1.

In ca 1900, a demand arose among Germany’s educated middle-class milieu for the establishment of “simple, folk-song-like settings” of texts as “a complement to increasingly rarefied compositional techniques.”¹ The composition of such “folklike songs” (the “Lied im Volkston”) now came into its own;². it had begun as a reflection of the ideals of simplicity and comprehensibility found in the traditional folk song that had been flourishing since the second half of the 19th century and had found one of its prominent advocates in Johannes Brahms. The term “im Volkston” itself originated with Johann Abraham Peter Schulz in the late 18th century and was associated with “the appearance of what is unsought, artless and familiar.”³

From 1898 to 1900, Reger had initially busied himself with setting traditional folk songs, composing his Five Selected Folk Songs and his Nine Selected Folk Songs WoO VI/6 and WoOVI/7 in quick succession (both sets being for male-voice choir), as well as his Six Selected Folk Songs WoO VI/10, the Eight Selected Folk Songs WoO VI/11, the Twelve German Sacred Songs WoO VI/13 and the Seven Sacred Folk Songs WoO VI/14, all for mixed choir a cappella. The “folk song tone” played an increasingly important role in Reger’s oeuvre from his Twelve Songs op. 51 (1900) onwards, at least with regard to his choice of texts. After all, the “songs based on folk song texts or art poetry with a ‘folk song tone’ [...] number some 100 settings, thus making up a third of his overall song output.”⁴ We also explicitly find the title “folk song” in the texts by Anna Ritter and Marie Itzerott that Reger set as his songs op. 37 Nr. 3 and op. 79c Nr. 3 respectively; here, Reger also draws near to the style of actual folk songs by simplifying his textures.

At Easter 1903, the illustrated weekly Die Woche, owned by the newspaper magnate August Scherl in Berlin, published for the first time a special issue featuring songs Im Volkston for voice and piano. The aim of this issue was to promote singing in a domestic context. By advocating “folksy” songs, it was taking a stance both against “fashionable popular songs” (“Gassenhauer”) and the “overgrown state of concert life”, which supposedly encouraged a mere “passive enjoyment of music”⁵. A commission under the auspices of Joseph Joachim, Carl Krebs and Engelbert Humperdinck approached 30 well-known composers in Germany, asking them to submit songs in a folk style that had been composed “in the spirit of our times [...], but using the simplest framework and with the simplest of means.” ⁶ Besides Eugen d’Albert, Carl Reinecke, Hans Pfitzner and many others, the organisers contacted Max Schillings and Ludwig Thuille, both members of the so-called Munich School. Reger’s songs had thus far always been a source of controversial discussion, and it seems likely that their modernity was the reason why he received no invitation to participate. But this first special issue of Die Woche did not enjoy the success that had been anticipated, because some of the songs proved to be insufficiently popular (or too complex).⁷ The editors therefore decided to organise a second collection of their series Im Volkston that would be open “to everyone in an unrestricted competition.” On 6 June 1903 they announced a call for the composition of a song “for voice and the simplest possible piano accompaniment [...] with a maximum length of 50 bars.” Another 30 pieces would be selected for publication, and their composers given an immediate payment of 100 marks. The readers of the issue would then choose their favourites from amongst these songs. To this end, a voting card was enclosed with the issue on which readers could list the three songs that they considered to be “the most singable and the most folksy.”. The top song would be awarded a prize of 3,000 marks, those placed second and third 2,000 and 1,000 marks respectively (see Call for submissions in vol. 5, no. 23 [6 June 1904], p. 1005; signed by August Scherl).

On 29 June 1903, Reger informed his exclusive publisher Lauterbach & Kuhn that the publisher of Die Woche had “requested” his participation in the competition. Since Lauterbach & Kuhn had the right of first refusal for all his works, he asked them “for their kind permission to submit a song in the folk style”, which Reger felt justified in asking because Scherl – so he argued – was not pursuing “any artistic purposes whatsoever” with his initiative. (Letter to Lauterbach & Kuhn of 29 June 1903)Note: Reger had presumably learned of this call for submissions not via the newspaper advertisement, but via a circular that Scherl probably also sent to composers. The prospect of winning up to 3,100 marks in prize money was extremely tempting to Reger, as it meant he could potentially earn up to six times more with a single song than he had with any of his complete song collections hitherto published by Lauterbach & Kuhn.⁸ For his submission, Reger chose his setting of a Franconian folk song text that bore a title that was very en vogue at the time, namely Waldeinsamkeit (“Woodland solitude”).⁹ He had come across it in Ludwig Jacobowski's anthology Aus deutscher Seele.¹⁰ Reger seems to have submitted a version in G major to the commission,¹¹ whose members¹² included his rival Ludwig Thuille. A total of 8,859 songs were submitted;¹³ Waldeinsamkeit was not one of those selected for publication. Instead, songs by comparatively unknown composers were awarded the prizes.¹⁴

In order to be able to publish Waldeinsamkeit elsewhere, Reger contacted the editors of the new interdisciplinary journal Süddeutsche Monatshefte.¹⁵ By September 1903, they were able to announce Reger’s imminent involvement in their journal.¹⁶ His essay (“Hugo Wolf’s artistic heritage”)¹⁷ was accordingly published in the journal’s second issue, published on 15 January 1904. Eight days before this, he had sent Cossmann a manuscript¹⁸ of Waldeinsamkeit, which was apparently intended for publication in a “promotional brochure” of the “Monatshefte”, though without any indication of its history. He wrote: “I urgently request that you do not print the additional sentence: ‘Failed in the prize competition of the Woche’! 1) There is a large number of people who would be delighted to know that I flunked it; 2) 999% [sic] of humanity simply would not understand the irony directed at the judges that is inherent in that phrase; 3) In view of the artistic result of the abovementioned prize competition, it would be incredibly awkward if it became known that I had submitted anything at all.” (Letter to Paul Nikolaus Cossmann of 7 January 1904) Reger had meanwhile written another song in the “folk” style, namely Du meines Herzens Krönelein (“You, the little crown of my heart”) to a text by Felix Dahn, and Cossmann must have inquired about it. But Reger did not want to give this piece to Cossmann, especially since he considered Waldeinsamkeit to be “much simpler” in its piano accompaniment, and thus more suitable for his journal. Above all, he wanted to avoid the impression of a making “any kind of ‘barb’ directed at R. Strauß” (Letter to Paul Nikolaus Cossmann of 12 January 1904), who had already set Du meines Herzens Krönelein to music in his own Schlichte Weisen op. 21 (1890)¹⁹. At this time, Reger was still expecting the publication of his song in the promotional brochure of the Süddeutsche Monatshefte,enable it to reach a large number of people.²⁰ Although such a prospectus did indeed appear as a supplement to the 4th issue of the journal (on 15 March 1904), it only contained a “catalogue of contributions already published and due for publication in later issues”²¹, with Waldeinsamkeit listed among them. Cossmann instead intended to publish the song as a musical supplement to the journal, such as Reger had already provided for several periodicals until 1903 (the Blätter für Haus- und Kirchenmusik, Die Musik-Woche, etc.).²² When Reger asked Cossmann again on 23 March about when Waldeinsamkeit would be printed, he also informed him that the song had now already been published in the first series of his Schlichten Weisen op. 76.²³ Since Cossmann was apparently only interested in securing the first publication of a work, Reger sent him his Minnelied on 5 April as a replacement, as this was still unpublished (it would later become his op. 76 Nr. 21). Reger had probably composed this song by February²⁴ of that year at the latest, and had also set it for men’s chorus.²⁵ The version for voice and piano was published in the November issue (15 October) of the Monatshefte,²⁶ the men’s chorus in December as no. 7 of Reger’s op. 83 collection with Lauterbach & Kuhn.

Reger had already offered a mysterious hint about a new work in a letter of 26 January 1904 to his publisher Lauterbach & Kuhn: “I shall soon send you something that will make you a millionaire.” (Postcard to Lauterbach & Kuhn of 26 January 1904) Two days later, he wrote to the Berlin music critic Jean Paul Ertel offering more details: “You want to know what I am working on: a sonata (in F major) for cello and piano is almost finished; a serenade for small orchestra (with the usual Classical instrumentation (à la Brahms) is firmly in the works; then there are some extremely simple songs in the folk style – ! I can already see you shaking your head in amazement: Reger writing songs in the folk style!” (Letter to Jean Paul Ertel of 28 January 1904) He had various reasons for wanting to use the songs he had already composed to start putting together a collection of his own featuring pieces “im Volkston”. Of central importance was surely his desire to offer Lauterbach & Kuhn a lucrative product, given that they had complained about the difficulty in selling his progressive songs and chamber music.²⁷ He was furthermore obviously attracted by setting up a means of artistic comparison with the winners of the Volkston competitions: when he decided to set Daz iuwer min engel walte! (“May my angel protect you”,Wilhelm Hertz), Wenn die Linde blüht (“When the linden blossoms”, Carl Busse) and Am Brünnele ((“At the little well”, Julius Gersdorff among the first nine songs of his new series, he was choosing texts that had already been set to music by prize-winning composers.²⁸ Writing songs of manageable length and difficulty provided Reger with a degree of creative respite from composing major pieces such as the aforementioned Cello Sonata op. 78, his Sinfonietta op. 90 and later works such as his Bach Variations op. 81. Such an alternation between substantial, major works and easier, secondary works would increasingly become typical of Reger’s continuous creative process.

On 8 February, Reger informed Josef Hofmiller that he had “just composed 5 folk songs.” (Letter to Josef Hofmiller of 8 February 1904.) His collection had thus grown to encompass seven songs. Ten days later, he sent the engraver’s copy to Lauterbach & Kuhn, convinced that the songs would be a success: “Whoever has seen them up to now has been delighted by them; there is no doubt whatsoever that these little things can be expected to sell in huge numbers. [...] As a fee for these 7 songs, I ask you to credit me with 400 M [...]; I have suggested 50 M more for op. 76, which according to our usual rate would otherwise cost you 350 M, since I should like to be a party to a small portion of the great earnings that you will undoubtedly derive from op. 76, which will surely make 50 M overall seem very modest to you! [...] Furthermore, I urgently request you to ensure absolutely that none of the songs is printed over more than 2 pages (printed pages). I also ask you not to publish them as a single volume, but only as individual songs, with each song selling for 1 Mark. If you have these things engraved immediately, then they can appear as soon as possible; however, if you begin to accumulate too many riches, I ask that you should not forget the author of these 7 songs! These 7 little songs are conceived so that everyone can play and sing them! They can be used in every singing lesson [...] Adding the phrase ‘1st series’ to the title of op. 76 means that I will follow them up with a 2nd series when the 1st has become established!” (Letter to Lauterbach & Kuhn of 18 February 1904) On the engraver’s copies,²⁹ this series of songs (which Reger from the outset intended to supplement with more songs) was still labelled “Im Volkston”, and thus stood in direct competition on the music market with the eponymous publication of Die Woche. But just three days later, on the advice of his friend Karl Straube, Reger changed the title to Schlichte Weisen (“simple songs”),³⁰ a title already used by Richard Strauss.³¹ Reger also added a dedication to his wife Elsa, to be applied to all seven songs ³² Both contracting parties pressed ahead with printing the collection, even postponing the publication of Reger’s Eighteen Songs op. 75 in order for the new songs to appear first. On 29 February, just 11 days after having submitted the engraver’s copies, Reger was able to return the proofs to the publisher; he wrote that it was “not necessary” (³³) to see any further proofs. By mid-March, Reger was able to send selected performers and critics specimen copies of his “simple yet aristocratic songs [...]” (Letter to Theodor Kroyer of 19 March 1904) op. 76 nos. 1–7. As he had requested, they were published as separate numbers.

With these Schlichte Weisen, Reger wanted “to offer the German people songs that are as simple as possible, folksy and yet beautiful” (Letter to Walter Fischer of 23 March 1904), and which were designed primarily for performance in a domestic setting.³⁴ He set himself the goal of “producing 1–2 similar, small collections of 7 songs every year” (Letter to Walter Fischer of vom 23 March 1904 an ), “so that after a few years, op. 76 will probably comprise 60–70 little songs.”Letter to Theodor Kroyer of 6 April 1904 This forecast, made in early April 1904, proved astonishingly accurate. By 1912, Reger would compose a total of 60 Schlichte Weisen. In 1907, after emerging from a legal dispute with Lauterbach & Kuhn, Reger’s declaration of intent even became a contractual obligation, by which he had to provide them either with a number of Schlichte Weisen every year, or with a number of comparably easy recital pieces for piano.³⁵

2.

Translation by Chris Walton.

Reger did not have to wait long to enjoy the success he had predicted for the Schlichte Weisen. In their first catalogue for 1905, Lauterbach & Kuhn were able to confirm that the previous winter season had seen performances of “Wenn die Linde blüht” op. 76 no. 4 alone in 21 cities in Germany, Austria, Switzerland and England; “Waldeinsamkeit” and “Mein Schätzelein” (“My darling”), nos. 3 and 14 respectively), had each been performed in 20 cities, “Beim Schneewetter” (“In snowy weather”, no. 6) in 12.¹ Apart from the tenor Ludwig Hess from Berlin (the dedicatee of the Seventeen Songs op. 70), it was almost exclusively women singers who were responsible for introducing the Schlichte Weisen to the concert hall. The most notable advocates of songs from opus 76 were the singers Clara Rahn, Amalie Gimkiewicz, Sanna van Rhyn and Ottilie Hey. As of 1905 they were joined by Lula Mysz-Gmeiner, Adele Münz and Gertrud Fischer-Maretzki. It was Sophie Rikoff, however, who had been the first to sing any of these songs, on 29 April 1904 at the concert of the Munich chapter of the ADMV that had been conceived as a “Reger evening”, and which was followed attentively by the partisan members of the Munich School. The Symphonic Fantasy and Fugue op. 57 op. 57 for organ provoked opposition in the hall, as did the first performance of the Clarinet Sonata in f-sharp minor op. 49 no. 2, but the six Schlichte Weisen, two of which Rikoff sang from the manuscript, were praised. In Der Sammler, Theodor Göring admitted that “a genuinely popular tone is achieved brilliantly here without any lack of ‘high art’ in their conception”², while Rudolf Louis felt that they showed “Reger perhaps not at his most individual, but certainly from his most amiable side.”³ Edgar Istel, a former pupil of Reger’s, brusquely dismissed the Clarinet Sonata (“disconsolate emptiness and a lack of invention”), but with regard to the Schlichte Weisen he admitted that: “[...] some of the pieces are wellnigh popular in tone. So he can also do things that way – if he wants to.”⁴ When Clara Rahn sang Waldeinsamkeit and Mein Schätzelein in a concert at the “Bayerischer Hof” hotel in Munich on 30 October 1904, accompanied by Reger on the piano, an unnamed reviewer in Der Sammler wrote: “To the ultra-modernists, these newer pieces by Reger might seem insignificant or reactionary; I see in them only a path back to Nature.”⁵ In view of this unanimity on the part of the critics, which was unusual for Reger, he himself remarked: “Everyone is taking the bait (the ‘s.W.’); it’s uproariously funny!”⁶

This strategy of using the Schlichte Weisen as a kind of ‘joker card’ to win over his listeners was one that Reger employed many times at concerts of his music, and especially before performances of his more demanding works. For example, when his Sinfonietta op. 90 was first given in Essen on 8 October 1905, Reger devised a mixed programme featuring works by Bach and Mozart alongside two blocks of his own songs, performed by Adele Münz: “[...] she will naturally only sing Reger there (to my accompaniment); [...]; in the first block she will sing 4 serious, big songs; in the second block: ‘Schlichte Weisen’ (about 5–6 pieces); these will delight the audience; we will naturally make a splendid selection of songs.”⁷ The popularity of the Schlichte Weisen in the concert hall seems also to have had a knock-on effect on the sale of the sheet music. In November 1904, shortly after the first volume of the songs was published, Reger was able to report to a music dealer “that a local firm sold 300 marks’ worth of this work in 1 month!”⁸ Lauterbach & Kuhn had the foresight to plan for a correspondingly large print run. A note on Reger’s handwritten draft for the title⁹ indicates that 4,200 copies of the first volume (i.e. nos. 1–15) were printed.

The first reviews of the music began appearing when the individual songs nos. 1–7 were published. Some of them were written at Reger’s own request by friends of his. They included performers such as Walter Fischer, the organist at the Neue Garnisonkirche in Berlin, who specialised in playing Reger’s music, and Georg Stolz, the cantor and organist at St Luke’s Church in Chemnitz. In his review for the Allgemeine Musik-Zeitung, Fischer wrote: “These songs are so straightforward and easy that the amateur will enjoy them, and yet they are so profoundly conceived that the most cosseted person will find enough things of interest in them.” He noted, however, that they remained “art songs” in character: “We would not get very far in our consideration of these songs if we were to put them under the microscope of a folk song researcher.”¹⁰ Georg Stolz, writing in the Allgemeine Zeitung in Chemnitz, similarly emphasised that “Reger always remains himself, despite his exercise in moderation here”, and he added that the Schlichte Weisen “naturally have nothing in common with ‘folksiness’ in the worse sense of the word.”¹¹

In his review of the first volume of op. 76 (nos. 1–15), Arno Kleffel of the journal Der Klavier-Lehrer wrote that the word “schlicht” in the title was “a supposed attribute that one should take with a grain of salt”, since “by far the greater number [of the songs] is complex in texture and can hardly be called ‘simple’.”¹² We find many similar assessments in the reviews of the second volume of the Schlichte Weisen. Karl Thiessen, for example, wrote as follows in the Musikalischen Rundschau: “The epithet ‘schlicht’ does not mean anything like ‘easy’. On the contrary. Sometimes, very high demands are made of the singer’s intonation and ability to cope with intervals.”¹³ Hermann Teibler, the critic of the journal Die Musik, also recommended that “we should approach the designation ‘schlicht’ [...] with some caution. Even for those who are good musicians, this collection contains songs that already lie beyond good and evil.”¹⁴ Franz Rabich offered an enthusiastic review of the Schlichte Weisen in the Blätter für Haus- und Kirchenmusik (their “content can make the most sombre hypochondriac happy”), though he added: “if one does not have an artist at the piano, these showpieces of musical humour can never quite come properly into their own.”¹⁵

Reger’s choice of texts, however, was subject to criticism. The somewhat utilitarian poems that Martin Boelitz and Richard Braungart had written especially for the Schlichte Weisen were in particular deemed too trivial by the reviewers. Teibler complained that “Reger is at times not very critical in his choice of poetry, just as he sometimes provides apparel that is far too exotic for material that would actually be suited to truly ‘simple’ musical treatment.”¹⁶ Gustav von Lüpke, the music director of Katowice, was even more direct in his review for the Kunstwart in April 1907. He welcomed the “pleasing endeavour to reduce complexity, [...] to write music for today and not for the future.”¹⁷ However, the stylistic discrepancies among the poems that Reger set to music prompted him to write of “the danger of a dualism between ‘a song for music-making’ and a ‘tone poem’, which today almost requires a dual aesthetic in song composing.” He recommended that Reger should “adhere strictly, ruthlessly to the old commandment: Thou shalt set only good poems to music!”¹⁸ Reger’s primary concern, by contrast, was to find texts that could trigger music in him, which meant that such principles were foreign to his nature. In a letter to his publishers, he complained about a similar criticism from Rudolf Louis: “The villainy of Dr R. Louis has now reached its highpoint in that he miserably lambasts the texts of the new ‘Schlichte Weisen’ in order to spoil people’s taste for the music, after he can no longer condemn anything more about the music itself!”¹⁹

From a very early date, Reger set about getting his Schlichte Weisen more widely known by transposing them into different keys for different voice types.²⁰ In July 1904, for example, he asked Lauterbach & Kuhn to make “a transposition into G major of ‘Du meines Herzens Krönelein’ op. 76 no. 1 [...] at my own expense”²¹ presumably with a specific singer in mind. Reger had originally designated all the songs of his Schlichte Weisen somewhat indiscriminately as “for medium voice”, but in the spring of 1906, both publisher and composer decided to bring out all the hitherto published songs of the set (nos. 1–30) in versions for lower voice too. Reger selected the keys to be used, and while the transcriptions themselves were made by the publisher, Reger did ask to be involved in the correcting process,²² and also wanted English and French singing translations added.²³ He corrected the copyist’s manuscripts and returned them to the publisher in two instalments, on 2 and 15 June, but expressed his dissatisfaction with the copyist’s work: “for example, he has even transposed incorrectly in the voice part.”²⁴ He added: “I have improved everything in pencil; but I ask you to check the corrections of the edition for low voice of op. 76 with the utmost precision, so that no mistakes are made.”²⁵ In August, Reger also edited the proofs.²⁶ These transpositions for low voice were published the following November in two volumes, analogous to the original edition for medium voice.²⁷ English texts by Edward Oxenford were underlaid in these editions, but it was decided to forgo translating the songs into French.

At the same time as the two volumes for low voice were published, Waldeinsamkeit (no. 3) was also brought out in an edition for high voice. But no complete edition of the Schlichte Weisen for high voice was undertaken, presumably because the resultant tessitura would have been awkward for amateurs in a domestic setting. In early August 1908, Reger remarked to his publisher that “I agree completely with what you wrote to me about transposing the ‘Schlichte Weisen’ volumes I [and] II”²⁸, and he was probably here referring to their decision to transpose merely a selection of songs for high voice. However, such an edition – comprising six songs – was only published after Reger switched publisher to Ed. Bote & G. Bock in 1909.²⁹ After 1910, the other songs were also published in editions for high voice,³⁰ while volumes III and IV of the Schlichte Weisen (nos. 31–36 and 37–43) were published in September 1907 and 1909 respectively in editions for medium, low and high voice from the outset.

In November 1904, shortly after the publication of the first volume of op. 76 and just before the publication of the arrangement of the Minnelied in the Eight Songs for male voice choir opus 83, Reger announced his intention to “arrange whatever is suitable from the ‘Schlichte Weisen’ [...] for mixed choir (to be as easily singable as possible).”³¹ For the moment, this remained in the realm of intention; Reger only revisited the idea in early 1908. But when it finally came to making these arrangements of a small “selection of the easiest [pieces]”,³² Reger did not actually do the work himself, but entrusted it to the pianist Henriette Schelle, a friend of his from Cologne. She arranged the three songs Mein Schätzelein (“My darling”), In einem Rosengärtelein (“In a rose garden”) and Minnelied (nos. 14, 18 and 21), Reger authorised them by declaring himself to be “completely satisfied in every respect [...]”,³³ and they were published in the following October.³⁴ Further arrangements of the Schlichte Weisen were published subsequently, though these were made by the composer himself: Glück and Des Kindes Gebet (nos. 16 and 22) were published alongside Aeolsharfe op. 75 no. 11 and two further songs in the summer of 1914 in versions for voice and orchestra,³⁵ while the Zwölf kleine Stücke nach eigenen Liedern ("Twelve Little Pieces after Songs by the Composer") for violin and piano op.103c, arranged by Reger in February 1916, exclusively comprise transcriptions from the Schlichte Weisen, including nine from the first two volumes.³⁶

2.

Translation by Chris Walton.

Der Edition liegt als Leitquelle der Erstdruck zugrunde (Einzelausgaben und Bandausgabe), die von denselben Platten gestochen wurden, unterscheiden sich nicht im Notentext. Als Referenzquelle dienten die vielfach differenzierter bezeichneten Stichvorlagen. Insbesondere im Bereich der Vortragsanweisungen wurde oftmals den Lesarten der Stichvorlagen der Vorzug gegeben. Bei der rund zwei Jahre nach der Publikation der Originalausgaben erfolgten Herausgabe der Lieder in Fassungen für tiefe Stimme (Einzelausgaben und Bandausgabe zeitgleich) war Reger in den Herstellungs- und Korrekturprozess eingebunden (siehe Einleitung). Neben der Korrektur der aufgrund der Transposition entstandenen Stecherfehler hat Reger offenbar auch die Gelegenheit genutzt, bereinigend in den ursprünglichen Notentext einzugreifen. Wie tiefgehend und systematisch er dabei vorging, ist nicht dokumentiert, da sich die von Reger mit Bleistift-Anmerkungen versehene Verlagsabschrift¹ nicht erhalten hat. Aus dem Erstdruck für tiefe Stimme wurden daher nur offensichtliche Fehlerkorrekturen – ohne diakritische Auszeichnung – übernommen. Ob Reger auch Korrekturen der – mit Ausnahme von Nr. 3 – erst nach Übernahme des Verlags Lauterbach & Kuhn durch Bote & Bock 1909 entstandenen transponierten Ausgaben für hohe Stimme las, ist nicht bekannt. Diese Ausgaben wurden daher nicht als Referenzquellen verwendet.
Für die Edition von untergeordneter Rolle waren die Frühfassung in F-dur von Nr. 3 sowie die erhaltenen Entwürfe von Nr. 11 und 12. Keine Rolle spielten Regers eigene spätere Fassungen für Violine und Klavier (Nr. 1, 3–6 und 14) sowie die von ihm autorisierte Bearbeitung von Nr. 14 für gemischten Chor von Henriette Schelle.² Zur Edition der Erstfassung von Nr. 3 in G-dur siehe Anhang.

• Entwürfe zu Nr. 11 und 12 (E)
• Autograph Nr. 3 in G-dur (für Wettbewerb von ) (A^Wett)
• Autograph Nr. 3, Frühfassung (bereits in F-dur) (A)
• Stichvorlagen von Nr. 1–7 (SV)
• Stichvorlage Nr. 8 (SV)
• Stichvorlage Nr. 9 (SV)
• Stichvorlage Nr. 10 (SV)
• Stichvorlage Nr. 11 (SV)
• Stichvorlage Nr. 12 (SV)
• Stichvorlage Nr. 13 (SV)
• Stichvorlage Nr. 14 (SV)
• Stichvorlage Nr. 15 (SV)
• Entwurf Inhaltsverzeichnis (Bandausgabe)
• Erstdruck Einzelausgaben Nr. 1–7 (ED-E)
• Erstdruck Einzelausgaben Nr. 8–15 (ED-E)
• Erstdruck Bandausgabe Nr. 1–15 (ED-S)
• Erstdruck für tiefe Stimme Nr. 1–15 (Einzelausgaben und Bandausgabe) (ED^tief-E bzw. ED^tief-S)
• Erstdruck für hoche Stimme Nr. 1–15 (Einzelausgaben und Bandausgabe) (ED^hoch-E bzw. ED^hoch-S)

• Nr. 1, 3–6 und 14 für Violine und Klavier (Opus 103c)
• Nr. 5 (12) für einstimmigen Kinderchor und Klavier

• Nr. 14 für gemischten Chor von Henriette Schelle
• Nr. 5 (12) für einstimmigen Kinderchor und Klavier

• Nr. 3 für Singstimme und Orchester von Richard Sahla
• Nr. 3–5 für Singstimme und Streichquartett von Richard Sahla
• Nr. 8 für Singstimme und Orchester von Richard Sahla