Richard Strauss: Ständchen (Serenade)
Richard Strauss Piano Songs:
“Ständchen”, Op. 17 No. 2 (TrV 149/II), belongs to Richard Strauss’s Six Songs, Op. 17, set to texts by Adolf Friedrich von Schack. Composed in Munich on 22 December 1886, the collection was first published in 1888 by D. Rahter. In a shimmering 6/8 motion, the song unfolds a secret nocturnal scene — from whispered intimacy to glowing ecstasy.
The Poem: German Original & English Translation
“Ständchen” – from: Liebesgedichte und Lieder (1866)
German Original
Mach auf, mach auf, doch leise, mein Kind,
dass keiner vom Schlummer erwache;
Kaum murmelt der Bach, kaum zittert im Wind
ein Blatt an Busch und Hage.
Drum leise, mein Mädchen, dass nichts sich regt,
nur leise die Hand auf die Klinke gelegt.
Mit Tritten, wie Tritte der Elfen so sacht,
um über die Blumen zu hüpfen,
Flieg’ leicht hinaus in die Mondscheinnacht,
zu mir in den Garten zu schlüpfen.
Rings schlummern die Blüten am rieselnden Bach
und duften im Schlaf – nur die Liebe ist wach.
Sitz’ nieder! Hier dämmert’s geheimnisvoll
unter den Lindenbäumen;
die Nachtigall uns zu Häupten soll
von unsern Küssen träumen,
und die Rose, wenn sie am Morgen erwacht,
hoch glüh’n von den Wonnenschauern der Nacht.
English Translation
Open, open — but softly, my child,
so that no one wakes from slumber;
scarcely the brook murmurs, scarcely in the wind
a leaf trembles on bush and hedge.
So softly, my girl, let nothing stir,
only softly place your hand upon the latch.
With steps as gentle as elfin steps,
as if leaping over flowers,
fly lightly out into the moonlit night,
and slip to me into the garden.
All around, the blossoms sleep by the murmuring brook
and breathe fragrance in their sleep — only love is awake.
Sit down! Here the twilight glows mysteriously
beneath the linden trees;
the nightingale above our heads shall
dream of our kisses,
and the rose, when it wakes in the morning,
shall burn brightly with the rapturous shivers of the night.
German text in gently modernized punctuation; English translation for this page. Public Domain original.
Work Data & Overview
- Composer: Richard Strauss (1864–1949)
- Opus / Catalogue: Six Songs, Op. 17 – No. 2; TrV 149/II
- Text: Adolf Friedrich von Schack (1815–1894)
- Composition: 22 December 1886, Munich; first edition: 1888, D. Rahter, Hamburg
- Key / Metre / Tempo: The original is often transmitted in F-sharp major; numerous transpositions exist in print, including D major, D-flat major and E-flat major. The song is in 6/8, with a lively, flowing serenade pulse.
- Duration: approx. 2½–3 minutes
- Scoring: Voice and piano; orchestrated in 1895 by Felix Mottl and published later
- Form: Through-composed scene with refrain-like moments — “nur die Liebe ist wach” — and a culmination on “hoch glüh’n”
Genesis & Context
“Ständchen” is the most popular song from Strauss’s Schack group, Op. 17. Its success soon led to arrangements, including Leopold Godowsky’s version for solo piano and Felix Mottl’s orchestration. The date of composition, the poet and the work’s place within Op. 17 are documented; the first edition appeared in 1888 with D. Rahter.
Performance Practice & Reception
Voice: The opening should emerge in mezzovoce, bright yet veiled. Consonants should remain softly connected, preserving the secretive atmosphere. The intensification should lead purposefully toward “hoch glüh’n” — not broadly, but radiantly.
Piano: The pearling 6/8 arpeggios create a carpet of light. The articulation should not be hard; the pedal needs delicate shading, while the bass line remains clearly contoured.
Reception: Since the late nineteenth century, “Ständchen” has remained one of Strauss’s most beloved songs. Mottl’s orchestration further contributed to its popularity in concert life.
Reference Recordings
- Elisabeth Schwarzkopf – Gerald Moore
- Diana Damrau – Helmut Deutsch
- Jessye Norman – Geoffrey Parsons
- Sabine Devieilhe – Mathieu Pordoy
Analysis – Music
The accompaniment evokes the secret movement and shimmer of the night through its arpeggiated 6/8 flow. The vocal line unfolds in long, breathing arcs; Strauss’s text-sensitive crescendo culminates in the phrase “Wonnenschauern”. Brief resting points — especially “nur die Liebe ist wach” — frame the scene and provide moments of recognition within the through-composed design.
Analysis – Poetry
Schack’s stanzas move from the call — “mach auf” — through approach in the moonlit night to fulfilment, symbolized by the nightingale and the rose. The nocturnal code is one of secrecy: softness becomes the language of desire. Strauss follows this poetic perspective closely — sound becomes whisper, fragrance and radiance.
Meaning & Effect
“Ständchen” is light in motion: a love scene without heavy pathos, yet filled with maximum luminosity. It reveals the young Strauss as a master of the psychological miniature.
Evgenia Fölsche – Performances & Audio
Evgenia Fölsche keeps the pulse buoyant; the crescendo remains slender, the climax free. The ending glows — and fades into breath.
Audio sample: Add audio/video link here
FAQ – Richard Strauss: “Ständchen”, Op. 17 No. 2
Click on a question to reveal the answer.
Which opus does “Ständchen” belong to — and who wrote the poem?
It belongs to the Six Songs, Op. 17 (TrV 149); the text is by Adolf Friedrich von Schack.
When was it composed and when was it published?
It was composed on 22 December 1886 in Munich and first published in 1888 by D. Rahter in Hamburg.
Which keys appear in different editions?
The original transmission is often associated with F-sharp major; practical editions also offer keys such as D major, D-flat major and E-flat major for different voice types.
Are there arrangements?
Yes. There is an orchestration by Felix Mottl from 1895, published later, as well as a solo piano arrangement by Leopold Godowsky.
