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Songs

Songs

Abschied D957g


Part of a series or song cycle:

Schwanengesang (D957)


Abschied

Ade, Du muntre, Du fröhliche Stadt, Ade!
Schon scharret mein Rösslein mit lustigem Fuss;
Jetzt nimm noch den letzten, den scheidenden Gruss.
Du hast mich wohl niemals noch traurig gesehn,
So kann es auch jetzt nicht beim Abschied geschehn.
Ade ...
Ade, Ihr Bäume, Ihr Gärten so grün, Ade!
Nun reit’ ich am silbernen Strome entlang,
Weit schallend ertönet mein Abschiedsgesang,
Nie habt Ihr ein trauriges Lied gehört,
So wird Euch auch keines beim Scheiden beschert.
Ade ...
Ade, lhr freundlichen Mägdlein dort, Ade!
Was schaut Ihr aus blumenumduftetem Haus
Mit schelmischen, lockenden Blicken heraus?
Wie sonst, so grüss’ ich und schaue mich um,
Doch nimmer wend’ ich mein Rösslein um.
Ade ...
Ade, liebe Sonne, so gehst Du zur Ruh’, Ade!
Nun schimmert der blinkenden Sterne Gold.
Wie bin ich Euch Sternlein am Himmel so hold,
Durchziehn wir die Welt auch weit und breit,
Ihr gebt überall uns das treue Geleit.
Ade ...
Ade, Du schimmerndes Fensterlein hell, Ade!
Du glänzest so traulich mit dämmerndem Schein
Und ladest so freundlich ins Hüttchen uns ein.
Vorüber, ach, ritt ich so manches mal
Und wär’ es denn heute zum letzten mal?
Ade …
Ade, Ihr Sterne, verhüllet Euch grau! Ade!
Des Fensterlein trübes, verschimmerndes Licht
Ersetzt Ihr unzähligen Sterne mir nicht;
Darf ich hier nicht weilen, muss hier vorbei,
Was hilft es, folgt Ihr mir noch so treu!
Ade, Ihr Sterne, verhüllet Euch grau!
Ade!

Farewell

Farewell, lively, cheerful town, farewell!
Already my horse is happily pawing the ground.
Take now my final, parting greeting.
I know you have never seen me sad;
nor will you now as I depart.
Farewell!
Farewell, trees and gardens so green, farewell!
Now I ride along the silver stream;
my song of farewell echoes far and wide.
You have never heard a sad song;
nor shall you do so at parting.
Farewell!
Farewell, charming maidens, farewell!
Why do you look out with roguish, enticing eyes
from houses fragrant with flowers?
I greet you as before, and look back;
but never will I turn my horse back.
Farewell!
Farewell, dear sun, as you go to rest, farewell!
Now the stars twinkle with shimmering gold.
How fond I am of you, little stars in the sky;
though we travel the whole world, far and wide,
everywhere you faithfully escort us.
Farewell!
Farewell, little window gleaming brightly, farewell!
You shine so cosily with your soft light,
and invite us so kindly into the cottage.
Ah, I have ridden past you so often,
and yet today might be the last time.
Farewell!
Farewell, stars, veil yourselves in grey! Farewell!
You numberless stars cannot replace for us
the little window’s dim, fading light;
if I cannot linger here, if I must ride on,
how can you help me, though you follow me so faithfully?
Farewell, stars, veil yourselves in grey!
Farewell!
Translations by Richard Wigmore first published by Gollancz and reprinted in the Hyperion Schubert Song Edition

Composer

Franz Peter Schubert was an late Classical and early Romantic composer. He produced a vast oeuvre during his short life, composing more the 600 vocal works (largely Lieder), and well as several symphonies, operas, and a large body of piano music. He was uncommonly gifted from a young age, but appreciation of his music was limited during his lifetime. His work became more popular in the decades after his death, and was praised by 19th century composers, including Mendelssohn, Schumann, Brahms, and Liszt.

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Poet

Heinrich Friedrich Ludwig Rellstab was a German poet and music critic. He was born and died in Berlin. He was the son of the music publisher and composer Johann Carl Friedrich Rellstab. An able pianist, he published articles in various periodicals, including the influential liberal Vossische Zeitung, and launched the music journal Iris im Gebiete der Tonkunst, which was published in Berlin from 1830 to 1841. His outspoken criticism of the influence in Berlin of Gaspare Spontini landed him in jail in 1837.

Rellstab had considerable influence as a music critic and, because of this, had some power over what music could be used for German nationalistic purposes in the mid-nineteenth century. Because he had "an effective monopoly on music criticism" in Frankfurt and the popularity of his writings, Rellstab's approval would have been important for any musician's career in areas in which German nationalism was present.

The first seven songs of Franz Schubert's Schwanengesang have words by Rellstab, who had left them in 1825 with Beethoven, whose assistant Anton Schindler passed them on to Schubert. His work was also set to music by Franz Liszt.

He is also known to have given Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27/2 its famous nickname Moonlight Sonata.

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