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RC 11 Der Abend kommt gezogen

text source

Heinrich Heine, Buch der Lieder (Rotterdam 1863), 174

dedicatees

recordings

  • Anniversary Edition 5 Et'cetera KTC 1435 CD5

publications

  • Complete Songs for Solo Voice and Piano Vol. 10 Donemus / Alphons Diepenbrock Fonds 25310327
  • Diepenbrock Album T/S Vol. I
  • Drie Ballades voor Tenoor met pianobegeleiding, Op. 1 Roothaan, Albert 7120120

  • Der Abend kommt gezogen
  • Heine, Heinrich
  • tenor and piano
  • 1884-01-01 00:00:00.0 - 1884-12-31 00:00:00.0
  • duration 3:50

In 1885 Diepenbrock’s Drie Ballades (Three Ballads) opus 1 were published in Amsterdam. The work consists of: Entsagung (Renunciation, RC 3, Uhland), Der Fischer (The Fisherman, RC 6, Goethe) and Der Abend kommt gezogen (The Evening Falls), his econd song on a text by Heine. Looking at Diepenbrock’s vocal works, one will easily notice his great affinity with poems dedicated to the evening and the night. He especially had a preference for German poems from the so-called ‘Sturm und Drang’ and early Romantic period. In 1884, in addition to Der Abend kommt gezogen, Diepenbrock shortly after each other composed Dämmerung (Twilight, RC 7) for choir a cappella on a poem by Goethe and the song Dämmernd liegt der Sommerabend (In Twilight the Summer Evening Lies, RC 8) on a text by Heinrich Heine. The majority of Diepenbrock’s symphonic songs from later years are also dominated by nocturnal moods. …more >

Der Abend kommt gezogen (incipit)


In 1885 Diepenbrock’s Drie Ballades (Three Ballads) opus 1 were published in Amsterdam. The work consists of: Entsagung (Renunciation, RC 3, Uhland), Der Fischer (The Fisherman, RC 6, Goethe) and Der Abend kommt gezogen (The Evening Falls), his econd song on a text by Heine. Looking at Diepenbrock’s vocal works, one will easily notice his great affinity with poems dedicated to the evening and the night. He especially had a preference for German poems from the so-called ‘Sturm und Drang’ and early Romantic period. In 1884, in addition to Der Abend kommt gezogen, Diepenbrock shortly after each other composed Dämmerung (Twilight, RC 7) for choir a cappella on a poem by Goethe and the song Dämmernd liegt der Sommerabend (In Twilight the Summer Evening Lies, RC 8) on a text by Heinrich Heine. The majority of Diepenbrock’s symphonic songs from later years are also dominated by nocturnal moods.

Like the poem Der Fischer, which Diepenbrock had set to music only a few months before, Der Abend kommt gezogen is an example of a ‘Wasserfrauen-Gedichte’ (mermaid poem). And just as Goethe’s poem, Heine’s ballad is about the seduction by a mysterious but irresistible mermaid, a ‘Wasserfee’. By repeating the line “Du schöne Wasserfee!” (You beautiful mermaid!) at the end of the third, fifth and seventh strophe, a climax is reached. Diepenbrock’s musical setting highlights this sentence by using an identical ending in the verses three and five, which is elaborated at the end of the seventh. This strophe culminates with the tenor reaching the a’ on the word “schöne”, which now, appearing for the third time, should be sung ff instead of pp.

Der Abend kommt gezogen, the third of the Drie Ballades, is dedicated to the Amsterdam singer Frans Philippeau. The tenor was a member of the (amateur) vocal ensemble Diepenbrock conducted at the beginning of his career which was specialised in early Flemish and Dutch polyphonic works. The composer ran through the song with Philippeau shortly after it was written in August 1884 (BD I:98), obviously with a performance in mind, although there is no documentation on this. Later Diepenbrock did play his opus 1 to the composer Charles Smulders. (BD V:20) However, Diepenbrock did not follow up the suggestion made by another friend, W.G. Hondius van den Broek, in 1907 to let the young tenor Rudolf van Schaik practice these songs (BD V:446-447). As far as we know the Drie Ballades have never been performed in public during Diepenbrock’s lifetime.

Désirée Staverman

 



Der Abend kommt gezogen,
Der Nebel bedeckt die See;
Geheimnisvoll rauschen die Wogen,
Da steigt es weiß in die Höh’.

Die Meerfrau steigt aus den Wellen,
Und setzt sich zu mir an den Strand;
Die weißen Brüste quellen
Hervor aus dem Schleiergewand.

Sie drückt mich und sie preßt mich
Und tut mir fast ein Weh; –
Du drückst ja viel zu fest mich,
Du schöne Wasserfee!

“Ich presse dich in meinen Armen,
Und drücke dich mit Gewalt;
Ich will bei dir erwarmen,
Der Abend ist so kalt.”

Der Mond schaut immer blasser
Aus dämmriger Wolkenhöh’; –
Dein Auge wird trüber und nasser,
Du schöne Wasserfee!

“Es wird nicht trüber und nasser,
Mein Aug ist naß und trüb,
Weil, als ich stieg aus dem Wasser,
Ein Tropfen im Auge blieb.”

Die Möwen schrillen kläglich,
Es grollt und brandet die See; –
Dein Herz pocht wild beweglich,
Du schöne Wasserfee!

“Mein Herz pocht wild beweglich,
Es pocht beweglich wild,
Weil ich dich liebe unsäglich,
Du liebes Menschenbild!”

 

 


  • SO-3

    autograph lost (see RC 3) ♦ copy of the 1885 edition with alterations by Diepenbrock

    • pages: unknown

  • click to enlarge

    Anniversary Edition 5

    cd Et'cetera KTC 1435 CD5
    Alexander, Roberta ♦ Jansen, Rudolf ♦ Nes, Jard van ♦ Holl, Robert ♦ Prégardien, Christoph ♦ Pfeiler, Christa ♦ Doeselaar, Leo van ♦ McFadden, Claron ♦ Kuyken, David

    Tracks: 1 = RC 3; 2 = RC 6; 3 = RC 11; 4 = RC 12; 5 = RC 16; 6 = RC 20; 7 = RC 25; 8 = RC 42; 9 = RC 55; 10 = RC 121; 11 = RC 90; 12 = RC 95; 13 = RC 91

  • Complete Songs for Solo Voice and Piano Vol. 10

    1998 Donemus / Alphons Diepenbrock Fonds Staverman, Désirée
  • Diepenbrock Album T/S Vol. I

    1951 Reeser, Eduard
  • Drie Ballades voor Tenoor met pianobegeleiding, Op. 1

    1885 Roothaan, Albert