This is the first new modern edition of these Schubert Lieder with their piano accompaniments arranged for guitar by Napoléon Coste. For voice and guitar. Edited and with an introduction by Brian Jeffery.
First published in this form by Tecla Editions in 2011.
48 pages. 12 x 9 inches.
“Schubert books arrived this morning. Many thanks. After a quick play through I’m amazed at the quality of Coste’s arrangements. All eminently doable. And your editions are a joy to work with.” (Chris Susans, guitarist)
Arranged by Coste just a couple of years after Schubert’s time, and while Coste was still a young man and quite possibly still a student of Sor.
“The edition of Schubert Lieder is of superb quality” (a customer, October 2011)
This new book of Schubert Lieder arranged for guitar by Coste presents a group of songs by Schubert whose piano accompaniments were arranged for guitar by Napoléon Coste, probably in about the 1830s, that is to say very soon after Schubert’s time. Coste’s guitar accompaniments are quite good and will be a valuable addition to the repertory for voice and guitar. At the time Coste was a student of Sor in Paris, and quite possibly these limpid and uncomplicated accompaniments may show Sor’s influence. They have not previously been published in a new re-engraved edition in our own time, as far as I know.
Coste wrote his guitar accompaniment to French texts and it should be clearly understood that in this edition we have newly underlaid the original German text to his guitar accompaniments, for the convenience of those performers who may wish to sing these songs with the guitar with the original German text.
The songs are:
1. Gretchen am Spinnrade (e to a”)
2. Der Tod und das Mädchen (a to e’ flat)
3. Ständchen (Leise flehen) (d to g’)
4. Sei mir gegrüsst (f sharp to f’ sharp)
5. Das Fischermädchen (c sharp to g’)
6. Schlummerlied (c to f’)
7. Des Mädchens Klage (d to f’)
8. Das Wandern (e to e’)
9. Wiegenlied (Schlafe, schlafe) in A (e to e’)
10. Wiegenlied (Schlafe, schlafe) in G (d to d’)
11. Ständchen (Horch, horch, die Lerch) (e to e’)
12. Adieu (d sharp to f’ sharp)
13. Auf dem Wasser zu singen (e to g’)
14. Ave Maria (e to e’)
Ranges: Most of the songs go up to f, g, or a so they will suit a tenor or soprano, but one, Wiegenlied in G, goes up only to d’. The exact ranges are indicated above as follows:
a, b, c, and so on up to g: this means from the a four notes below the treble stave, up to the g which is on the second line of the treble stave.
a’, b’, c’, and so on up to g’: this means from the a which is on the second space of the treble stave, up to the g which is on the space just above the treble stave.
a”, b”, c”, and so on: this means from the a which is on the line immediately above the treble stave, upwards.
The cover picture, by the way, shows a path leading to the infinite, by the side of a Bach, where a Müller might perhaps wandern.
The opportunity has also been taken now to publish separately, as another new Tecla publication, Beethoven’s song Adelaide with its piano accompaniment arranged by Napoléon Coste for guitar.
The engraving of this new edition is by Alexander V. Trukhin.
Copyright 2011 by Tecla Editions. Errors and omissions excepted.