The Kennedy Center

"Im Abendrot"

About the Work

Franz Schubert Composer: Franz Schubert
© Peter Laki

Franz Peter Schubert was born in Himmelpfortgrund, near Vienna (now part of the city) on January 31, 1797, and died in Vienna on November 19, 1828. He wrote the songs heard at this weekend's concerts between 1814 and 1826.


The six songs performed at this weekend's concerts run a total of approxximately 25 minutes in performance.


The German word Lied (song) has found its way into the English language, denoting a special variety of piano-accompanied song set to German lyrics. The Lied evolved from more modest antecedents into one of the major Romantic genres, largely owing to the genius of a single composer, Franz Schubert. Schubert was able to evoke the most passionate drama in a few minutes of music, and he could achieve transcendence by the simplest means imaginable.


Schubert's songs were not written for the concert hall but for the informal musical evenings so dear to the composer and his friends. At these evenings, Schubert would sit at the piano and accompany singers like Johann Michael Vogl, longtime member of the Court Opera, or such well-trained amateurs as Karl Schönstein. Schubert himself had a pleasant singing voice, having started his career as a choirboy in the Vienna Stadtkonvikt (Imperial and Royal City College).


Schubert wrote more than 600 songs, of which fewer than a third were printed during his lifetime. The songs didn't begin to circulate more widely until decades after the composer's death. If Schubert's music gradually came into its own with performers and audiences, it was largely through the efforts of composers such as Robert Schumann, who discovered the manuscript of the ?Great C-Major" symphony; Felix Mendelssohn, who conducted the premiere; Franz Liszt, who popularized Schubert's music through numerous transcriptions; and Johannes Brahms, who was one of the driving forces behind the publication of Schubert's collected works.


One of the consequences of this newly-found enthusiasm for Schubert was that the songs broke out of the isolation of private homes and entered the world's great concert halls. It was soon realized that because of their great richness in colors, Schubert's piano parts lent themselves admirably to orchestration. Although some of the intimacy of the songs was bound to get lost in the process, the orchestral arrangements enhanced the dramatic power and depth of feeling inherent in the music. They also reveal a great deal about how Schubert was seen by successive generations of composers.


III. Im Abendrot, D. 799 (1824/25)

At Dusk

words  by Karl Gottfried Lappe (1773-1843)

orchestrated in 1914 by Reger


O wie schön ist deine Welt,

Vater, wenn sie golden strahlet!

Wenn dein Glanz herniederfällt

Und den Staub mit Schimmer malet,

Wenn das Rot, das in der Wolke blinkt,

In mein stilles Fenster sinkt!


Könnt ich klagen, könnt ich zagen?

Irre sein an dir und mir?

Nein, ich will im Busen tragen

Deinen Himmel schon allhier.

Und dies Herz, eh' es zusammenbricht,

Trinkt noch Glut und schlürft noch Licht.


O how beautiful is your world,

Father, when she shines with golden beams!

When your gaze descends

And paints the dust with a shimmering glowing,

When the red, which flashes in the clouds,

Sinks into my quiet window!


How could I complain, how could I be afraid?

How could anything ever be amiss between you and me?

No, I will carry in my breast

Your Heaven for all times.

And this heart, before it breaks down,

Shall drink in the glow and the light.


Transl.  Emily Ezust