WARNING! This website contains both public-domain AND copyright-protected material.
It is illegal to copy and distribute material marked copyright
This site houses an extensive, growing archive
of texts to 130,973
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
23,325 translations to English, French, Italian, Dutch,
German, Spanish, Portuguese, and many other languages. 18,298 of these translations
come from our wonderful and dedicated volunteers.
At last count, 80,044 texts are associated with
musical settings in this collection. Of
these, 34,669 are empty because they have
not yet been located, and are left as placeholders for
cross-referencing; and 3,726 exist
in the database but are hidden due to copyright restrictions,
leaving 41,649 visible to visitors. Whenever
possible, first lines (incipits) are shown for texts that are hidden
This website was created in May, 1995 by Emily
Ezust. Emily can be reached at the following address:
(emily at lieder dot net)
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 is supported financially by fewer than 0.02% 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
I also have a wishlist at Amazon.ca.
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
956 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
- 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)
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
- 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:
University of Ottawa,
UC Berkeley, California
UC Davis, California
University of British Columbia, Vancouver
Harvard University, Cambridge, Massachusetts
UNC Chapel Hill, North Carolina
University of Toronto, Ontario
University of Alberta, Edmonton, Alberta
University of Chicago, Illinois
Brandeis University, Waltham, Massachusetts
University of Maryland