The LiederNet Archive
This website stores both public-domain AND copyright-protected material.
It is illegal to copy and distribute material marked copyright without permission.


This site houses an extensive, growing archive of texts to 134,975 settings of Lieder and other art songs (Kunstlieder, mélodies, canzoni, романсы, canciones, liederen, canções, sånger, laulua, písně, piosenki, etc.) and other vocal pieces such as choral works, madrigals, and part-songs, in over 100 languages, with 24,937 translations to English, French, Italian, Dutch, German, Spanish, Portuguese, and many other languages. 19,749 of these translations come from our wonderful and dedicated volunteers.

At last count, 82,518 texts are associated with musical settings in this collection. Of these, 35,761 are empty because they have not yet been located, and are left as placeholders for cross-referencing; and 3,834 exist in the database but are hidden due to copyright restrictions, leaving 42,923 visible to visitors. Whenever possible, first lines (incipits) are shown for texts that are hidden or missing.

This website was created in May, 1995 by Emily Ezust. Emily can be reached at the following address:

(emily at lieder dot net)

Dear visitors,
This is a personal project that I began in 1995. I receive no salary for my full-time work on it, and aside from ad revenue and copyright fees, the Archive was supported financially last year by about 0.03% of our visitors. The REC Music Foundation has generously provided server-space since 1996, but I have many costs in maintaining and expanding the Archive (and paying my bills). So if you find the information here useful, please consider making a donation. Your gift is greatly appreciated.
     - Emily Ezust, Founder
I also have a wishlist at

This site can be reached at the following URLs:

    • [this is actually the real name. The other is a shortcut]

I add new texts all the time. Please see the What's New page for details. Submissions are welcome, especially translations.

The REC Music Foundation deserves our warmest thanks for giving the archive a semi-permanent home on its server free of charge since 1996.

Notes About the Collection

  • Scope and Goal of the Project. The primary goal of this project is to collect and present the texts to art songs, partsongs, madrigals, and choral works. I do not plan to include entire opera libretti, masses, or oratorios (although you may find arias and some short cantatas here).

    The secondary goal of this project is to provide visitors with translations of the texts into as many languages as possible.

  • FAQ Frequently Asked Questions

  • Copyright Notice - disclaimers, etc. This applies to the entire site and contains important information for people who wish to use the data here.

  • All texts have been input by me (Emily Ezust), unless otherwise stated. Here is a list of 960 generous volunteers who have submitted translations and/or texts (THANK YOU!!).

  • Titles. The title at the top of a song is the one chosen by all the composers who set the text. If different titles were used, the title shown at top will revert to the first line and be shown in italics. The title the poet chose for the text is, when known, included next to the poet's name.

  • Translations. In this collection you will find only translations that I've written myself, translations that I have explicit permission by the copyright-holder to reprint, or translations in the public domain. Please do not submit translations unless they fit the last two criteria.

    • Language of translations. I will post any (good) translation to any language that is submitted to me. When someone requests a translation, I will try to find a volunteer to do it if I can't do it myself.

      The languages of available translations of a song text are identified by three-letter language codes with a blue background, e.g., ENG or GER. You can find the abbreviations on the Languages page.

    • Translation style. Many of the translations are close to literal and meant only as an aid for understanding the original language, while others attempt to capture some of the original's rhythm or rhyme. Different types of translations are useful in different situations, so I'm always happy to offer more than one translation to the same language.

    • Translation copyrights. If you wish to reprint any of the translations, please contact the author(s) directly. Every volunteer translator retains his or her copyright. If contact information is available it will show up beside the name of the translator(s). If there is nothing there, it means I have no current contact information and you will need to find out how to contact the translator (or their estate) yourself.

      You may reprint (offline) any translations by Emily Ezust for student or faculty recital programs or free concerts without asking permission, provided the following credit is given:
               Translation copyright © by Emily Ezust,
               from The Lied, Art Song, and Choral Texts Archive,

      For all other purposes, including CD booklets, re-publication online, and reprinting in non-academic programs, please contact Emily at the following address to request permission and discuss a possible fee:

      (emily at lieder dot net)

  • Transliteration. The texts are all in ISO Latin 1 with HTML entities such as ß, ø, å and é, with some Unicode characters for Czech, Hungarian, Polish, Romanian and Turkish. Russian texts have been transliterated into lower ASCII but can be viewed in Cyrillic (Unicode) at the click of a link.

    Note that names of Russian poets and composers do not use the strict transliteration scheme; for example, rather than "Chajkovskij", the more familiar North-American-style "Tchaikovsky" is used.

  • Alphabetization. Throughout these pages, alphabetization will follow North American English convention, even in transliterated indexes.

  • Poet Indexes: In the indexes by poet, the first lines of poems are distinguished by italics and the titles of poems (assigned either by the composer or by the poet) are given in normal text. If the first line is too short to be helpful, I will often append the next line as well for added ease of identification.

  • Indexes by first line and by title: These alphabetic listings follow the same conventions as the poet indexes do.

  • Dates. In these pages, years are indicated with the following conventions and abbreviations, illustrated by example:
    • (fl. 1545-1550). "fl" indicates that a poet or composer flourished in that range.
    • (c1500-1561). "c" indicates "circa", an approximation.
    • (-1933). Indicates that the year of birth is unknown.
    • (1933-). Indicates that the composer or poet is either still alive or that the year of death is unknown.
    • (1444/5-1527). "/" indicates "or".
    • (1609?-1567?8). The question marks indicate that there is a question of the year's accuracy.
    • 1456>>. Indicates that the year was sometime after 1456.
    • 1456+. Indicates that the year was sometime after 1456. (I'm phasing this notation out)
    • <<1956. Indicates that the year was sometime before 1956.
    • 189-?. Indicates the year is thought to be sometime in the 1890s.

    When possible, dates of composition and publication are indicated. Year of composition is generally given in parentheses following a catalogue or opus listing, or just alone after a comma. Year of publication is generally given followed by the word "published". For example:
                  Franz Schubert (1797-1828), "Gretchens Bitte", D. 564 (1817), published 1838.

  • Sources. The bibliography does not cover the entire collection, as many of the texts come from CD booklets, the internet, and volunteers. If a text is indicated to have been set by many different composers, the text will follow that of the most well-known versions. Where possible, variations in the texts are noted (whether from the original poem or from other composers' versions).

    Here is a list of the universities whose music libraries I have visited and used with gratitude for this project: