"" (Evening song under the starry heaven), WoO 150, is a song for high voice and piano by Ludwig van Beethoven composed in 1820. The work is a setting of a poem believed to be by Otto Heinrich von Loeben, who wrote it under the pseudonym H. Goeble. Theodore Albrecht summarized the message of the song thus: it "describes the soul, after the sun has set, contemplating the starry heavens, longing to return there, and finally rising up to the heavenly light. The earthly witness realizes that his pilgrimage below will not last long, and that he too will soon soar above to his heavenly reward before God's throne." Barry Cooper has called the song "one of the finest examples of Beethoven's combination of simplicity and profundity that is so characteristic of his late style."
Composition history
In 1820, when Beethoven wrote "Abendlied", he was 49 years old. 1820 was a year in which the sorrows of his life (deafness, illness, failure to find a marriage partner) were augmented by the climactic phase of his legal confrontation with his sister-in-law Johanna van Beethoven over custody of his nephew (Johanna's son) Karl. The composition of "Abendlied" competed for Beethoven's time with the preparation of a massive (48-page) legal document intended to win this case. Cooper is led to speculate whether the consolatory message of the "Abendlied" poem, and its mention of evil foes, may have inclined Beethoven to set this text in song.
As was his practice, Beethoven made sketches for this work. A few of these survive, in a sketchbook that Beethoven employed from April 1819 to April 1820. The "Abendlied" sketches appear immediately after sketches for the Missa solemnis and precede sketches for what became the Op. 109 piano sonata. All of the surviving "Abendlied" sketch material consists of dead ends and none of it appears in the finished work.
A version of the song in Beethoven's own hand, now kept in the Austrian National Library,It may be viewed at the Library's web site. was dated by him 4 March 1820. According to Albrecht, this was not Beethoven's final version but an "advanced draft". Only the printed version reflects the composer's final intentions, for no other drafts or copies survive.
Beethoven dedicated the work to Dr. Anton Braunhofer (1780–1845), a physician and a professor at the University of Vienna. Braunhofer had treated both Beethoven and the composer's nephew Karl.
Text
The title page of the song gives "H. Goeble" as the author of the verses. The identity of this poet was a mystery to scholars for many years; for example calls the poet "completely unknown". However, more recent research by Theodore Albrecht suggests a plausible candidate: Count Otto Heinrich von Loeben (1786–1825), using "Goeble" as a pseudonym. The basis of Albrecht's case is close parallels in autobiographical detail between the poems published by Loeben under his own name and those published by "Goeble".
Count Loeben was the son of a high-ranking government official in Protestant Dresden. He originally studied law, but chose to pursue a literary career, publishing novels as well as poetry in various journals.
Loeben's poem was published in Vienna, under the "Goeble" pseudonym, a few months before Beethoven set it to music, in the Wiener allgemeine Theaterzeitung (May 11, 1819). Albrecht and Cooper suggest that Beethoven may have received the poem from a different source, however; see below.
The German words of the poem, with English translation, are given below.
Wenn die Sonne nieder sinket Und der Tag zur Ruh sich neigt; Luna freundlich leise winket, Und die Nacht herniedersteigt; Wenn die Sterne prachtig schimmern, Tausend Sonnenstrassen flimmern; Fühlt die Seele sich so gross, Windet sich vom Staube los.
Schaut so gern nach jenen Sternen, Wie zurück in's Vaterland, Hin nach jenen lichten Fernen, Und vergisst der Erde Tand; Will nur ringen, will nur streben, Ihrer Hülle zu entschweben Erde ist ihr eng und klein, Auf den Sternen möcht' sie sein.
Ob der Erde Stürme toben, Falsches Glück den Bösen lohnt Hoffend blicket sie nach oben, Wo der Sternenrichter thront. Keine Furcht kann sie mehr quälen, Keine Macht kann ihr befehlen; Mit verklärtem Angesicht Schwingt sie sich zum Himmelslicht.
Eine leise Ahnung schauert Mich aus jenen Welten an; Lange, lange nicht mehr dauert Meine Erdenpilgerbahn, Bald hab' ich das Ziel errungen, Bald zu euch mich aufgeschwungen, Ernte bald an Gottes Thron Meiner Leiden schönen Lohn."Abendlied unterm gestirnten Himmel", text in German, and English by Richard Wigmore, oxfordsong.org When the sun sinks down And the day tilts to its rest, Luna beckons gently and kindly, And the night descends; When the stars gleam splendidly, And a thousand sun-roads twinkle; The soul feels so immense, And wrenches free from the dust.
It gazes so gladly at those stars, As if back to its fatherland, Towards those distant lights, And forgets all worldly trifles; It wants only to struggle and strive To soar away from its mortal frame: The world is too narrow and small, Among the stars it longs to be.
Though earth's storms are raging, And false fortune rewards the evil, Full of hope it looks upwards Where the Star-judge sits enthroned. No fear can torment it any longer, No power can command it; With transfigured countenance It soars upward toward the heavenly light.
A gentle hint thrills Me from those worlds; Not much longer will last My earthly pilgrimage. Soon I shall have reached the goal, Soon soared up to you, I will reap at God's throne The beautiful reward of my earthly sorrows.
The poem employs standard principles of German versification. Its meter is trochaic tetrameter, with four falling feet per line. Half of the lines are catalectic, meaning they leave off the final stressless syllable and thus have seven syllables total instead of the normal eight. The rhyme scheme of each stanza is ABABCCDD, where lines marked B or D are catalectic.
Music Beethoven composed the song in E major, a key that William Kinderman suggests "was associated by Beethoven with work of a reflective, elevated, and often ethereal or religious character". The vocal line best fits a high voice (tenor or soprano), though in concerts and recordings it has also been sung by lower voices in transposition.
Beethoven's intended tempo is very moderate, as indicated both by his direction "ziemlich anhaltend" ("rather sustained"), as well as a metronome marking specifying = 76. A performance at this tempo lasts about five minutes.
Beethoven's musical setting is basically in strophic form; there is a single melody that is sung four times, once for each verse of the poem. However, in no two verses does the melody take exactly the same form; and , in his published description of the song, describes how Beethoven reshapes his melody in various ways to fit the words of each verse.
As Cooper notes, the piano accompaniment is also varied from stanza to stanza; especially for the fifth and sixth lines of each stanza. In the first, second, and final stanzas, the accompaniment for these lines consists of repeated chordal triplets, which for Cooper evoke the twinkling of stars; but in the third stanza, which depicts the rising soul immune to all adversity, the corresponding lines are set to powerful chords in dotted rhythm.
The song ends with a brief coda, with text Beethoven modified from the last two verse lines. In the final notes, the piano alone repeats the last notes of the singer's part, sempre pianissimo, "always very soft".
Publication
"Abendlied" was first printed in a magazine of Beethoven's time, the (Viennese journal of art, literature, theater, and fashion), founded 1816, as a supplement to their issue of 28 March 1820. At the time, it was not uncommon for magazines to include musical supplements, intended for their readers to perform and enjoy in their homes. The editor of the journal, (1770–1835), had already published three Beethoven songs as supplements; and the Wiener Zeitschrift went on to publish Franz Schubert's now-famous song "Die Forelle" (December 1820) as well as eleven other Schubert songs. The magazine also published poetry, including a number of (attributed) poems by Count Loeben, the apparent author of "Abendlied". The story behind the magazine's solicitation of the song is unusually well documented, since by 1820 Beethoven's hearing had become so feeble that he used conversation books (still preserved) to allow people to communicate with him.
Editor Schickh urged Beethoven to provide songs and other material for his journal, and at least once he provided Beethoven with a pile of sheets of poetry, hoping to assist by providing a poem that would appeal to him. Both Albrecht and Cooper suggest that Beethoven discovered "Abendlied" by reading through the pile.
Editor Schickh was also in contact with Loeben, which whom he worked by correspondence. It appears that Loeben knew Beethoven's work and indeed yearned for the glory of having one of his poems set by him; thus Schickh writes in Beethoven's conversation books, "How is it then with my Lieder [songs]? Shall I have the pleasure of receiving some from you? Count Loeben is plaguing me about it, and would be very honored to be immortalized through you." Schickh probably did not divulge to Beethoven Loeben's identity as author of "Abendlied".
discusses Beethoven's motivation for providing Schickh with a song. Most obviously, he received his normal fee of eight ducats, and continued a useful business relationship (which included a free subscription). Another reason may have been that Beethoven decided to take Schickh's side in a power struggle at the journal, pitting Schickh against Joseph Carl Bernard, a Bohemian-born journalist who had been commissioned by the Gesellschaft der Musikfreunde to write an oratorio libretto for Beethoven. Albrecht suggests that Bernard was bigoted against several groups of people – Protestants, female intellectuals, and Jews – and he freely shared his offensive views in conversations with Beethoven. It was shortly after Bernard shared a particularly unpleasant anti-Semitic story with Beethoven that the composer commenced work on the song that Schickh had been hoping for; he also cut back on his interactions with Bernard. Albrecht suggests that Beethoven had simply had enough of Bernard's remarks.
Beethoven's conversation books for the days before "Abendlied" was published provide a vivid picture of the process by which his creations were rendered in print — even though we see only Schickh's side of the conversations (Beethoven usually contributed to a conversation orally). The editor patiently addresses Beethoven's concerns about getting an accurate hand copy made, about the chosen printer, and about fixing typos in the proofs ("All of these marks will be removed. The man is correcting all of these printing errors."). On Schickh's side, it was a matter of concern to keep Beethoven's perfectionism from leading him to miss the deadline ("But it must come out tomorrow; it was already announced. The corrections can definitely be finished in a half hour. Then it will go swiftly, and there's no reason why it cannot come out tomorrow. They run the presses at night as they do during the day.") In the end, the song was indeed printed overnight, just making the deadline for the 30 March issue of the Wiener Zeitschrift.
A later, possibly pirated, edition appeared in February 1823, issued by a Vienna firm, Sauer & Leidesdorf.
Beethoven assigned no opus number to "Abendlied", following his consistent practice for the fifteen works that he published in magazines. The WoO 150 number that identifies the song (WoO = , work without opus number) was assigned much later (1955) in the Beethoven catalog created by Georg Kinsky and .
Critical opinion