( sp ectral love and sp ectral isc llan ous door ccupa ions
A t . voices ) . r isans Songs
2 C t . 1 . Judgment D ay and Everlasting D amna our Songs
H e t . tion . i Stud n s Songs
- 11. R C A C N . IST I P LITI L S GS R U A N D SA T IRIA L ON . H O O O x11. HUMO O S S GS 111 LOVE-SON GS r E A N EOU C N EN . xn . MISC LL S O T T e-affalrs a ) Happy Lov . - b e affalrs. ) Unhappy Lov XI C D REN N . V. HIL S SO GS P A R N A D A D E IV . TI G N W N R SON GS . A C R ED N . XV. S SO GS
e t . 1 . Songs for Holydays and F as days . W A RN IN G S O ER V TO L V S . ( P rotestant and C atholic . ) r ( Sung at b eak °f day) ‘
h . 2 . Legendary Songs of t e C atholic C hurch - VI. W ED D IN G SON GS A N D S N GS OF O 3 , of e . Songs Prais , Thanksgiving E I E MA RR I D L F . R ep entance and C onsolation . ’ h i F e . ( Including t e N un s C ompla nt) . ( Including amily Pray rs )
- This classification , althou h made here sp ecifically for German folk son s i neverthel ess g g , s o f e e te e t the e e e b te as e fe t e e to the - g n ral in r s , and sam sch m could e qui f c iv ly appli d folk song te - t e li rature of other countries . For the folk songs of all nations , how ever w idely h y fe w e t r e th m th e dif r in ord , imag and one, a e all bas d on e hu an h eart, and revolve in e sam - c ircl e of universally human elements of nature and life w h erever found . y the use of the Boehme classification it should be an easy matter for anyone to form B , - . a e e h h cl ar id a of t e w ealth of poetic imagination that li es in t e folk poesy. “ ” What is the source of the material ? Boehme asks and answ ers this question by say “ in g : From oral and w ritten tradition n ot taken from hitherto published son collections of , g s but e h ongs , chi fly t e w ork of a zealous and co n scientious collector, w ho has made a life study ” ’ the - - of folk poesy and folk song . This w ork of Ludw ig Erk s is the result of almos t t e s fif y y ar of untiring research an d patient labor . A t - l — h t l hough folk son gs in the Upper G erm an dia ect t at is to say, A lpine songs from Sw i z erlan d , Bavaria and A ustria , w ere given in the XII. concert of this series , it has b een found impracticable to follow these w ith the proposed program of German folk-songs w ritten in the d e t I h ial c s common to Middle and N orth Germany . t w ill thus be impossible to present t e e t e e te e t t e T h e d x r m ly in r s ing contras form d by these varyi dialect groups . e songs, pr sente in t m ar his progra e sung in High German .
M A X M ER Z .
P age Five T h e e te e te the te i t o ffolk oes e n r s d in sys mat c s udy p y, both in w ord and tone w ill find a I , w e t e te the N ew Y P at t - e al h of availabl ma rial in ork ublic Library For y S cond Street. It w ould be manife stly impossible to include a d etailed list of these publications w ithin the limited” but e e space of th ese program books , all d sir d information in regard to popular and scientific w t e t be t e the e at the u orks on his subj c may ob ain d from card ind x library . B t in the Music i e e e e D e t e t are to be the D iv sion , R f r nc par m n found following collections of German Folk Songs :
lk tum liche e e d Vo s s 18 . e F . e 1 9 Bohm ranz M Li d r und . Jahrhunderts . 1 895 .
- n . e e d 12 Bohme Fra z M Troubadours und Minn sang r es 1 4 J ahrhun derts .
D Fe C R e e e. A e e e R e ahn lix und arl in ck llg m in s ichs Kommersbuch . 1 885 . ’ D e t e e e fiir e e t e te 1906 F u sch s Li d r uch am rikanisch S ud n n . . riedléin der Max Erk s deut b ,
scher Liederschatz .
' f e l D i iurth T . . Fun z i e e e e W v g ung druckt Ba lad n und Li b sli eder des XVI. Jahrhun ge 1é 7 rts . 7 . f D e t e e dem XV J D u e ete . e . X I. hrh r f l P r u sch Li d r aus und V a un dert. im m e 4 Erk l e e M an n erst n . 1 Ludw ig . Volks i d r fur 8 5 .
n B hm e . D e e Li r Erk Ludw i u d Fr . M . O utsch r ede hort I . II . III . 1893 . g , ,
n euschatz . Fi k G . W . Musikalischer N i l ik 18 a t e L ed es on . 67 . H rte] A ugust. D eu sch s r e Ha tmann A ugust und Hyacinth A el e . W ihnachten aus ayern Tirol an d Land b B ,
1884 . S alzburg . h Li dersc atz . 1 1 4 D e t e e 9 . H eydt T . D . von der. u sch r olk cr D e t e s es n bu h. 1 4 o ff e e e . V a c 8 8 H mann von Fall rsl b n u sch s g . lk tum lich J h E . e e vo s e e e dem E z e t . e e o n rns H H Volksli d r und Li d r aus sachsisch n r g birg .
1 9 09 .
ruche chn aderhu feln im elsassischen Ka ss el D . A . Sp ( S p ) Volksmund . 1 912 .
n A t e t e e e . La ge O. H . l d u sch Li d r
n e te t. A te e e 11 n Lem m erm a A lbert aus M ins d l Volksli d r in Wort d Weis e aus N iedersacshen . 1 908
e E M artin H . G erman Folksongs in G rman and nglish . de m rl t . V e e e Obe an d O e . M eisinger D . hmar olksli d r aus badisch n e olk li r h t e t . D e t V s ede sc atz . 1 1 1 N ew Yorker Staa sz i ung u sch r 9 . i l 1 9 1 1 Volksl edera bum . R e bbelin g Louis .
' ’ f l h e aisc e e . 187 e . W est . R eifierscheid D . A l exand r Volksli d r 9
e . 1 893 . R eimann H einrich . D as deutsch e Li d h h 1 2 D er S chn aderhii felr t m us . 91 . R otter D . C urt. p y
3 t e olksliederm elodien . Saran A ugust. 0 altdeu sch V
te e e 19 14 . Scherrer Heinrich . D euts che Solda nli d r .
1 00 e e . Silcher Friedrich . Volksli d r
e A ee . 1 02 S oldaten liederbuch fur die schw eizerisch rm 9 . E 1 04 . s e e t . 9 Spicker Max . Song of G rmany ( Schirm rs di ion ) i l l n . GO e s e t e . 1 84 M ii e se e 7 . T ziglichsbeck Th . und T . p d u sch s Komm rsbuch de m X X I h h e t e e V. V X . J a r un dert. T ap pert Wilhelm . D u sch e Li d r aus . und VII 4 N e e e t e e e . 1 88 . Verei n fiir N iederdeutsche Sprachforschung . i d rd u sch s Li d rbuch r ha n r ubilaum s-A Ve lag Moritz Sc ue bu g Lahr . J uflage des allgem einen d eutschen Kom
m ersbuches . 1 908 .
D e t e t e te e e . Vivat A cademia . u sch S ud n nli d r ' ” r h r e e e e e Volksliederbuch fur M an n e c o . H rausg g b n auf Veranlassung des Kais r Wil e helm II. im J ahr “ ” La rli r de . 1 14 e . 60 e e 9 U ns ere F eldgrau n Marsch und g . fiir M an n erchor olks esan e . Zurich er Schulsyn ode . V g g
P age S ix
i A n d w et t e e the dew . Hab ich s e all begossen . h m lik
e to e t D er schone M en d w ill un tergohn T he lovely moon has gon r s , She she n ot e Fur Le id nicht m ehr m ag scheinen . is so sad , can shin , D ie Stern elan Glitz en t T he littl e stars stop tw inkling ihr s ahn ,
w ee m wit m e . M it mir sie w oll en w einen . To p and ourn h N o Kein Vogelsang noch Freu den klan g song of bird , no sound of joy,
n e e , M an hOret in den Liifte . Is h ard , nor far nor n ar D ie w ilden Ti er traurn auch m it mir T he b easts in caves and crevices ‘ t en e w ee w t m e ' In S teinen und in Klii t . Th y p and mourn i h
v K . C . .
“ ” h n sel h t e T he editor of the folk-song collection kno w n as the Zupfgeigen a no hing mor “ as t S ee T rutz n achti all D e o say of this song than that it is by Fri ede rich von p , g ob ln In ” Saxony . w t This is on e the many Germ an folk -songs w hich Johannes Brahms has also glorified i h r his a t.
l t Es fiel ein Reif in der Fruh in gsnach .
T r f ll fr in th of rin i e e e a ost e s t s n t . h , p g gh
E e in R e F r h i s fi l e eif in d r ruhlin sn acht. e e e t t e t i , g Th f ll a fros in sof , spr ng n ght Er flel die B lau ii It h w auf zarten bl m elein fell upon t e te nder young flo ers , i verw elke verd rr S e t o e . sind , , t That all of them w ithered and died .
Ein e hat ein M a del in e e . A t he e Knab g li b you h loved a maid n fair , Sie flohen e e e id von Haus fort, D eep n to the e t t e fled b i for s , h y afar Es w u B n s te te nicht Va r noch Mutter . A n d knew it n ot fath er nor mother .
i ew e w S e sind and rt ohl hin und her. e w e e , t g Th y and r d far no sign no s ar , e liick Sie hatten nir nds G noch Ste rn e t e e e e , g , Gav ok n of hom and lov d on s
S ie e e e t e . A n e d t e too w e t e . sind v rdorb n , g s orb n h y er s rick n and di d
T he e e ee u e t e rk- e e e e t history of this song has n v r b n f lly s ablish d . E Bo hm d votes a l ng hy a n d d etail ed note to its discussion from w hich the following passage is quote d the e t e t te t s g 1 825 the w e t te From old s xis ing prin d copy of hi son , , follo ing obs rva ion quo d ”
h e aldbruhl . . . Taken dow n in B ergischen form the lips of t e p eople . Wilh lm von W . W v W - - 18 the en e the et e t Zuccalm a lio W aldbruhl 1803 . p nam of po and folk song coll c or , g , born in in “ ” Heinrich Heine includ ed this song in his so-calle d M emorandum-Book for Ladies printe d l - e in 1 829 and w rote under it. This is a enuine fo k song w hich I h eard along the Rhin . , g
P age Eight 4
Es bliess ein a er J g . The orn 0 fthe un r H H t e .
Es blieB e n Ja er w ohl in sein Horn A hunter lew into his horn on e morn i g , b , sem H orn Wohl In . A n d the w ind it carrie d the tones aw ay. e w as er blieB Und all s , das w ar verlorn . Shall then all m y bugling go for naught ' ” Sell e ei e e e e d nn m n las n v rlor n s in , I d rather far no hunter be . B , ” e ie e m Och Vi l l b r te ich kein J tiger sein . H e threw his n et over a hazel -bush Er w sem N et w ubern t arf z ohl S rauch , A n d therefrom sprang a lovely maid . D a ein w sprang sch arzbraunes Madel heraus . h m e e m e n ot A , lovely aid , scap , “ A ch w e e] en ts rin rn ir e . , sch arzbraun s Mad , p g My dogs are fi erc and will bring you back
nicht. \ e roBe e di Ich hab g und , e holen dich . Let th do s be fierce I fear them n ot H y g ,
For littl e do they know my long , high l eaps D ei e roBen n g Hunde, die furch t ich nicht , “ SIe kenn en m eine hohen w eiten S riin e Thy lon hi h l eaps they know full w ell p g g, g ” ’ ” t. i nich A n d they know that tonight You ll d e .
Er w das e arf ihr N tz w ohl ub er den Leib H e threw his n et about her head , ’ D a w s1e des un frischen n h as the te w e. ard j g Jtigers Weib . A d t e lovely maid w hun r s if
t - - Er This par icular variant of a w ell know n G erman folk song is sung in Sil esia . k ’ e e e five t t e i l s A l 1 777 e e Bo hm giv s varian s , ak n from N co ia manac of , nam ly from B rlin, C ot e te et e e ve e t w t t : h n, Wur mburg, Bavaria and Thuringia . Go h obs r s in conn c ion i h his song “ B en de ed ew hat t e in calu som indis inct through oral transmission but its real ess nce, is of anle vafue.
5
e m uk J ohan s von N po . n n v n J oha o N ep om uk .
o Johann von N epomuk J hann von N epomuk , , D u der e e the e at ue auf Prag r Bruck , Th re on bridg Prag , D er du hast m iissen Thou w ho w ast oblige d Hier dein Leben schlieBen To en d thy life
e he . Im Moldau Fluss . In the w at rs of t Moldau
’ n e to w D er KOn ig w ollt es hab n , T he ki g w ish d kno ’ D u t e u e te solls ihm all s sag , To hav you ll him all , e t e e e w K in Wor v rspar n , To spar no ord ,
A lles offenbaren , R eveal every w ord
i i e i h h ee e e . Was die KOn g n g be c t. That t e qu n had conf ss d to you
D u e schw ei est e t B ut e e his vish ab r g f in s ill , thou , r fus d y w D ein Mund nicht r eden w ill ; Thy lips w ould sp eak no ord , t e l vow D a du w ardst geboren , For thou hast ak n a ho y
t . Hast du dich verschw oren To listen , and be s ill
G anz still z u s ein .
D ie Sternlein leuchten schon , T he stars above are shining ’ r e Johannes , dir z u Ehr n In thy hon o , o Johann s ’ t A lldort von ferne From heaven s vaul , i L euchten schon d e Stern e, Shine dow n the stars , e ! Johannes dir z u Ehrn . To honor th ee, Johann s
- h t as 1 721 . A ccordin g to Erk Boehme, t e text of his song w as printe d as early Johann ’ von N epomuk is on e Bohemia s national heroe s and an annual festival in his honor is held T he e e w the n t w as e is on e the reli ua in Pragu e on May 1 6 . silv r cask t in hich sai buri d of q h e as to the w ries of the C athedral in P rague . Some scep ticism as been express d orks and h e U e t P . th t C w onders ascribed to this holy man , and rof Tom sk , of e faculty of e z ch niv rsi y in Prague has even gone so far as to doubt the existence of the saint. ow ever this may be it is better to accept the pious fiction w hich has given to the w orld H , ’ e this splendid ballad than the cold scientific fact w hich w ould deny the hero s existenc . ,
P age N ine D aB ich so gar kein Buhlen han !
Ich kam w ohl in ein G artelein , t e o In o a gard n I did g , D arinnen ich entschlief ; e w eet lumb r all so s , trilum et iiB A n t e - Mir also s e, d h re I fell a dr eamin g ,
W ie e e e t e e e . H ow t t e mir m in Li b n g g n li f ha my lov and I did m eet .
uf a h A n Und da ich a erw c et, d as I w oke from slum er b , D a w ar das all es nicht ; My pleasure all had flow n ; D e die e slein t nn nur licht n RO , Was no hing there but roseleaves , ’ l n D ie fie e e . t t e all h rab auf mich Tha ligh ly f ll my face upon .
Boehme w ri tes : This song w as publish ed y B erg and N ew ber in 1 550 and also included b , - in a coll ection rou ht out y Forster in 1 5 56 . Since time imm emorial the lime tree has b g b , i - I he played a very con sp cious rol e in German folk life . t is t favorite tree of the Germans and to b e e the e th e e h - is alw ays e found for hous s , in pu lic squar s , in t e church yards and is b b , n the eneral ass em lin point of the villagers . C hildre play under its road ranches lovers g b g b b , e e e w th m en meet h ere for tend r xchang s of vo s , e old and gossips hold rendezvous h ere o n e e on ete the v e summ r ev nings , f days and holidays , illag musicians fill the air w ith strains T h - of jollity and merriment. e place under th e lime tree is even made to s erve as a tribunal r w here village culprits a e tried and condemn ed .
Feinsliebschen .
M arlin y d g.
e e e du t t barfuB e e e w t e eet o F insli bch n , solls mir nich g hn , My darling shall n v r i h bar f g ,
F l . D u zertri ttst dir die zarten iiB ein schon . T hou w ilt hurt else thy tender littl e feet - - - r - - - Tra la la la , t a la la la , i e FuBl i D o zertrittst dir d e zart n e n schon . Why should I th en never w ith bare fee t go ” W ie te e t barfuB e If I have no shoes to protect them . soll ich d nn nich g hn , ” Hab keine Schuh j a an z uz iehn ?
? e e e w t du e e e e Fair maiden W ilt thou be ever mine F insli bch n , ills m in ig n s in , ? ” ’ So kaufe dir ein Paar Schiihlein fein I ll buy thee some shoe s and some dress es fin e .
H o e m e to ee b w d W ie te e e e e e w could I , t ll , th e e , konn ich u r ig n s in , ” ” l in the o e t e t ? Ich bin ein armes M agde e . I am po r s s rvan maid
U n d t du n ehm Thou h thou art poor, I love th ee still , bis auch arm , so ich dich doch , g ” t t t e e t w . D u hast j a die Ehr und die Treue noch . For hou has a ru and hon s ill
he ee ! z o er aus e e e e What drew then from his pocket, s Was g s in r Tasch f in , A i w a e . t s m e . Von lauter Gold em n el m ring of gold , for
P age T en ’ S ist alles dun el k .
A ll i d r s a k .
Sung throughout Germany .
’ e e e i t all s dunk l , s ist all s trube, A ll s dark and all is dreary , ’ re e t in il m in Scha z e andern liebt. So long my love s un kind to m e ; b i li ha geglaubt, s e ebet mich I did beli eve she love d m e dearly, , e sie n h n in , hasset mich . B ut ow I find s e love s m e n ot.
n utz et mir ein schoner Garten e e e , What car I for a lov ly gard n n a ndre drin spaz ieren ehn . e t e w t e e so ee g Wh n o h rs alk h r in , fr fliicke di lein h p n mir e R6s ab , A n d pluck t e lovely, lovely roses an - ich meine Freude hab . Which I did love w ith all my h eart.
n utz et mir ein schones Madchen What care I for a lovely maiden i n andre m t spazieren gehn , Wh en others w alk and talk w ith her ; kiisse ie h h i h r n ihr d Sc On e t ab , A n d kiss aw ay e charms and b eauty
a F o e . n ich meine reude hab . Which my fond h eart did hold s d ar
e kommen nun die schw arzen ruder A h, soon w ill come the sable broth rs B , t e z um A n d bear m e gently from the house rag n mich Tor hinaus , ’ i A n h co l e legen mich n s kiihle Grab d in t e cool , o grav they ll lay m e , t in ich ew ig Ruhe hab . Where I shall find eternal res . V K
ilk- e w e song from Upp r Hess en that w as ritt n in 1850 . There are more than fifteen h of t e text in use in various parts of Germany .
Kein euer ein e Ko le. F , k h
fir als N o e an d n o co .
Sung throughout Germany . sin Fe e e e e N 0 fire and no coals u r, k in Kohl an an n brennen so heiB, C give forth such heat I ls heimliche Liebe , A s love that s secret iB e ee m der niemand w e . So tend r and d p . s e R e e e N e e N o e w e in os , k in lk , ros and no flo r an n bliihen so schen ; C an blossom and thrive ls W e w e e e te ee e A s tw o tender hearts nn z i v rli b S l n ,
n e e. ii en an der tun steh . When join d by lov
( in m ir e in e n S n ie g'el 0 had vou a mirror 10
ie Gedan en sin d frei D k .
Free are our ou th ghts.
D ie Gedanke sind frei ee are our t t , Fr hough s , " ? W er kann sie erraten Who can devin e them Sie fliehen vorb ei The y com e and th ey go W ie n éichtliche tte t Scha n . L ike shades of the ni gh . e i Kein M nsch kann s e w issen , N 0 man know s aught of them , Kein J tiger erschieBen N o te t e , hun r can slay h m , Es bleibet e t to t dab i , I hold fas his D ie e e r G dank n sind frei . Our thoughts they a e free .
Ich denk w as ich w ill t as w I hink I ill , l U n d w as mich beg iicket, On t t w e t m e ha hich d li gh s , D e in der t och all s S ill , Yet et , e et qui ly s cr ly, U n d w ie hi es sich sc cket. A s it b eseems . e u e M in W nsch und B gehren My desires and my w ishes , n e v e w e Kan ni mand r ehren N o on e can pr vent th em , Es bl ibe e t da ei , A n d t e e e b h r for I say , i D e e e e r e. G dank n sind fr i . Our thoughts they a e fre
D w ich rum ill auf immer, A n d evermore w ill I D en S e e t e e org n n sag n , R enounce all sad car s . U n d w w ill mich auch nimm er , A n d nevermore ill I M i i e e e t Gr ll n m ehr plag n . Mys elf plague w ith f ars . Man kann j a in H erzen A t h eart on e can alw ays Stets lach en und scherzen Laugh and be glad U n d denken dab ei : A n d think as he doe s this D ie e e e ar ee Gedank n sind fr i . Our thoughts th y e fr
h - r w te S t e t B oe m e E k : This is a w idely circulated song , hich origina d in ou h G rmany abou 0- Erk 1800 e t e e te 1 78 1800 . In makin his r es earches , found , as is prov n by s ray l av s da d g t t it w as t e to e S e . A a e ha na iv Franconia , Thuringia , Brand nburg , and il sia music l v rsion “ h as te e t e T he e e e e of t e text w first prin d in a coll c ion call d Maid of Bri nz publish d in B rn ,
Sw t e . B ut e the tw e t e t the e w as e e e e t t e i z rland as arly as lf h c n ury , id a mbodi d in a po m n i l d “ ” a E t P 1 15 w e i : Freid nk ( di ion Grimm , age ) her t ran “ D in C ant mac nieman vin den ” D in min e gedanke binden . h W lt der e w e e D t T e tw o leading Minnesinger of S outh Ge rmany , a er von Vog l id and i mar “ ” von A ist; also sang the w ords : Our Thoughts are Free . ’ B e h at T he German language is rich in children s songs , som e gay, some grave. t home e an d in the schools everything is done to encourage the singing of th s e songs , and as early as “ ’ ” 1 897 a sci entific compilation called German C hildren S ongs and C hildren s Games w as , brought out by Franz Magnus Boehme. ’ T he follow ing C hildren s Songs are taken from the more popular collection : Machet ” das e te e u . auf Tor , di d by Mari K hn
11
M ac t auf das T or h .
en the do r Op o .
h Macht auf das Tor, macht auf das Tor pen t e door , open the door , O , in e e e e Es kommt e goldner Wag n , H r com s a golden carria e g , r w r tz t ? t t e e h ? W e sitzt darin , e si darin Who si s h r in , w o sits therein Ein Mann m it goldnen Haaren ! A man w ith golden hair ! e w as w e h e he w ? W as w ill er d nn , ill er d nn ? W at do s ish , w hat does he w ish ’ e H e Er w ill Mari chen holen, s come to get Little Marie ! i e w as si e ? W has sh ? W as hat s e d nn , hat e d nn hat e done , w hat has she done ’ Sie hat s ein Herz gestohlen ! She s stolen his heart aw ay !
12
e ben d err i Gut n A H S elm ann . , p
v n in M r i i G ood e e . M us c g, an .
A e e e te e e . Gu n b nd , H rr Spi lmann Good v ning, Mr Musician W ie geht es euch denn ? H ow are you today ? M it der kleine n Violine und dem groBen With the little fiddle and the big drum ? Schrum -schrum ? T he kettl es they rattle h D a rasselt der Kessel , T e pots they resound A h D a klingelt der Topf, s t e little girls dance a e e e A D a tanz en die M dch n in n Galopp . round and around .
13
T r er er au , iib T rauer.
W oe w oe w o i m e , , e s .
T e e e rau r, ub r Trau r , W oe, w oe, w ee is m e ! ab verloren mein Ring I have lost my rin H g, Ich m uB suchen I must s earch Ich m aB kriechen I must creep
B is fin de e e R . i u ich m in n ing Till my ring s fo nd again . 14
ie r en ose D e st H n .
The irs T rou er F t s s.
e hat e tt e w e t Uns r Hans Hos n an Li l Hans is aring pan s , i ’ Und s e sind ihm z u kl ein, A n d th ey re too small for him ; i r Herch ! w e de Wind eht, Hark how the w ind d oe s blow ! g , e ! w ie der kraht ! how the o e w ! H rch Hahn Hark , c ck do s cro ’ D rauBen auf der H ollerstaud n Outside on the elder bush in Sitzt e schoner Fink . Sits a pretty, pretty finch .
chlaf u lein eele S d k e S . l li l S ee t ou tt e soul. p , h
u e ee e S ee Schlaf d kl ine S l , l p , thou little soul ,
te Rub . S ee be a Schlaf in gu r l p and t rest, S e O e e e S e w eet tt e chlummr hn F hl , lumb r s ly, li l child , ’ i u lein z u. t e e e Tu d e A e g Tigh ly clos your y s . e t suBe S e t w eet Schlummr sanf und , lumb r sof and s ’ P ii e Ruhe Hand und B , Hand and feet at rest A uch das A eugelein C los e your eyes my darling child
M e e . uB geschloss n s in Sw eetly, sw eetly sleep .
B isseken bisseken , tralala , ,
blss ken bei . B isseken , e ,
Stille stille. ,
us us . H h , h h
t e t e e Ge rausch e t. e e S ill , s ill , k in g mach Hush , hush , mak no nois A ll be et be t D arum seid nun alle still , qui . all s ill ’ Weil mein Kindchen schlafen w ill . For my baby s sl eepin sw eet g ,
t. Stille, stille kein G erausch emach ush , hush , make no nois e , g H
ill ich in m ein Gartchen e n W g h .
n I in m arden o W h e y g g .
r Will ich in mein G a tchen gehn Wh en I in my garden go . Will mein Zw i e eln gieBen My onion plants to w ater b , S te ht ein bucklig M an n lein da There I see a hunchbacked man
Fa e z u n ieBen . t tw e ngt gl ich an Who s raigh ay b gins to sneeze .
’ tt D e tt Liebes Kind , ach ich bi ar li l e child . pray for m e ” B et l M an n lein m it also for the f irs bucklig Pray hunchbacked man . l
Page Fourteen
Printed by T H E LA N GUA GE PR IN TERY 344—3 48 West 38th Street N ew York C ity G I V E N B Y T H E ) PLE ’ S M USIC LEAG UE OFT H E PEOPLE ’ S INSTITUTE
U N D ER T H E D IR EC T ION OF M A X M E R Z A S S I S T E D B Y R E I N H O L D W A R L I C H
X CENTURIES OF FOLK SONGS E“ EUROPE A N D NORTH AMERICA
Fo u rteen th Even in g
Tu esday, April 22 n d
B ulgarian , R o u m an ian
G reche , H ebrew
i M reth ussar So ran o D e vora N advorn M e o-So ran o M il a ts : arga a H , p ; y, zz p ; k nz er-Sc n eid M e o-So ran o C on stan tin N icola B ariton e An ton oc T en or p ; y, ; H , ; h , zz k
lschan skii B ariton e M aurice Eisn er M ax M er iano io B laz evic B ern ard O ; , , P ; , z
a C m balom . B ela N y ry, y
en in : T uesda A ril 2 9 : . S . of Am erica. Ar ists : ulia enr cuth (last) Ev g y, p U t J H y, an o N atalie B urlin -C urtis M e z o-So ran o Reinhold W arlich B ariton e The C lef ; , z p ; , ;
N M aurice Eisn er ian o . ub of . Y , P AB E T H E E R T L OF U OPEAN LAN GUAGES .
T he follow ing table is here pres ente d in order to afford a brief survey of the language s E h of the peoples of urop e. If on e considers t e fact that each on e of the languages here in i e t e t h d cated, is subdivid d in o many dial c s , according to t e extent of its circulation , it will be possible to form a picture of the manifold possibilities for poe tic exp re ssion to be found n h h E i t e folk song literature of t e uropean countries .
In do- erm anic an a I . G L gu ges e ee D : e a Mod rn Gr k ialects Hell nic . A lbanian . R omance L n ua es : Spanish Por g g , t u uese C atalan ien e P en e ta te -R g , , Fr nch , rov cal , I lian , Sardinian , Ra omanes ue , Ladino and q , R e C t : t . e oumanian . l ic Languages Irish , Gaelic , Manx , Welsh, Bre on G rmanic Lan e guag s ( N orth , West and East Germanic : 1 . N orth Germ anic Scandinavian : Sw edish ) ( ) , D l e N rw e e . 2 E e te . 3 . e anish , o gian , Ic andic . ast G rmanic : Gothic ( obsol ) W st Germanic :
E F i i n e . t e n lish s es a , D utch , Flemish Low German M odern Hi h G rman Bal ic Languag s g , g
t L tton ian E e t Slavii : 1 . E t Slavir Li huanian , e . Slavic Languages ( ast, South and W s ) as 2 t Great Russia White R ussia R uthen ien s Little R ussia U krainian ) . . Sou h Slavic , ( ) , ( l er - e e e w t the S bo C r atic , Bul arian . 3 . West Slavic : P olish C zech , Slov nian , W nd ( i h Ma g , i Kaschubin k Old ete sur an ) , , Prussian ( obsol ) .
II in n is -U rish an ua es . F h g L g g
o E hon ian D fe e t D e t U rish a Su mi Finnish , s , Livonian etc . if r n ial c s of g , Hung rian ( ) , i E e ( mixed with old Turk sh l ments ) .
I T ur is an ua es : II . k h L g g
O a hr sm ni e, Tartaric , T kom an .
EI Isola ed Grou s V. t p E as e t . B qu , Old ruscan
S C H E D U L E O F C O N C E R T S
C oncert 1 9 19 LA N GU A GES 21 E e P e e I . Tu esday J anuary arly Fr nch rov ncal , 28 e e e t II . January . Mod rn Fr nch , Fr nch and I alian in Sw itzerland 4 F ebruary P ortugu es e , Italian , R oumanian
A N GLO- C EL T IC F ebruary 1 ] English e 18 e e et F bruary Irish , Ga lic , W lsh , Manx , Br on
25 e t R tt e R U SLA VIC F ebruary Gr a ussian , Li l ussian ( krainian ) 4 P e March . olish , C z ch , S lovenian 1 1 S e March r ian , C roatian Bul arian b , g
' ’ 18 T EU T OI\ IC Sw edish , N orw egian , Iceland Sw edish in March , X S C A N D IN A VIA N I . Finnland D . i D tc e X. an sh , u h Fl mish , W e - 1 n . t P ro XI, and rin Folk So s II Bal ic g g , e vinc s , Finnland , Hungarian 8 Song from the A lps in S w iss and A ustrian D ialects
XIII . German
D IVERS E R A C ES XIV. e Bal ean , H ebr w N OR T H A M ER IC A N A merica
ag c T w o a m
B ULGARIA
T he Bulgarian race is a fusion of the Slavonic el ement and the U gro-Finnish immigrants li ving on the P eninsula . Like the other Slavonic tribes the Bul ars left their homes in the , g C arpathian mountains a out the seventh cen tury but it w as n ot until the tw elfth century b , t t the e e t e to be w n etw ee t e the e -C t ha lin of d marca ion b gan dra b n h m and S rbo roa ians , also of Slavic descent. C uriously enough , this s epa ration did n ot take place along racial or Hug u is i a e - e e t t c line s but w s brought about by religious influences . A w ll d v loped La in civilization e xisted along the e astern shores of the A dria tic and the p eoples settling there came under the e e the C t C u w e e e e to t e w e ea influ nc of a holic h rch and r gradually conv rt d his r ligion , h r s , h those remaining in t e interior of the country held to the Byzantine or orthodox faith . ,
For four centuries , Bulgaria c eas ed to ha ve a w ritten langua e save in the m onasteri es g , but the h h about middle of t e ei hteenth century a literary re vival took place, and this w as t e g , e e h h n li b ginning of a r turn of national consciousness . In fact, t e revival of t e various n atio a t e in th a w e e te e T h i s e Balkans , w s al ays accompanied or pr c ded , y a li rary mov ment. e , b h i e h Bulgarian , as w ell as t e R oumanian and S erb an languages , borrow d freely from t e Turk ish vocabulary, w hile differing in structural fo rmation and many Greek w ords w ere also g radually incorporated in to the vocabulary . h - - T e folk p oe sy of these nations is rich in fairy tales and folk songs , w hich are charac t riz h h - e ed by uncommon fantasy and coloring . I n t e melodic line, t e folk songs of all the t e na ions often display oriental influence and a characteriz ed by a d ep melancholy .
M ILKA P OLA N ZER -SC HNEID an d EM ILIO B LAZEVIC
S n eSéi Si minah kraj Sivlij evo Last ni gh t I pass ed by SlVllj eVO Sivli evo Eerkovata Sivli evo e the Kraj j , kraj By j n ar churchyard; ’ i varih e aw n ew e Tam S z a dor dva nova groba , Th re I s tw o grav s
Séom z aroven i i ostaven i, Freshly made, and w aiting so, ’ N ad grobovitj e dor dvj e lambadi A t the head of the graves tw o candles burned ‘ D o lam badit e e e By their light I saw tw o be autiful an els j dor dva l pa ang la g , D o an elit e dv e d evo ki e e the e tw o e g j dor j j j , B sid s ang ls , maid ns fair ’ e lacaha l uto k ln aha Bitterly w eepin and cursing : Zaln p , j j g “ i ’ t e h e the A r B eg da ob j e tez A rnau i , Thy curs , O God , s nd upon nauts ’ ’ T ez A t tez ka asuz i, T he A rn auts w ho have slain U ncle Ivan o rnau i , p j v n a e D eto ubiha Cica I a cj , Uncl Ivanio and a holy pilgrim . i M in éa C iéa Ivan éj a i had i .
A K H OC K 2
T ri Godini
T he Outlaw Bulgarian Folk-Song arrange d by Granville
Bantock .
’ Tri godini v tam n ica In the dun geon have I ’ i e for t e e C eteri v ran a. g e p g Lan u sh d hr long y ars , the f t e w i m e D edeja mi z ivota. To scaf old h y ll bring ,
A h ! my gri ef outw eighs my fears .
P e t e e N eman basta ui majka , ar n s hav I non N ito brat n it s estra To help m e in my need ; i N e t e the te D odej a mi z vota. i h r bro r nor sis r h i A ! my life s hard indeed .
Page T hree S ee d ru i l g go n e j u b ila, Séo drugigo n elj ubila dru im u v I g c j et nedala .
Grm n i B oie ! Thun der G od e A n Old M elody from T en va in Bulgaria .
G rm n i ie n r ! e t e m e w t r Bo da i ma God of Thund r , s rik i h Thy da ts . S i r r koro Bo e p ibe i ma . Take m e and de stroy m e D a n e o e e ta h hoda p z mi That I no longer encumber t e earth . ta z iz em rekl at r e V zi ah p j a M w oes a e h avy , my life is a curse y , l ' ’ Kak da teg j a tezi m ki , B ecause I am forsaken . C ’ D a ia gledam v uidi r ki,
’ r e te OcI moj e p it m n ej te C los e my ey s in e rnal sleep . v iale e m e e Tozi s iet ah n e j te, Hav pity on , I implore Th e . ’ T he a e e she w m Is éevreto Ste go j Sil a ; h ndk rchi f , orked for e, S n e o slz i Ste da brSa I fain w ould w ee p into its snow y folds g , ‘ vr U t e be e e Toz :Eivot dodeto s Sa. n il my lif nd d .
EM ILIO B LAZEVIC 5
M akedon ec
M acedon ian M a cedonian ,
e e . M akedon ec l M akedon ec ialn e pj ej e Mac donian , Mac donian Za lno pj ej e i govori: S ings sadly and speaks : ’ ? G de s volu i godini ? Wh ere are the years of freedom Where are the years of my yo uth ?
O te te e B l arin brate e o c m e e . i b g j , Mac donian , Mac donian ’ Kakva s dba n astan a Si n gs s adly and speaks
T a m e e dvam a. 0 t e rob i Bulgarian bro h r , By w ha t a sad fate are w e oppress ed B oth e e of us slav s in a conqu re d land .
Karam filk a m em e Karam filka M aiden
- o A rban ia Folk S ng from in Bulgaria .
Karam filka m em e , Karam filka maiden Karala k ta m aJ a Your mother has been chiding you N a D v e . the e w te th unav na od By blu a rs of e D anube.
Page Four M ILKA P OLAN ZER -SC HN EID an d EM ILIO B LAZEVIC 7
’ P ln a-ta lun a Light of the M oon
’ P ln a-t e a lima , jasno grei T he full moon w and rs i - h e S éki é hora ves eli . C lear through t e heav ns ; M ene n e raz vesel ava T he mountains rejoice j , o am e e k l h r t N s m n e s rb j ava. In e glorious ligh .
B ut in my heart there is no joy,
N othing but sadne ss and melancholy .
S -ta t t m a o kan ilna s ras i p d , Under the sp ell of her rays Sviréica ta si da zima , I am seized w ith a madness ; Ot iz lez a doma da si , Trembling w ith emotion ‘ to . Kam na dolu da ida I am draw n from the house .
Kate iz ut a z v ah p j a vr j , Flute in han d I w ander alon the path , g N a de t o iedn h sna s rana p g a , My eye falls upon a s eclud ed nook et e t e ese Tam sv le m s o d b , In w hich is lying a be autiful maiden
P rekrasn a ese. e moma da sp Fast asl ep .
G R E E K F O L K - S O N G S
N e t t h x o t e A lbanians , the Gree ks are the oldest p eople of the Balkans havin immi rated , g g t t e A e t t e . A h hi h r from sia Minor in pr his oric im s mong t e Greeks , literature never suffered a complete eclips e as in Bulgaria and Serbia and gradually a compromis e w as effected be , tw ee the e of e t e the — P n classical languag anci n H llas and popular folk idiom . hilologists have n ow e stablish ed the fact that the Keltic langu age has a clos e affinity with Latin and also w t ee t he i h Gr k , par icularly t Keltic langauge as spoken in Wales . Modern Greek is the dire ct evolution of the e arlier A ttic dialect w hich under the name of , ” e w as the w tte a e the e t e te t r Koin ri n and popular l nguag of n ir rri ory under G eek sovereignty . ti e t ee e at the e e t t e be t e o t in Prac cally all dial c s found in Gr c pr s n im , may rac d back t his ' l e e t oken in fu nc , as may also many dialec s sp southern Italy . T he only exception is the “ ” e Zakon i h arly c , t e language of P eloponnesus , w hich s eems to have no connection w ith the
t. S e arly Laconic dialec Gradually, R oumanian , lav and Turkish e lements s eem to have forced t e w a t the e U the h ir y in o mod rn Greek vocabulary . p to firs t decade of the last century no , e e i te the e t t one e to e h r cord x s d of manifold dial c s and oday, any abl r ad t e modern Greek w tte e A t e e th e te t ri n and spok n in h ns , may hav e g r a s difficulty in understanding the Greek of the - he t itte h folk songs , t majori y of w hich w ere w r n in t e patois or idiom of Epirus . There is a great w ealth of folk-poesy in m odern Greece ' and the songs are often sung n h - T he as an accompanyi g text to t e folk danc es . melodic and rhythmic p eculiarities of these ar e t e e r songs e very inter sting , but unfortunately, h s a e s eldom accurately reproduced in the te e the t e t e ve e e e e the e t prin d pag , as many of sub l s nuanc s ha scap d v n n husiastic musical historians w ho have gone a out the p eninsula taking dow n y w ord of mouth the son s and b b , g et th A s is the e w t - e the e po ry of e p eople . cas i h all folk po sy, rar st gems are hidden in the remote regions and los e their ess ential flavor w hen transplanted to the poisonous air of the t e indus rial c nters . h e t n - N es . 8 9 1 0 re e C ee , , and a tak n from t e oll c io of Gr k Folk Songs by B ourgoult du C d ou ray . C ON STAN TIN N IC OLA Y 8 T he W an derer
r F e e w e e the t H ew s XQOVLII neen at ovea iv y ars I and r d on moun ains , ’ , ’ e A t A t . et O 60 W O 60m g) Afwmxn a ll ugus a , my d ar ugus a , ’ ‘ ' ’ Kt m a M W E T U VW OG e e h s QW Q A n d five years more , I w and r d o er t e sea ; ’ ‘ ot b ale ield A OUOTQ A u t e A t . w y W u ug s a , my d ar ugus a T v ( o’ w a n w “ 9 ut ‘ l ” , I sought my love, b all in vain , 65 ” R O O'UOW V“ “ V 6 0 her. P Q I 9 A las . I could n ot find . ) ‘ m 0 A ove t A u usta my dear A u usta . w i g , g
P age Five A P easan t Girl
B la tt o‘ a exat éfiaw e She w as coming dow n the steep mountain side x , “ ' T w o t tte n ou n aive) out ROI QCVL ( s rings kno d into on e . ) ‘ ’ ‘ Vahi Vahi Vahi . t i v B e u! B ell! B at! I attewe mta 6110 wity/le en. B M v d a 65 ” Jtavr SU eeiat ; O x my dear , w hy w ill you n ot marry m e ‘ f Q , Aev JtEQVSLg t omtavomo ; Why w ill you n ot take the littl e sh eph erd ?
‘ ’ ’ v B elt! B e u! B dt! ( 1 W 0 stl in gs knotte d nto on e I attew eim a 6116 fl aypé a. I ) ' Aév xegwe yd) t oy t een avo ’ I can n ot marry a sh epherd lad n ou 8 t t e et mr tec sva ’ X e x E , W ho t e e a ow n w hasn v n sand ls of his to ear . ‘ ‘ t t r a B a B a I at owax a 6110 M a a d . B r! r! t! T w o st tte t n yn ( rings kno d in o o e . )
- T he melody of this folk song is w ritten en tirely on the five tones of the diminish ed fif h of the P hrygian scale. 10
T he B ew itch ed On e
’ E0 £Ig n ovhtdt 1 0 5 xduurov wed I f]; P OUIISM]; You birds of the mountains and vall ey s ” ’ You - A 61m f dva birds of my d ear home land X! 6 ] “ u .
t e t e . ’ My mo h r , my unhappy mo h r Airtofi W d JIGU mitt s xaunhbeet e ” A ! 667ml f d a n ot w y the X ] u v Fly al a s so hi gh in sky ,
' t h B u e to t e e t . FQdlLlia 3C“) vd ed; com clos er ar h i ' t e t ‘ ‘ My mo h r , my unhappy mo her . vd YQOlllllla in d yeaqn i VOL :rtfit e t fig xahfig 11 01) t fig dyam qt lxfig you I w ould give th ee a m e ssage for my love ” r h r AX! n (bg 63 V texovuat T ell he I can return no more to e . t e t e My mo h r , my unhappy mo h r . / Kl. en a 0! i ug W yin a m . ’ PG YLGG G G YSVLG T ell her I ve found here an other love ” A ! 867W ! dva f W ho t be the ff w t x ” p . mus o spring of a i ch , t e t e . xa d61a My mo h r , my unhappy mo h r M aysUsL T O. e ” “ 6! 65"G ‘ V GV 1 3 QHE U She has b ew itch ed the ships that they no m ore 3 ’ 11 splay/sips xt éuéva can sail A n d up on m e sh t e (IX! xal 53W eQXOU MaL e has also cas a sp ll , ) ’ ’ t e t e My mo h r , my unhappy mo h r . M éHdYE‘PS xt theve ’ xal Oév t ov at N o e et to gx p mor can I r urn you , ” ’ A ! Oéhta dva For m e she also has ewitch ed . X “ H . b ” ' ( ra X‘ W Y CO VG WM) P y IQ QE W h en I fain w ould take my l eave va r O ' te m va o w e e t . x e xn Storms , sno and rain imp d my pa h 1 ‘ Kl e w U LOOO nion ) ’ Y Q A n d w hen I m forced ack into her arms ‘ !n a b va 1 7W am e ta 1 ; E e . T he w orld s eems floode d w ith a light divine .
This is the song of a Greek emigrant w ho has l eft his home an d love d on e s to s eek a fa he n w u h t are i . e e w t country Th r finds e happiness a ait ing him , b t t e i es of childhood s ll
strong enough to throng his mind w ith pictures of his hom e and yearnings fOI his firs t love . ‘ I e in w k w n f 1 e k m e w e t is taken from a coll ction in w hich W . Syna d e . a ell n o 1 e co p os r as engag d
at he e u n ete . in making t tim of his death and w hich nhappily, remai ed incompl d 11
C om e m y dear
M d t i t o !law ava om ) Why does y e i r moth er n ee d a mis erable oil n p i t a 1 0 AU V t amp x Q , ? : v 5 With w hich to give li ght to her house I: a01 0 0 W 6 0” & a) Y w to C ome come my d ear , h en I call you , % , 5 T a ”at ”1 W ] ” Q s a B e n ot e to m e e t w ee . y a so cru l , l s I should p A CPOU X“ 180 01 0 0 m n g 1 m She has a far bi ighter light in her house ‘I YV T O 313 L C £1 1”! d She has the light of the sun and the moon in ERG Eta JES OLX‘ C! 1 01) you , , Q 1 al t0 C om e e dear, w hen I l , m a t d , com my c you of W ulti o. T 6 x ”0 ” e w ee . B e n ot so cru el to m e, l st I should p
( W ritte n in the H yp e Phrygian mode . ) Page S ix
Vores bort ittam az ejj el D rin kin g Son g
Voros bort ittam az é el ra yo o csilla om T he w hole ni ht throu h I w as drinking red jj g g g g g , galam bom w ine , M e z i ost r s e va ok tiile o cs lla om it w as ee e fire . is g gy ragyog g My brain r ling , my puls s on alam bom g My dear sw eetheart. A labam on i ll l al g alig a ok m eg is sz eretn ek a Today I can scarcely stand or w a k , ‘ lam ek he e m e y B ut in spite of all that, t dear girls lov R o ill l cs a om a am b m u h . agyog g g o . j st t e same
R O U M A N I A N F O L K - S O N G S
T he R e ff t the R om an ce u e e t oumanian languag is an o shoo o f lang ag s in origin , infl c ions an d o but it t e e en t t e over the ee v cabulary , also con ains many l m s ak n , from Bul garian , Gr k , r a T h s e te e e Tu kish , M gyar , Russian an d German . e mod ern sp eech is al o found larg ly in rsp rs d w t e an d f e e an st the the i h Fr nch Italian expressions . O g r a t si gn ificanc in y udy of origin of R um e the t A uen e w ea to the t t the o anian languag , is s rong lbanian infl c , hich l ds conclusion ha h language must have had its b eginnin gs in a r e g ion affordin g con tact w i th t e A lbanians . E R l f w e arly oumanian differs but little from modern R oumani an althou h the dia ects di fer id ly. , g A s the - th e h h t e t in folk songs of e oth r Balkan lands , t e in flu ence of t e Ori ent is s rongly f l also the - h e e in folk song of R oumania . A side from this t e music is more influ nc d by Hungarian an d h Slavic then by t e R omance idioms of Fr an c e an d Italy .
M I KA P OLA N ZER -SC N EID A H OOK L H , , EM ILIO B LAZEVIC an d B ERN AR D OLSC H AN SKI 16
D oua Fet e Spala Lan a T w o Girl s W ashin g W ool
’ e the t w the e C ol a n vale ah ! la fén tan ii. A t foun ain , do n in vall y — D é ete w o are w w . ou f spal a lau a. T girls ashing ool
’ n w U a sp alZi si alta n druga On e is ashing and singing,
Sa at n eicutei l she w e her e . f a g uga. For ill mak lov r a cap
M ILKA P OLA N ZER-S C HNEID A C K an d EM I I B LAZE I . HO L O V C
P en tru Tin e Jan e
For You an e , J
P en tr e e u tine J an e , fata Jan e J an e For you Jan , my girl Jan , , ’ C heltuii averea to t Jan e J ano I ve sp ent all my money for you . , r - Tu o oc , eu o oc Yo u a e pr etty and I am good looking b b b b , ‘ ed eu e A n d t e Tu m in , m din bo h of us young and full of lif i Of ! A m n i Le e e t e . é doi sa n e ub m . t us lov ach o h r
' 0 Sa te qui carcium m é reasa Jano J 3 11 0 Your e goi n g to k eep my house , La cfircium a boe reasczi Jan e J an e A n d make m e a happy hom e ,
For ou ar ett etc . Tu oboc , eu o oc etc. v e pr y , b b b ,
e tt e C u calul plecai la tarii J an e Jan e I once had a large h rd of ca l , r t Iapa lu ii m io m an carii J an e J an e B ut o n ly on e hors e an d a mare a e l ef , p ,
B ut ou are tt etc . Tu o oc , eu o oc etc. y pre y, b b b b ,
P age Eight 18
In R te aris a.
a te e a z a In r ris a p l n vii In the arbor by the vineyard , T e aste t iubitfi sé Vll e p ca There w ill I aw ait you , lov - La umbra n ucului din Ian C ome 0 come to the shade of the nut tree ! ,
e ven eai acum un . e Und an A year is a long, long tim
A cum n u e a re e e e an , lunz v m Then you cam , I call d you not A h ! can d ven eai far si te cheme ! Sadly you came along the path
Ven eai pe drum crai trudita A n d fell w earily upon my breast . C édeai la samu -mi obosita!
‘ e Zadarm ie cere 8 5 m aj elesc In vain I try to reproach mys lf, Gaci nu mai S i te iubesc B ut my love for you is dead and gone ; B asunavalea de amar T he valley mourns w ith bitterness
ee . 8 5 mai astept e in zadar B ut w ait and w atch for th , I can not A cu m un an e lunz a vreme, etc .
M ILKA P OLA N ZER -SC HN EID and EMI LIO B LAZEVIC
ram s D oam n a ce m oi face
w t w t! Ffim a doam n e ce moi face Make of m e , O God , ha Thou ills . - - - w the W ln d Tra laJ a la la Make m e a reed blo n by , Fama trestie p e balta Let m e shoot up tall and slender ! - - - - Tra la la la la . ' Sii cresc subtire si iualtei - - - - Tra la la la la .
' m e 0 w t w ! P amai doam n e ce moi face Make of , God , ha Thou illst h ra ev me Fém abucium e de vie M ake m e like the root of t e g p Or t m e out i t e e t e ! Si m 5 arun ca in tro p ustie . cas n o a d s r plac
M I LKA POLAN ZER -S C HN EID E u chiar meine So let us dance and sing and merry be ! fi m ire zi Voi as .
A lui Vladut dragutul m eu -is - Isa a isao sa . e e a t M r u moi c n a iha , iha ihaha , e e v 1 M r u 0 Juca .
B ERN ARD OLSC H A N SKY 22
Ardealan ca T r an sylv an ian F olk- Son g
w e t Multi lacréim i am varsat Many te ars I have p , ’ Faceam fan tan A w e the t o a n sat. s I ork d on foun ain e Fantana cu trei isvore T he fountain has three sourc s , ' C h its w te w die . ine bes din ea sé m orzi. A n d w o drinks of a rs , ill
Sé bea dusm an ca m ea I w ish it might be my rival ’ l ie Sé plesn easca fierea n ea A n d th en she w ould sur e y d ,
S i bea iubitu l m en I also w ish that my love w ould drink ,
85. tie D um n ed u e . mil e . B ut God k ep him from harm
’ a im r t Bat l cruce a p pa atu D ow n w ith all tyran s , o w ar C i m i catfi n it barbatu B ecaus e my lover w as called t , ’ ’ N u mi l a catan it bine T he tyrant s ta sk is easy
i l e . C e vin e tot 1a mine. For he can stay at hom
M I K LA N E - A T O Z R SC N EID A . B OOK L H , , EM ILIO B LA ZEVIC an d B ERN ARD OLSC H AN SKI 23
’ Am un n eu si vreau sa l beau
’ ' ’ A m un leu si vreau sal b eau Sun t flacai mai m ulti d o m ie - - - - Tra la la la la . Tra la etc . ’ ’ N ici acela nu i al m eu C are m i face curte m ie - - - - Tra la la la la . Tra la la etc . ’ ’ D arce m i pasam ie déu D ar ce m i pasa m ie déu ? D aca fac cu el ce vreau D aca nui cine vré u eu ? - - I-h r a . . t a etc. Tra la la , . ha ha la la
Iha . ha . ha .
e o w the E This is a song of hilarious charact r t hich n lish version is lackin . , g g
Page T en T he folk-songs given here display Russian and German influence in the m elodic line and i w be t t e ar k t ill no iced that almost all of h m e w ritten in a minor ey . ‘' “ B r n fr h Mr . ou o , t e collector and arranger o f th es e songs w ri te s as follow s : This first e - e th 2 0 w e f w volume of J w ish folk song s s elect d from e 5 hich I have coll cted , w ill su fice to sho h the be autiful soul and emotion the J ew s posse ss . These so n gs should be taken up by t e l h Jew , young and old , and especia ly by t e you nge r generation , and again brought back into h t e family circle, singing them at every occasi on . h f r I must thank t e follow ing p ersons , w ho sang o m e th e se songs during my res earch es
E e N ew Y t : e are . . e VI. t R the t t e . e in as Sid of ork ci y h s e Mr B Kass l , Golds in , B snik and l I . S onim .
“ ” - e 24 3 1 w F t e te e d. N o. . From J e ish Folk Songs : if y Songs coll c d , harmoniz d and arrang by Platon B roun off.
DEVORA N AD VORNY
u " a mm n u. ma r m p; p m in up; ws “ w l new : 1 m a t p m 3 nam am . WD 8 mm 1 " “ n n - my: z s nu. n o any» on wa k w e: m m W : m: as : am mo n i ‘ ‘ m a: ma. nw fiw n M ma by: " “ i ln in man um» m m m n w fium nan - “ravin es ros a was “van w W yn n : is room 11 ’ in nn nm o m5ra n un s: 51 m W t m .w w s In: W n “ aims am m u m in: is mm a n u ma. m m i 4m m um w e. na 3 11m m; r p me 1v M 7 wm pnns mes mm m : i n me mm mm m m: 2 mm : m sfi am mum p i p nim m “m an an: aux ma ma
h how O , bad ,
My life is so sad, S o lonely and w oeful m y day w I cry , I eep ,
My pain is so deep , ’ A s a soldier you ve been taken aw ay .
My fright is so strong, e Yo u are driv n along, D riven so far from m e ;
So W hat shall I do , Oh do w ithout you , be What w ill my life then ,
» Page Eleven . 25
Ai-li-lu Sleep
- - n A i-lie lu ln sleep n -sfiw m ap pi g: e Baby, baby d ar , H D ni fi n n m r i t e e C los e your pr etty, iny y s - f i “ f wfiiunx : rs pe r irm Wake w ith eyes so clear ; m um mm nynw na C lose your eye s " A n d e 12 ” 1 M D op n again May you never u i : .wnsz n m m m Know of pain . n i i n'n ypsi nm m a l a fiw m ofi r oh your young , young ye rs iv s s ,
H o e . fwfim ns’ z um m m w I nvy Wh en you grow up my child m m: am ms nu - A scholar you w ill be . f oi m a “ ? fist r: born mw I P arents you w ill honor , “ m in at in ! 487 new Sing of th em w ith gladn ess ; - S ee e e m ini! : inn x n ovn l p , and may you n v r Fill my heart w ith sadness . — u : , wz mm m: warm s " N : was n u am b oss wvs b ofi r . a n m: m w n s
T h ere On ce w as t old a Story
t There once w as told a s ory , n e w: 8 m m m : 5m: 3 h t n ot a " T e s ory is so g y ; fi m a n u i : T’ N mam w W n s T he tale b egins and d eals w i th ‘ i D VJS an m un ne w: n A J ew ish king in glory . - Ln -lu-lu tt e e 31573 wan ma s m : my li l birdi , - - Lu lin ke my child , u n m in s: i n .vw é n fi ’ v e e I e lost a d ear , d ar lov r , ' u 1vp r n .vpr fin fi My h eart with w oe is w ild . ’ 423 m m s m inimum nsn : On e t e e w as 1 1 m m na W : m : rum c h r a king , T h he ee e king , had a qu n , 3 573 8 m m m : 53 a 8 ‘ T he quee n she had a vineyard , m m s ni mm n asm 1 573 W ? l k . Lu in e , my child r — - : L l ln tt e e etc. . wm m w n s n snm m m nnfin u u , my li l birdi , “ ’ ’ h m l o , 9 DJ 51 5 t e T he vin eyard had a r e , n n m s . n . r . s yfim a i n war . T h t ee " e r had a branch nn : 3 n amm m m wm s-Jiu n W ! . T he branch had a n est : l n . m un: a b um man on : WW Lu i ke, my child " - - L ln tt e e etc. u u lu , my li l birdi , .ysvn oru s n am m n an n n s m
t u . w p t n .rm fin fi m u 2 . n . r . s vfim n r n 3 936 16
P age T w elve God Alm ighty
A t ! min: $22 um i n as Oh , you God lmigh y Why do you n ot look ? e n em a i n: in ow e s-r Why do you n ot see i rmm w t: ow ns: Our sorrow in exile (bis) e 1 1m m an um é: an From our xile, . ’ - be e e e b in nam m n m fi: m We ll d liv r d To our land' l emm as m an uw afi ’ - We ll go at last ' n ’ nm sfi na wgas We ll go - - nun m nan m . mm To our land ; ’ Aim in nan -w mm We ll find D own there 1m m D m s: mm a Y u ur o , o Lord, our God. M W ’J w ADJ’ D amm ’ m nesri n: 3m m 1 mm: We ll find - Our C e t s ew erpe n samen m m r a or ; - There, oh , there, m ans m in spear: w m v: W e w ill find i ” m am a re/ use Arum: FIN D Our salvation .
Son of mine, son of D n ot b o e gloomy, D o n ot be dow ncast
C hild , my dear . Our land of yore ,
Will yet be ours , A n d our temple W e shall yet build Who laughs last H e laughs best!
B ERN ARDO OLSC H AN SKI
m . a amusing Gu m.
As a Flam e of Fire
" A a e fir mu n firim n w a m s flam of e My heart is fiercely burning win n ers-m nam m mm m m Who can be dear to m e n ow , “ f m e m: ” a “ ? e ? u I w we n u ma W ho can stop my yearning ‘’ ' é n i b n e t e w m xn m m wfi n m e we n m rm There s ut o , h re is but on e n un s in n u 1 mm Who can stop my pain ; e u on e i n Th re is b t , there s but o e n m m tu n rvfin n m e wp God is his holy name . n un s an w e mm m 1 m»: " - B o N ew wh ytom w e we an ut a short time ag , ? aim an y 3 m m a tow: Who could compare w ith m e s w e I at ith you , felt so w ll , i i . . . p fiz M 3 b fivw yz w e man or W as happy and full of gl ee . 15: a m: m m : n m m A n d n ow I sit and w eep and mourn ' » i o . e I m b n Im am : w man m. an: um My love is far from m , “ I can n ot tell my parents w hy ’ B ut alone I ll alw ays be. 29
n n am m ] z p nu N ot invite d t e H ym an z n fia S ill I cam , Though a paup er m m : is m an , A n t the aun all same. ( 1 rain sa m sas: wro n g as warm Strike up a jolly song D fif ' rum , e and fiddle I wm m w , A unt w ill g o a-dancin 173m m: a m i ner; g Oh e- e- diddl diddl diddle. (3 1 7m m s w e 173m m x w : m i ner) magm a ni p n u - may m is n: m : limousine a w as
30
1 1m g naw-5p: am
’ T he D riv er s Son g
u S b m m : x why: w e nfisn hould I e a tailor ? Oh , I have no needle mm: W n u ma nan , Should I be a fiddler w u w , m 8 m m w e ufisn Oh e , I hav no fiddl e . - .W w .a n u. m e J an A n d the w heel n v - “ T u rn eth n ot u n mm im m sn I fix , A n d the horse n u wnxm 1 3m m i n rm et Go h n ot, ” in u5m mam 51 m m x ‘ fi A n d a drink is w anted ; " ’ in mm » m m m na A n d y my w ife I m hun ted b , Oh m x m , therefore on a ston e m m W w : pap; , sit m e w u I do n and moan . H n ms m m ni x wt
fine a m m . n fi n W s Should I be a merchant? m m M ? n u a n n Oh e m a , I hav no store . ? an a mum ma nfisn Should I be a R abbi ’ t w the e m m m p n u ma : m I don kno holy lor . A n d the w h eel ‘ . n . r . x Www w is ! Turn eth n ot , “ wo w 7 E 8 m m m: uSsn tc . fi u .v wsn sp z a nu ma m a ” wann a a 13 mm fp s ufi-zsn win es 3 m m ru n m : v . n . r . x 7 1m m 1 rm
P age Fourteen
Printed by T H E LA N GUA GE PR IN T ERY — 344 348 West 38th Street N ew York C ity G I V E N B Y T H E
PEOPLE ’ S M USIC LEAG UE OF THE PEOPLE ’ S INSTITUTE
U N D ER T H E D IR EC T ION OF M A X M E R Z A S S I S T E D B Y R E I N H O L D W A R L I C H
SIX CENTURIES OF FOLK SONGS OF EU ROPE A N D NORTH AMERICA
F i ft e e n t h Ev en in g
Tu e sday, April 29 th
U . S . o f A m e r i c a
A rtists : N atalie C urtis So ran o ulia en r So ran o M at a N iessen -Ston e C on , p ; J H y, p ; j ,
l e T h l f C lu f N w o i e tralto Rein old W a ich B ariton e C e b o e r M aurice E sn r ian o . , h r , ; Y k ; , P O U R C O N C E R T S
B y M A X M ER Z T he Fifteen Folk-Song C oncerts have n o w been brought to a close and in vi ew of the h e — fact that this is t e first time, at l ast to my know ledge that anything of this kind has bee n attempte d a survey of the undertaking as a w hole may n ot prove unw elcome to thos e ho e w e the e e e t the w m w hav follo d d v lopm n of plan ith sy pathetic intere st. e A t the very outset, it is necessary to mphasize on e thou ht namely : That thes e are g , e h n ot to be r garded as concerts in t e ordinary s ens e, but rather events w hich in the last , , w e e te e to t te the e e p tc - t o analysis , r in nd d s imula g n ral ublic s elf activi y, to give an impul se t n e en e t t the — the e t e e te t the e e -in creas i d p d n s udy of folk song, in hop , h r by , of coun rac ing v r n n e i g e croachm nts of social conditions domina te d by Industrialism and C omm ercialism . Our purpose w as never that of securing the best possible interpretation of certain songs “ ” e w e - w t but to e et te t th e an d 0 by som ll kno n s ar , p n ra in o e lif soul of 3 differ ent peopl es , w ho w hatever manifestations they may have given of late of racial hatred and j ealousies , - nevertheless possess a common heritage of folk song, in w hich is e xpressed the same funda w e h mental view s of life, ho ever vari d t e idiom . h B ut let us n ow consider t e concerts from a purely technical standpoint. T he follow ing table indicates the contents of the fifte en programs as w ell as that of the preceding C hristmas concert given on D ec. 27 .
— n A . R om an ce Lan guages 108 songs : Fre ch 6 7 songs Spanish 8 Itali an 23 Roumanian 8 — 4 n lo- elti L an ua es 60 : E 4 B . . g C c g g songs nglish 3 e s h e ride Ir e ( W l , H b s, ish, M am ) K ltic 26 - can din a ian Lan u s : e C . S v g age . 33 songs Ic landic Sw edish N orw egian D anish — t - D - D . D u ch G erm an 76 songs : utch Flemish l E — 71 R . S lo w songs : ussian
F — ree . G lc songs r - n G U g o Fin n ish, songs : Fin ish E t a s honi n O O O O O O O O O O O O O O O O O O O O O O O
Hungarian o o o o o o o o o o o o o o o o o o o o o o
O O e O O O O O O O O O O O O O O O O O O O O O O songs Basqu O O O O O O O O O O O O O O O O O O O O O O O O O O Y o : o o o o o o o o o o o o o o o o o o o o o o songs iddish E o o o o o o o o o o o o o o o o o o o o o o songs nglish o o o o o o o o o o o o o o o o o o o o o o o o o I n dian N egro 4 0 1 8 songs in 3 languages . — 3 6 t 18 w 18 m n 4 eti e 5 solois s om en and e , choral soci s , pianists and 3 l ecturers partici pated in the 1 6 programs . Of the 4 08 3 1 e e t 4 0 1 songs , sun g in languag s ( and mor han dial ects ) , 30 5 w er e solos , 9 t 20 r 4 T he t the e e w e e e t te z etts 6 tette . e e du s , , quar s majori y of ns mbl numb rs r T h o t h esp ecially arranged for these concerts . e program bo ks con ained t e songs in the ori m E t gi al lan ua e w i th eith er an n lish transla ion or indication of the contents , six article s , g g , g t 200 te t te t 300 e t abou no s of musical or his orical charac r , and a bibliographical lis of coll c ions - o e t e te i t e e e t the e te w of folk s ngs , us d in ga h ring ma r al for h s conc r s , and gr a r part of hich h Y P 4 2 at n d t. I w ere found in the music department of t e N . . ublic Library Stree t is e stim ated that persons w ere in attendance at thes e concerts . Everyone w ho re ad carefully the forew ord printed in the program book of the opening concert know s the purpos e of the P e ople s Ins ti tute in arranging th ese concerts . It w as to rin the Folk - son ack to the people an d to w ean them aw ay from the coars e r b g g b , e e the e te t e e t t e e t pl asur s of day , by h igh ning h ir appr cia ion of his s rious and b au iful folk e po sy .
P age T w o
- e w medium of expression than the folk song . N o b tter ay could be found to inculcate in a child r an appreciation of a t in its higher aspects , than to aw aken in his mind a love for the r its t e w t he e h a t that has had spon an ous gro h in t h arts of t e common p eople . Q ues tion : H ow can this appreciation of folk-son g be st be achieved ?
A n sw er : By extending the movement b eg un here in N ew. York to other citi es and tow ns in the U nited States . In arranging th ese programs I have had in mi n d the furth er development of the movem ent and have endeavored so to p r esent this survey of the folk-song literature of E e N t A e t t e t e t the e t w e ou urop and or h m rica , ha any s rious s ud n of subj c , ill hav mapped t e t r for him a line of w ork . I h ar hat a numb er of citi es a e planning to give similar s eries w e t e t w w and hil his is v ry gra ifying , a ord of arning must be sounded . N othing w ould be e e to e t te t e t e bi e e the e asi r than giv a dis or d pic ur of his r ally g id a , unl ss gr ate st care w as taken in eliminating any thought of comm ercial ized art and emphasis laid strictly upon the t asthetical he purely educa ional and e value of t movem ent. Of o n e thin g w e may be sure and that is that genui n e folk -poesy is of too h ealthy and t o e t t e to b t e te e but he sound a s ock t p rmi i s lf e r a d as a court san, t danger li es in the utilization “ of the trad e-mark folk -song What rubbish of all sorts has n ot sail ed under the name of “ ” folk-song ? A n d w ho is a l e to decid e upon its auth enticity ? T he p eople th ems elves ? N o at l east b , , h t T he e ? et n ot t t e u ee t t . e but n ot w . un il p blic has b n augh discrimina ion sing rs Som im s , al ays Qu es tion : W ho may th en be considered the rightful p erson or p ersons to take the l ead in a movement of this sort?
er . T h e t e w h i w A n sw e sci ntifically rain d musical theorist, o s endo ed w ith healthy musical I t t t the n ot e literary instinct. t is a pi y ha musicians do manif st a little more interest in the h ee t b fi w elfare of t e p eople if only from a f ling of social r esponsibility . In hus en e ttin g
h w b ben fittin t . f h t e p eople, th ey ould also e e g h ems elves O primary importance is t e t n n te e the o an d t the t the rainin g of si gi g ach rs for public scho ls his , in las analysis , is
h e h te . busine ss , or should be t e busin ss of t e sta
t e e e t to e w e w to e e p e t t e w ho In bringing h s conc r s a clos , ish xpr ss our a pr cia ion on hos have co -ope rate d w ith us in the w ork of pre p aring the programs : M i r r th iflicul t t h h To ss C a olin e V. K e r, for e d t ask of ranslating or editing t e texts of t e w e t e te the w a o f e n t te t e t t e son gs as ll as o h r ma rial , in y xpla a ory no s and ar icl s ha hav h Ow to the t e t t t e e e t w e formed a regular part of t e program . ing circums anc ha h s conc r s re e t t e e t w e e n w arran ge d from w eek to w ek , and ha ach program d al ith an ntir ly e language u e the w to be e e the h e t e e t e e e or gro p of languag s , ork had don und r i gh s pr ssur h r by incr asing the editorial difficulti es . Thanks are also due the Lan guag e P rin te ry for the z eal and pati ence displayed in the m Ow to the e e e t e t e e the w te t progra s . ing v ry p rc p ibl shor ag in skill d labor during in r mon hs , h h it w as often a matter of physical impossibility to s ecure t e desire d accuracy in t e programs . e e the t e t t e t t the w w e e e Indulgence is th er fore ask d for mis ak s ha cr p in o programs , hich r mad avoidable by the short intervening period and the te chnical difficulties conn ecte d w ith the printing of so many foreign languages .
e te e te the te t t - e t w t e w Thos in r s d in sys ma ic s udy of folk po sy , bo h in ord and on , ill find a - It w ealth o f avail abl e material in the N ew York P ublic Library at Forty Second Stree t. w ould be manifestly impossible to include a detail ed list of these publications w i thin the limited bu e e t e to e t space of th es e program books , t all d sir d informa ion in r gard popular and sci n ific h B the w orks on this subj ect m ay be obtained from t e card index at the library . ut in Music r t b d the w e t A e D ivision , R eference D epartment a e o e foun follo ing coll c ions of m rican Folk Songs : 9 ld P t . 1 8 9 . 1 B arton William E . O lanta ion Hymns ' ”
2 C hafl . T he Et ee e t N e e e . 1 848. Gumbo hiopian Gl Book , a coll c ion of popular gro M lodi s 1 45 . 8 . 3 C om m uck Thomas Indian M el odi es . “ T h ” 1 0 7 4 C urtis N atali e . e Indian Book . 9 .
S A t A e . 5 C urtis N atali e. ongs of nci en m rica
1 1 . 6 C urtis N atali e . N egro Folk Songs . 9 8 “ II - I . . 19 10 1 . D e o e . hi era 3 7 nsm r e Franc s C pp Music , 1 18 t . 9 . 8 D ensmore Frances . Te on Sioux Music 1 0 9 6 . 9 Fl etch er A lice . Indian Story and Song .
n h e t t . 1 91 7 . 1 0 Gill J osephine Mc . Folk So gs of t e K n ucky Moun ains “
S . 1 901 . 1 1 Hallow ell Emily . C alhoun , P lantation ong s “ ” 12 Ju ilee and P lan tation Son s as sun y the Hampton Students . b g , g b 184 e . 3 . 1 3 Lincoln Iairu s. A nti Slav ry M elodi e s 1 P t t S . 901 R t e e . 1 4 e e C . C G nn r , a hbun and l av land abin and lan a ion ongs 1 9 14 C N e e . . 15 P orter Grace . l eveland gro Folk Singing Gam s “ h te t t 1 6 1 6 Slave Songs of t e U ni d S a es . 8 7 . “ 6 w e e e 19 1 . 1 7 W yman Lorain e and Ho ard Brockw ay . Lon som Tun s
Page Four a m
IA SON GS OF T H E N ORT H AM ERIC AN IND N S .
C oll ected from the singing of Indians on the different reservations by N atalie C urtis . “ ’ ” e t te e te T he te e . T x and no s r prin d from Indians Book , by cour sy of Harp r Bros E he e the ven as t R d Man is a race distinct, so is his music w holly individual among hi w his races of mankind . In ritual of poetry and song is enshrined for the Indian s orship ,
h t he w e w his e e . e is e e e t e t is ory , and t hol un ritten literature of p opl Th re scarc ly an v n gr a e i is to be R ed or small , scarc ly a task, li ht or rave but has ts fittin song . Song Man not g g , g only of sacred and ceremonial u sa e but a constant sin u alarly important expression of g , g e xi te e t e - so t t t t e t are e e t e e w s nc i s lf, impor an , ha c r ain songs b qu a h d in dying, or hand d do n in famili es as treasured possessions . In the m uic of its aborigen es, A merica holds a rich
t N . C . and almost un ouched field of inspiration .
N ATA LIE C URTIS 1 i c r on aw n e . V to y S g. (P e ) ( F ree M etrical Translation . ) R eraw ha-a Th ey are coming, Reraw ha-a Th ey are comin g Reraw ha-a rera e the t , he Lo, victor hos s ya Yo ! P ara r iku ratutah Forth to meet them go the w omen R eraw ha-a rera e With the risin sun ya he g ,
P ra t ara riku tu ah Like to th ese w ho how are coming, - Reraw ha a e n ~ r ra e With the rising su , ya he
Rasakura uk - r uksa reraw h a N ow the sun , Reraw ha-a Hast sent to earth his hosts of sunbeams R eraw ha-a Sw iftly speeding R eraw ha-a W ho are coming Reraw ha-a rera e Who are coming un h With the rising s , ya e R asakura rura w hia Yo ! ’ R eraw ha-a h rera e . R adian t n ow t e w arrior s triumph
In the rising sun .
the w r e r h In this song , arriors a e r turning from w a just as the sun rises . T e w omen go forth to ee the t w h r m t vic ors , o a e coming all splendidly decked and painte d . T he rays of O o the rising sun touch the earth and sp eed sw if tly over the ground until th ey shine upon the
Vi t . T he e e th h h w c ors hidd n m aning of e song is t e victorious pow er of t e sun , of hose con e i the w r q u r ng rays arriors a e the human sym bols . “ 1 the t t h ” firs s anza , t e many comin are the w arriors in the s econd the sunbeams are g , , m ean? 3
- Son gs of the South east .
- in n C orn Grin d g So g .
- - h w A m i ola tsin a u un e Yonder yonder see t e fair rainbo , t , e Elu elu t w h e See the rain ow rightly deck d and painte d . , oma aha b b Ki w uloki l N ow the w w et ew to a a p ena w u okia. s allo bring h glad n s your Kesi llw am am corn “ H li n H itherwhrd t e w t e w to iyan e . Singing , hi h r ard, hi h r ard , ” Kesi liw am an i rain , ”
N l t e co e . api hanan iyah e. Hi h r m “ t e w t e w t e w Singing , hi h r ard , hi "h r ard, hi h r ard , w hite cloud , ” Hith er com e . h N ow h ear t e corn plants murmur , “ ” W e are grow ing everyw h er e .
T h w how . Hi yai . e orld , fair
t the h e w h i In his song sung y Zuni Indians , t rain o is ima ined as t e Ra n ow Youth b b g b , “ ” he e e t T h w h i e w t e e . and is d scrib d as brigh ly d ecked and painted . s allo is summon r of ra n “ T he Zuni says he sings for rain n i Zu i is on e of the most fam ed of all the P ueblos . It s n ow agreed that the S even C t e G ibola e the e w e e e t w it the t t of i i s of . chronicl d by Spanish discov rs r id n ical h habi a ions the . C the m te e h P embl e It the w e Zunis orn is ain sus nanc of t e o p opl e . is ground by om n in “ ” t e di t e e t te T he w ee to the w w s on grin ng roughs call d m a s . oman kn ls ork and s ays back and t w it t w . A h l for h h rhy hmic s ing s s e rinds she sings . n Zuni at such atherin s the youths g g g , et e h som im s sing, or play t e flute and drum w hil e the maidens ply the ston e s an d later all n joi in a dance . 4
ro Ko sta Katz ina T aw i.
K ar sta K atz in n o e So g .
e em D e h C r onial anc Song of t e Hopi .
Sik a volim u Ye w tte e y llo bu rfli s , H um isi manatu Over the blossoming virgin corn Talasi yammu With pollen -pai n ted faces P itz an w a tim akian s on o r g g C ha e e another in brilliant thr g . -n i n Tuve an uy m a i.
w volim u e tte fl e Shak a Blu bu r i s , M o z hisi manatu Over the blossoming virgin beans Talasi yam mu With pollen -painted faces - n i C e on e t e t e i t . Tuve n an guy m a . has ano h r in brillian s r am
H um isi t O e the mana u v r blossoming corn , Am un aw ita Over the virgin corn l T atan gayatu Wi d bees hum .
T okiyuyuw in tan i.
M oz hisi Over the blossoming beans A m un aw ita Over the virgi n b eans
T atan gayatu Wild b ees hum .
T okiyuyuw in tan i. U mah uyi Over your field of grow ing corn A m un w it A ll day shall han g the thunder-cloud ; Yoi-um um utim an i Over your fi eld of grow ing corn
T aw an aw ita A ll day shall come the rushing rain .
its th et Koian im tiw a t N o on e had as yet heard this song w hen au or , a young po , p , firs H e t e it e in offer ed to sing it for the recorder . had jus compos d for a coming danc May “ “ ” K ro Katz in a D e w the t a w e w e e C orn P lanting Tim e a o sta anl , in hich ka sin s ar masks h r ‘ ‘ h i w Ko ian im tiw a m o t the tte e on is p ainted t e ra nbo . Said p y s ng is abou bu rfli s flying E e the o a n t e e e e e over the corn fields and b eans . v n as H pis p i t h ir fac s for a c r monial danc so have the butterfli es painted th emselves w ith pollen for their fligh t over the corn blossoms . ‘ ‘ ‘ ” T he littl e tend er shoots of young corn are calle d virgins or maid ens and w hen the corn ” “ - N . C . is row n and ears fruit it is call ed the mo th er corn . g b ,
P age Six
7
i le avid L tt D .
tt e D ’ Li l avid , play on yo harp , Little D avid w as a shepherd boy , H all l H ll e u . a elu . H e killed Goliah and shouted for joy . itt e D ’ L l avid , play on yo harp C horus , ’ H allelu . tt e D i l Li l av d , p ay on yo harp , etc .
J o shus w as the son un of N , ’ H e never w ould quit til the w ork w as done , tt D i ’ Li le av d , play on yo harp , etc.
“ - N os . 8 1 0 ar h , e from t e collection Folk Songs of the Kentucky Mountains Tw enty tradltion al t e E - t te th h ballads and o h r nglish folk son gs , no a d from e singing of t e Kentucky i e e e M Mounta n p opl , arrang d by Jose phine cG ill.
E . t t N te . e e e In roduc ory o by H . Kr hbi l ( Boos y an d C o . )
t t to te e atributed th e e t h w In his in roduc ry no , Mr . Krehbi l e ph nom non hat t e ords and tunes of s everal English ballads have b een handed dow n orally for generations among the t ee e t to the t e t at t e e ee e i the moun ain rs of K n ucky , circums anc h h r had b n a larg r surv val of E tt the ta e e t e e ee Vir old nglish and Sco ish ballads in moun inous r gions of K n ucky , T nn ss , i eo the C e ew e e the t e e the t w g nia , G rgia and arolinas than ls h r in coun ry b caus of isola ion in hich “ ” h e derin ll t . e b e to t e e an B a ads e inhabitants lived Mr . Kr h i l also r e f rs h s songs as W g a e i he e t e d monstration of w hich has been given tw ce during t cours of hese conc rts . w h “ Such is also the con clusion of Miss M cGill, o finds in r emote sections of the w orld , ff melodic survivals ance stry w hos e can be trac ed to far distant lands and clim es . Shut o in h t ee e e e e ita e his mountain fastne ss es , t e Kentucky moun ain r has pr s rv d as a proud h r g many traditional ballads and fin e old English and Scotch folk-songs brou ght to A merica by h r w he 1 14 h his colonial ancestor . T e esetn collection as made in t autumn of 9 , in t e heart — p of the mountain region many mile s from the n ear est railroad .
NAT JA N IESSEN ST ON E
r a en irl The Fo s k G .
Kentucky Mountain Song
’ 0 e e e t t t I w alked out on e morning so early in spring , don t you r m mb r las Sa urday nigh , ? To hear the small birds w histle and the night T he w ords you said as you sat by my side m e e t in gales sing ; You told m e you loved , your h ar lay in I e e t t w as all at a distance, I h ard a sad moan , my br as , “ I am a poor strange girl and far from my That unless w e got m arri ed you never could
e t. home . r s ” “ - os. 9 11 20 21 N , , , , 22 are from the Lon esom e Tun es : Folk songs from the Kentucky Moun lu ta s . Words collecte d and edited by Loraine Wyman ; pianoforte accompaniment by How ard w h . e t e . rock ay Publish d by H W . Gray C c . N ew York. B ,
KEN T UC KY M OUN TA IN SON GS .
Miss Wyman says of this collection : In publishin this coll ection w e wish it to be g , es e as e as p rimarily an impr sion of Kentucky m usic that is to say , son s reproduc d , n arly , g p ossible, as w e heard them sun y the people re ardless of their extraneous defects . To g b , g correct these melodi es and to p erfect the poetic versions w ould be to give them a totally dif ' f r n is the e e t character . Our main effort has been to give the simplicity and naivete w hich re t e t g a quality of th se moun ain songs .
Bede-time-son g
Saw a crow a flying low Kitty alon Kitty alone-a-lie A n d a cat a-spinning taw - - - — Rock a marry a ree .
In came the little bee
With some honey on his knee.
In came the little flea
With a fiddle on his knee .
In came the little rat With some butter and some fate
Kitty alone etc. ,
rr ee The C he y Tr . Kentucky Mountain Song
T h e e fe J oseph and M ary w ere w alking on e day e J sus spok a w w ords , a few w ords e H e ere are apples , here are cherries enou h to spok , H , g Le t e e e e e b low behold . t my mo h r hav som ch rri s ow , ” dow n C herry Tree . 11
The B arn yard Son g
f h I ed a cat and t e cat pleased m e, I had a cow , f ca e - ed e t ee. I my t und r yond r r C ow goe s m oo m oo . l - -f C at goes fidd e i ee .
I had a horse h n I had a e , 1 - h orse goes n e gh n e1 . - H g H en goes chim m y chuck .
I had a duck I had a dog and the dog ple ased m e , - D e . fe do e uck go s quack quack I d my g und r yonder tree . D b - og goe s ow w ow , - I had a oose, e oe e e g Hors g s n igh n igh , e w - w - Goo se go s s ishy s ashy . C ow goe s m oo moo, H o f - g goes gri fy gruffy. - I had a sh ee p , ee e ba ba Sh p go s , - — Sheep goe s ba ba. Goo se goe s sw ishy s w ashy, - D uck goes q uack quack , h him - - I had a og, H en goes c m y chuck chim m chuck y , H tt - r ff - - og goes gri y g u y . C at goe s fiddle i fee .
REIN HOLD W ARLIC K
Edw ard.
” — - This song is from the collection A m erican En lish Folk Son s collected in the South g g , ( n A lachi z an s e w it P n o e . pp and arrang d h ia oforte acc mpanim ent by C cil J . Sharp ( G ' li1rm r Sc e . i
- ? ? H ow came this blood on your shirt sleeve H ow cam e this bloo d on your shirta sleeve 0 cle e te m e . , ar lov , ll O d ear love tell m e . , , It is the blood of the old grey hors e It is the blood of my brother -in -law h e t t e m e m m m e T at plough d ha fi ld for , e, e , That w ent aw ay with e, m e , m ,
t e m . Tha plough d that field for m e . That w ent aw ay w i th e It e too e the e do s look pal for old gray hors , t e t e t ee Tha plough d hat fi ld for th ee, hee th , ’ , ? A n d it s w hat did you fall out about t e t Tha plough d hat field for th ee . A bout a little bit of bush
That soon w ould have made a tree, tree , tree. H ow cam e this blood on your shirt—sleeve ? e 0 , d ar love , tell m e . ’ ? It th the e - A n d i s w t w l n ow e is e blood of old gr y hound t ha il you do , my lov ’ at t ed t t m in e Th rac ha fox for e , m e m e I ll set my foot yond rs ship , , ’ h a t t t t e se . Tha raced hat fox for m e . A n d I ll sail acros s
’ n i ? A d t s w hen will you com e back , my love e the t t e ee Wh n sun s e s in o yond rs sycamore tr , n b b A d that w ill never e, e, be .
t h ee s re res n Mr . Sharp says of his song : T e songs in this coll ection have b n shos en a p e tative examp les of the traditional songs b equeathed to the mountain - singers by th eir immi - h u ette e a t t e t . re e gr n Bri ish for fa hers Th ese songs a t e produits of nl r d , unskill d musicians t w te e t e t e t be e t e t e t . Th e and ha v r h ir origin , h y s and and mus judg d by h ir in rinsic m ri s ”
t n e are e t e w w i t an tte a a te t . u s pr s en ed precis ely as th y ere no ted dow n , thou y a mpt t l ra ion T he motive underlying this ballad has b een ad o ptei into the folk - song literature of many E urop ean countri es .
P age T en
“ ” e the a e o f the w te t e the P an - e t te ee e Sinc dv nt hi man in o T xas , Handl s a has b n a gr at t e t t e t t e to ee e w cat l coun ry , so vas in ar a ha in ord r k p any s mblance of la , it w as found “ ” necessary to organize a band of R angers w ho formed a sort of fronti er battalion and “ - - a e ee e e e m en t m e n U . S . e e w e e h v b n d scrib d as polic , mili ia , and Troop rs , all in Th y r a body of fearless m en of unerring m arkm en shi and cool darin and as they all had been p g, “ cow - t e ee e to be - - o se boys , h y s m d half lizard , half h r . “ ” on the e a el In this song, e of T x s R angers t ls the story of an adventure w hich b efell ” t e t e en w e t to m a a a body of h se fron i rsm hil rying k e a st tion in safety . They w ere sur prised by a band of Indians w ho vi ew ed w ith incr easing dis trust the migration of the w hite m n t t e te t e e te w t h e in o h ir rri ory and r s n d ha t ey . n ot unjustly , felt to be an invasion of
t . their lands and ri gh s N . C . ( A nother and more extensive version of this ballad is foun d in C ow -Boy Song by J x C . . ulia . Loma )
Quadrille T un e. ( A rkansas)
“ B ased on Old D an Tucker arranged by N atali e C urtis from the singing
of Lee Witt.
’ D an e fin e Old Tuck r s a old man , - H e w ashed his face in a frying pan , H e his e w it w -w ee e comb d h ad h a agon h l , - A n d died of a tooth ach e in his h eel . ’ n e Git out o the w ay of old D a Tuck r ,
H e came too late to git his supp er .
Old D an e w as t e e D e D e t Tuck r originally an old mins r l song , compos d by ani l ca ur “ “ ” H w as t e E n D e te . e mm ett, k ow n far and w ide as Old D ave ca a famous mins r l man and “ ” e t te 184 3 . the author of D ixie . On e of the first print d versions of his song is da d In a t w ho t m e w as on e the n ote to this son N atalie C urtis says : Lee Wi t, sang his song for , of g , A t the e th C best living sp ecimens of the old A m erican pioneer stock . clos of e ivil War , his w w e e t father like countl ess other youn Southerners moved w est ith his if and a i s . s opping , g , b b
e ett N ew e . for a w hil e in A rkansas , Indian T erri tory . and T xa s, and finally s ling in M xico T he old e e A w e he w as a are e w tte the danc songs h ard in rkansas h n boy , ind libly ri n upon m emory of Lee Witt and his sin in of th em evoke s a picture of the crude dance hall w th , g g i a sque akin fiddler s eated aloft on a arrel the stamp of h eavy feet and the air fill ed W ith g b , " h h w e e the w e e . t e jovial laugh of t e pioneers , hos e sturdy spirit conqu r d ild rn ss
‘ C LEF C LUB M A LE QUARTET TE
’ er Steph en Fost s Son gs.
- th t i e e the w et t e e T he se son gs are n ot genuine folk songs in e s r ct s ns of ord , y h y hav h ld S t w 1th been so compl etely absorb ed into the life of the nation and mirror t e O ou h such - fidelity that like folk son s th ey have com e to elong to the p eopl e . , g , b b his tradu on s w e e en tlrel w e e P a . 1 826 ut y Stephen Foster w as born in La r nc burg , , in , r southern ow in to the fact that his moth er w as a Virginian and his father a native of Mary , g t e t the t t t his l and . H e w as n ot a professional musician and his , p rhaps accoun s for fac ha - t t w h1te m an H e 1 86 4 . It e e songs clos ely resemble folk song . e di d in is r markabl ha a i e t t the e e e should have displ ayed such sympathy and und erstandi n g of N egro l f , ha color d p opl h S t of A m esica as w ell as the w hite acc ept his music as the ess ence of the sp 1r 1t of t e ou h ,
land.
P age T w elve h darkies , ow my heart row s w eary O g , h Far from t e old folks at home .
M ld Ken uc om e y O t ky H .
My old Kentucky home e t e the the , Th y hun no mor for possum and Goodni ht! Goodni ht! g g coon, e d w the the e On m a o , hill and shor ; T he sun shines bright in the old Kentucky e e the e the Th y sing no mor by glimm r of moon , e h h hom ; On t e bench by t e old cabin door . ’ ’ T is u e h r s mm r, t e darkies are gay ; T he day goes by like a shadow o e the h eart , ’ ’ T he -t he h e corn op s rip e and t meadow s in t e With sorrow w here all w as d light,
bloom , T he time has come w hen the darkies have to h h While t e birds make music all t e day . part, T he the tt e e e t! young folks roll on li le cabin floor, Th n my old K ntucky hom , goodnigh l A l. merry, all happy and bright, ’ B y n by Har Times comes a-knocking at the T he head m u t b w and the back w ill have to ti ien g oor , Then my old Kentucky home oodni ht! Wh erever the darkey must go ; , g g h C horus A few more days and t e troubl e all w ill en d, h h - Weep no more, my lady , In t e fields w here t e sugar canes grow .
Oh ! w eep no more today ; A few more days for to tote the w eary load , ‘ ’ W e w ill sing on e song for the old Kentucky N o matte r , tw ill never be light
om e A few more days till w e totter on the road ,
For the old Kentuck home far aw ay . Then m y old Kentucky home, goo dnight !
l B la e O d ck Jo .
Stephen C . Foster .
f P e. A rranged by N . C li ford ag
n e are the w e ea w as g W hy should I w eep w hen my heart should Go days , h n my h rt youn
a feel no pain , and g y, Gone are my fri ends from the cotton fields W hy do I sigh that my friends come not w again ; a ay, n the e t to ette w Grieving for forms ow departed lon a o , Gon e from ar h a b r land , I kno , g g “ “ t e e t e e Old I hear their gentle voices calling : Old Black I hear h ir n voic s calling . Black ” ’ ' goe l J oe . C horus ’ ’ e e are tl e t e . W h r e h ar s onc so happy and so I m coming I m coming , For my head is b ending low ; éree ; T he e so e e I hear those gentle voices calling childr n d ar, that I h ld upon m y ” Old Black Joe ! knee ? Gone to the shore w here my soul has longed M N T AI F S N G-S KEN T UC KY OU N OLK O .
J ULIA HEN RY
20
Th i in al e N ght g e.
C t e t ( Harlan oun y , K n ucky)
“ ’ r i n n t On e m o n n g o e mornin , o e mornin in ett , e t it s t e to e g g Pr y lady pr y lady, im giv ’ ” Mar 0 er - k w t e I m et a fair coupl e a ma ing their ay , 0 no , pret y soldi r , pl ease play on e tune n l n e A d on e w as a ady so neat a d so fair , mor , ’ T he t e e e tee . at e e e the t on e o h r a soldi r , a brav volun r I d r h r h ar your fiddl or ouch of “ Good mornin g, good morning, good morning string the w te a- lidm e h to thee , A s see a rs g g , h ar t e night
ingale sing . ” e t ? 0 w here are you going, my pr t y lady “ - tt e w a to the the sea Pretty soldier, pre y soldi r , ill you marry O I am going banks of , h - e the m T o see t e w aters a gliding, h ar night e ” t e e be ingale sing . 0 no . pretty lady , hat n v r can ; I have a w ife in London and children tw ice ’ W e hadn t b een standing but on e hour or tw o thr ee ’ he w h too m e Wh en from his knapsack a fiddl e dre , T w o w ives in t e army s many for l T he tune that he played made the val eys ring , e - ea the t 0 see the w at rs a gliding, h r nigh
ingale sing .
21
illi B B e oy.
t e t (Jackson C oun y , K n ucky )
“ e e ar e e C an she w e e e e Wh r e you going, Billi Boy , Billi Boy s p up a hous , Billi Boy, Billi ” e e r ? ! Wh r a e you going, charming Billi e “ ” to see w C an she w ee e h rm in ? I am goin my ife s p up a hous , c a gf Billi e “ A h e h w e t t e pl asure of my life , S e can s e p up a house ’ t n n her A ca e She s a young hi g and can ot l eave s quick as a t can catch a mous , ’ mother She s a youn g thing and can n ot l eave her
mother . C an she e ie e e bak a ch rry p , Billi Boy , Billi ! o an h be d C s e make up a Billi e Boy Billie Boy , y , ” ” C an she e e ie e ? C an s he e bed e ? bak a ch rry p , charming Billi mak up a , charming Billi “ She can bake a cherry pie She can make up a bed A s cat w her e e S e e eet e her e quick as a can ink y , v n f abov h ad ’ ’ She s a young thing and can n ot l eave her She s a young thing and can n ot l eave her
moth er mother .
H w sh e o old is e, Billi e Boy , Billi Boy , H h ? ” ow old is s e, charming Billi e “ w e e e Tw ice six , t ic s v n T w ile tw enty and e leven ’ She s a you n g thing and can n ot l eave her
mother .
24
’ C e u- ackin n tt P g So g.
( From the shipping docks of Savannah ,
Georgia . ) i ’ Screw d s cott n , heh ! e e w e e heh ! r com , boys H , ’ e n h Scr w dis cott , he ! e e w e e heh ! H r com , boys , ’ e t n heh Scr w dis co t , ! e e w e e heh ! — H r com , boys , Screw it tight heh ! D o it ri ght—heh !
’ ’ i n h Screw d s cott , he ! D et t e heh ! on t g ir d , ’ ’ i t n h h ! Screw d s co t , e D t et t e heh ! on g ir d , ’ ’ Screw dis cott n , heh ! D et t e heh ! on t g ir d , ’ — ’ — Wid all yo might heh ! Time ain t long heh !
’ Keep on w orkin heh ! ’ Keep on w orkin heh ! ’ Keep on w orkin heh !
h r l te N t e t e the w i In e exp anatory no s , a ali C ur is giv s follo ng graphic picture of the ” cotton-picking proce ss “ A derrick from the ship let dow n a gr eat hook and hoisted a bale on w hich kn elt a C tt e e w h N egro to balance the load . o on and n gro mov d slo ly through t e air ; th en dow n t the e t t the l the e w as w e e to be e e the w t e in o op n ha ch in o ho d bal lo r d , s iz d by ai ing pack rs :xn d stow ed aw ay w hile the hook sw ung up an d out a gain w ith the dangling N egro clinging c tz o lf ” T he cotton w as stow ed in the hold by me an s of iron screw s w hich squeezed the bale s ti htly and compactly into the smalle st possi l e place A s the m en strained at their task g b , t e w e fin e-t e w e e e u cut a chan aros hos on d phrases r r g larly y a sharp , hi h cry b g , to emphasize the pow erful tw isting of the screw s by the rhythmic muscular movements of e e w it t e w e e o e an d w e he - i the singers . V rs s hou numb r r im pr vis d many er t cotton p cking ” chants of w hich this on e may be regarded as a typical example .
’ - an n C ott n D ce So g.
h h ! Sing dis song, e ( From Slavery Times in Florida )
’ ’ ’ Jim he ber m e a tater ie I ben ma head dow n to dat groun , p , — ’ ’ — ’ ’ Way dow n in de cott n fiel Way dow n in de cott n fiel ’ ’ i d ’ at h e cott n D idn t look up t ll mad e at roun , D e could pick mor dan I , — ’ ’ — ’ ’ Way dow n in de cott n fiel Way dow n in de cott n fiel ’ ’ w a e dat row hit D en dat sun w as almo do n , I str ddl an did fly, — ’ ’ — ’ ’ Way dow n in de cott n fiel Way dow n in de cott n fiel ’ ‘ ’ ’ w in dat ie t tr Jim didn t had bu t fifty poun , I p an didn half y, ’ ’ — ’ ’ — n fiel Way dow n in de cott n fiel Way dow n in de cott .
o h e an d e e to e e e T he cotton pick ed it w as haul e d t t e scal s w eigh d . Th n c l brat e w ho w te to the en d of th eir la ors the N e roe s roke into a jubilant dance. A nyon an d b , g b dance l eap ed into the op en space in the centre of the circle ; then w hen a dancer tired he fell back and joine d the outer rin w here he poun de d an d clapped and sang w ith the rest. g , - - - a t the tt fields This dance song w ith its five toned scal e is prob bly s ill sung in Florida co on , A e etw ee the tt - e thou gh it re aches back to the early days of slavery . rac b n co on pick rs “ ’ ” ” te - ie e t e e t to the for the. w ager of a ta r p adds z s and m rrim n labor
t few te t e e e ee e e e . ( Ow ing to the length of his song, only a charac ris ic v rs s hav b n s l ct d )
0 o M 4 0 Grl
h 44 38th t. N . . T e Language Printery , 3 W . S , Y