Dr. David Mathie
Trombonist, Professor, Arranger
Schubert - Songs for Trombones
1. An den Frühling
2. Die Nacht
3. Fischerlied
4. Der Geistertanz (five trombones)
5. Jünglingswoone
6. Leise, leise laßt uns singen
7. Räuberlied
8. Trinklied
Trombone Quartet/Choir
Difficulty Level: High School through Professional
1. All parts in bass clef
2. Trombone 1 up to high A
3. Trombone 4 part does not require a bass trombone
Published by Alessi Publications, Catalog Number ALPUB45
Click below to hear Der Geistertanz (performance by the Boise State University Trombone Choir)
Click below to hear Räuberlied (performance by the Boise State University Trombone Choir)
ABOUT THE MUSIC
The early years of the nineteenth century were noted for music composed for educated
middle-class amateurs. In this genre we see the great chorus and orchestra works by
Mendelssohn and Schumann, piano pieces by Beethoven and Brahms, and the smaller
choral works of Schubert and Brahms, which were meant to be performed informally at
home. Schubert wrote almost one hundred of these pieces for various combinations of
male voices, twenty-four of which are for unaccompanied four-part (TTBB) men's
chorus.
These transcriptions of the twenty-four songs for men's chorus are taken from the
complete works of Schubert (Neue Ausgabe sämtlicher Werke, Bärenteiter-Verlag, Kassel,
1974). The works included in Volume I are:
1. An den Frühling, D 338, text by Schiller, c. 1816; original in G, transcription in F
2. Die Nacht, D 983, text by Krummacher, 1823; original in D, transcription in Db
3. Fischerlied, D 364, text by von Salis-Seewis, c. 1816-7; original and transcription in G
4. Der Geistertanz, D 494, text by von Matthisson, 1816; original and transcription in c;
(note that this work is written for five parts)
5. Jünglingswoone, D 983, text by von Matthisson, 1823; original in C, transcription in Bb
6. leise laßt uns singen, D 635, text unknown, c. 1819; original and transcription in C
7. Räuberlied, D 435, text unknown, c. 1816; original and transcription in F
8. Trinklied aus dem 16. Jahrhundert, D 847, text by Gräffer, 1825; original in C, transcription in Bb
All musical indications in the originals, such as dynamics and articulations, are retained
in these transcriptions; the translations from the original German are mine. All editorial
additions have been kept to a minimum and are clearly marked: added slurs are written
with dashes, and other musical suggestions have been put in parentheses - (rit.) - to
distinguish them from Schubert's. Tempo suggestions indicated by metronome
markings were added by me.
These transcriptions should always be performed in a vocal manner, never too aggressive
and with a clear consensus about style throughout the parts. All dynamics are
Schubert's, but in general the transcriptions sound better when played one level higher.
Finally, one of the reasons I transcribed these pieces (plus the Brahms Songs also available from Alessi Publications) was to give high school trombonists a chance to play great music that is not technically difficult. In fact, these pieces are played quite often in festivals by high school trombone ensembles in Idaho.
The early years of the nineteenth century were noted for music composed for educated
middle-class amateurs. In this genre we see the great chorus and orchestra works by
Mendelssohn and Schumann, piano pieces by Beethoven and Brahms, and the smaller
choral works of Schubert and Brahms, which were meant to be performed informally at
home. Schubert wrote almost one hundred of these pieces for various combinations of
male voices, twenty-four of which are for unaccompanied four-part (TTBB) men's
chorus.
These transcriptions of the twenty-four songs for men's chorus are taken from the
complete works of Schubert (Neue Ausgabe sämtlicher Werke, Bärenteiter-Verlag, Kassel,
1974). The works included in Volume I are:
1. An den Frühling, D 338, text by Schiller, c. 1816; original in G, transcription in F
2. Die Nacht, D 983, text by Krummacher, 1823; original in D, transcription in Db
3. Fischerlied, D 364, text by von Salis-Seewis, c. 1816-7; original and transcription in G
4. Der Geistertanz, D 494, text by von Matthisson, 1816; original and transcription in c;
(note that this work is written for five parts)
5. Jünglingswoone, D 983, text by von Matthisson, 1823; original in C, transcription in Bb
6. leise laßt uns singen, D 635, text unknown, c. 1819; original and transcription in C
7. Räuberlied, D 435, text unknown, c. 1816; original and transcription in F
8. Trinklied aus dem 16. Jahrhundert, D 847, text by Gräffer, 1825; original in C, transcription in Bb
All musical indications in the originals, such as dynamics and articulations, are retained
in these transcriptions; the translations from the original German are mine. All editorial
additions have been kept to a minimum and are clearly marked: added slurs are written
with dashes, and other musical suggestions have been put in parentheses - (rit.) - to
distinguish them from Schubert's. Tempo suggestions indicated by metronome
markings were added by me.
These transcriptions should always be performed in a vocal manner, never too aggressive
and with a clear consensus about style throughout the parts. All dynamics are
Schubert's, but in general the transcriptions sound better when played one level higher.
Finally, one of the reasons I transcribed these pieces (plus the Brahms Songs also available from Alessi Publications) was to give high school trombonists a chance to play great music that is not technically difficult. In fact, these pieces are played quite often in festivals by high school trombone ensembles in Idaho.