The orchestration of Hinüber wall’ ich (I Pilgrimage Over There, RC 37) marks the end of a period in which Diepenbrock arranged ten of his piano songs for orchestra. The successful premiere of the orchestral versions of the ballads Mignon (RC 12/77) and Der König in Thule (The King in Thule, RC 16/78) in April 1907 must have encouraged him to revise other songs too. In November that year, the month in which he rewrote Hinüber wall’ ich, the baritone Jan Reder and the Colonne Orchestra conducted by Willem Mengelberg performed his orchestral setting of Recueillement (Contemplation, RC 79/80) in Paris. However, most of the songs Diepenbrock orchestrated in this period were not performed as such during his lifetime. This also applies to Hinüber wall’ ich, which was published in 1954 together with the Lied der Spinnerin (Song of the Spinner, RC 42/75) and Der Abend (The Evening, RC 90/92) under the title Drei Lieder für eine Sopranstimme und Orchester (Three Songs for Soprano and Orchestra).
The instrumentation, with a variety of wind instruments that often appear solo, is similar to that of Mignon and Der König in Thule. In this piece Diepenbrock also specifies a harp, which contributes a lot to the atmosphere of rapture in the music. The fact that the strings do not include double basses is unusual.