No Comment, Quotation — February 21, 2010, 10:26 am

Goethe/Schubert – An den Mond

305fried

Füllest wieder Busch und Tal
Still mit Nebelglanz,
Lösest endlich auch einmal
Meine Seele ganz;
Breitest über mein Gefild
Lindernd deinen Blick,
Wie des Freundes Auge mild
Über mein Geschick.

Jeden Nachklang fühlt mein Herz
Froh- und trüber Zeit,
Wandle zwischen Freud’ und Schmerz
In der Einsamkeit.

Fließe, fließe, lieber Fluß!
Nimmer werd’ ich froh;
So verrauschte Scherz und Kuß
Und die Treue so.

Ich besaß es doch einmal,
was so köstlich ist!
Daß man doch zu seiner Qual
Nimmer es vergißt!

Rausche, Fluß, das Tal entlang,
Ohne Rast und Ruh,
Rausche, flüstre meinem Sang
Melodien zu!

Wenn du in der Winternacht
Wütend überschwillst
Oder um die Frühlingspracht
Junger Knospen quillst.

Selig, wer sich vor der Welt
Ohne Haß verschließt,
Einen Freund am Busen hält
Und mit dem genießt,

Was, von Menschen nicht gewußt
Oder nicht bedacht,
Durch das Labyrinth der Brust
Wandelt in der Nacht.


Once more you fill bush and valley
With your misty light,
At last also you bring
Rest to me
With calm you spread your brilliant gaze
Over the fields around me
Like my loved one watching my fate
With his gentle eyes

Every echo fills my heart
With memories of glad and sad times,
I pass between the happiness and pain
In loneliness.

Flow on, flow on my beloved river,
Happiness will not return to me
Thus they passed from me
Laughter, kisses and fidelity.

Though once I held
what is so precious,
What one to his torment
Will never forget.

Rumble, o river, along the valley,
Without rest or silence,
Rumble and whisper melodies
For my song.

When on winter nights you
Rage and spill your banks,
Or when you surge around
The springtime glory of young buds

Blessed are we who withdraw
From the world without hate
Holding a friend to the breast,
And with him enjoy

That which is not known to man
Or not contemplated
Wandering in the night
Through the labyrinth of the heart.

Johann Wolfgang Goethe, An den Mond (1778) in Sämtliche Werke vol. 2.1, pp. 34-36 (K. Richter ed. 1987)(S.H. transl.)


Goethe’s poem To the Moon is an introspective love offering born of tragic events. On January 17, 1778, Christel von Lassberg, the young daughter of an army officer, had committed suicide by throwing herself in the icy waters of the Ilm river. She acted out of despair over unrequited love. The incident occurred but a short distance from Goethe’s garden cottage in Weimar, and it apparently brought him great pain. He took the young woman’s death as the subject for an exceptionally moving poem he composed for his paramour, Charlotte von Stein. The poem is written in the voice of the departed Christel. She addresses herself simultaneously to the river and to her beloved, the two fuse in the cold embrace of death. It is a typical early Romantic work inspired by the voice of nature, in which tragedy and love blend with acceptance of fate and of unfathomable mysteries.

Schubert realized the musical potential of the work very early, and had a long engagement with it. There are two settings of this poem. The first, DV 259, is charming and quite simple. It’s plain that Schubert was not satisfied with this effort, which fails to probe the dark and pathos-laden side of Goethe’s poem. But just where the first effort fell short, the second, composed the same year, succeeds brilliantly. Fischer-Dieskau, who must be reckoned the definitive interpreter of this work, says that it assumes a mood “between happiness and pain” for its coloration. The notes flow like the lethal waters of the river Ilm, they are filled with sadness and longing and surrounded by a note of the demonic. The effect is complex, brimming with loss and heartbreak. But the image of the river is essential both to the music and the poem. It strikes the note of continuity, it rages and floods, but ultimately comes to a peaceful merger with the sea. The river has become a metaphor for a life of passion, torment, betrayal. Death is presented as rest and reconciliation.


Listen to Franz Schubert’s setting of the poem, DV 296 (1815), in a performance by Dietrich Fischer-Dieskau, accompanied by Gerald Moore on the piano:

Share
Single Page

More from Scott Horton:

From the April 2015 issue

Company Men

Torture, treachery, and the CIA

Six Questions October 18, 2014, 8:00 pm

The APA Grapples with Its Torture Demons: Six Questions for Nathaniel Raymond

Nathaniel Raymond on CIA interrogation techniques.

No Comment, Six Questions June 4, 2014, 8:00 am

Uncovering the Cover Ups: Death Camp in Delta

Mark Denbeaux on the NCIS cover-up of three “suicides” at Guantánamo Bay Detention Camp

Get access to 164 years of
Harper’s for only $45.99

United States Canada

  • chateau margaux

    Too funny. I have been pouring my heart into this song recently, but the better version is Christine Schäfer.

    https://www.youtube.com/watch?v=1AysPTaU2JI

    and another Minon is even , even more beautiful, the one that starts with ‘Über Tal und Fluß getragen…

CATEGORIES

THE CURRENT ISSUE

May 2015

Displaced in the D.R.

= Subscribers only.
Sign in here.
Subscribe here.

The Quietest Place in the Universe

= Subscribers only.
Sign in here.
Subscribe here.

Black Hat, White Hat

= Subscribers only.
Sign in here.
Subscribe here.

Beyond the Broken Window

= Subscribers only.
Sign in here.
Subscribe here.

In Search of a Stolen Fiddle

= Subscribers only.
Sign in here.
Subscribe here.

view Table Content

FEATURED ON HARPERS.ORG

Article
Last month, the PEN America Center announced its intention to honor Charlie Hebdo with its Freedom of Expression Courage Award at a gala on May 5. Six members of the organization have withdrawn from the gala in protest. In "The Joke," Justin E. H. Smith addressed the Anglo-American left's response to the killings.
Photo of a Charlie Hebdo editorial meeting in 2006 by Jean-Francois/DEROUBAIX
Article
In Search of a Stolen Fiddle·

= Subscribers only.
Sign in here.
Subscribe here.

“To lose an instrument is to lose an essential piece of one’s identity. It brings its own solitary form of grief.”
Violin © Serge Picard/Agence VU
Post
Driving the San Joaquin Valley·

= Subscribers only.
Sign in here.
Subscribe here.

“Don sucked the last of his drink through his straw and licked his lips. 'The coast, to me, is more interesting than the valley.'”
Photograph by the author
Article
Othello’s Son·

= Subscribers only.
Sign in here.
Subscribe here.

Fred Morton, who died this week in Vienna, at the age of 90, was a longtime contributor to Harper's Magazine and a good friend. "Othello's Son," which was listed as a Notable Essay in Best American Essays 2013, appeared in our September 2013 issue.
Photograph © Alex Gotfryd/CORBIS
Article
Beyond the Broken Window·

= Subscribers only.
Sign in here.
Subscribe here.

“By the time Bratton left the department, in 2009, Los Angeles had quietly become the most spied-on city in America.”
Illustration by Taylor Callery

Weeks after the peso collapsed that former Mexican President Carlos Salinas de Gortari joined the board of Dow Jones:

4

A Disney behavioral ecologist announced that elephants’ long-range low-frequency vocal rumblings draw elephant friends together and drive elephant enemies apart.

A robot known as Random Darknet Shopper that was confiscated by Swiss police for purchasing ten ecstasy pills online was cleared of charges.

Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!

HARPER’S FINEST

Subways Are for Sleeping

By

“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”

Subscribe Today