Maurice Brown, in his critical biography of Schubert, partially debunks the story, showing that the garden of the "Zum Biersack" in Währing was next door to that of the poet Franz von Schober, and that Schubert spent some time there in the summer of 1826 with the painter Moritz von Schwind, although not necessarily staying overnight more than once or twice.
Suddenly he stopped, and pointing to a poem, exclaimed, "Such a delicious melody has just come into my head, if I but had a sheet of music-paper with me." Herr Doppler drew a few music lines on the back of a bill-of-fare, and in the midst of a genuine Sunday hubbub, with fiddlers, skittle players, and waiters running about in different directions with orders, Schubert wrote that lovely song. Tieze had a book lying open before him, and Schubert soon began to turn over the leaves. The whole party determined on a halt in their journey. Herr Franz Doppler (of the musical firm of Spina) told me the following story in connection with the "Ständchen": "One Sunday, during the summer of 1826, Schubert, with several friends (Doppler amongst the number), was returning from Pötzleinsdorf to the city, and, on strolling along through Währing, he saw his friend Tieze sitting at a table in the garden of the "Zum Biersack". Sir George Grove relates Kreissle's anecdote verbatim, although it has been called "pretty, but untrue", "apocryphal", and "legend". Ī story about the song's creation was recounted by a boyhood friend of Schubert to the composer's biographer, Heinrich Kreissle von Hellborn in his Life of Franz Schubert. Eschenburg, and then in at least four slightly differing printings of the 'Vienna Shakespeare Editions' in 18, with and without Schlegel's name on the title-page. This 'Ätherblau' version was published in 1812 under the names of A. W. The text of the 'Lied' from Shakespeare's Cymbeline which Schubert set differs only very slightly in its orthography ('Ätherblau' etc.) from that of Abraham Voß ('Aetherblau', etc.), which dates from at least 1810. As others have pointed out, and as Furness in his ' Variorum Edition' of Cymbeline makes abundantly clear, "This present song is the supreme crown of all aubades." The Schirmer edition of Liszt's transcription for solo piano clarifies the context with the title of Morgenständchen (morning serenade), and the German title of Schubert's song would be more accurately rendered in English as Aubade. The German word Ständchen is unspecific about the time of the homage. Schlegel and Johann Joachim Eschenburg – in a collective Shakespeare edition of 1811. The song in its original form is relatively short, and two further verses by Friedrich Reil were added to Diabelli's second edition of 1832.Īlthough the German translation which Schubert used has been attributed to August Wilhelm Schlegel (apparently on the basis of various editions of Cymbeline bearing his name published in Vienna in 18), the text is not exactly the same as the one which Schubert set: and this particular adaptation of Shakespeare had already been published as early as 1810 as the work of Abraham Voß, and again – under the joint names of A. W. The song was first published by Anton Diabelli in 1830, two years after the composer's death. It is a setting of the "Song" in act 2, scene 3 of Shakespeare's Cymbeline.
" Ständchen" (known in English by its first line " Hark, hark, the lark" or "Serenade"), D 889, is a lied for solo voice and piano by Franz Schubert, composed in July 1826 in the then village of Währing. Schubert by Josef Kriehuber (1846 lithograph)
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