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The evening mood is effectively peaceful and, as in a number of the other Kosegarten settings for solo voice on a nocturnal theme, there is a certain quiet majesty about the piece. There is little in it harmonically that would not have passed for Haydn's work – a chromatic progression at the end of the verse under 'abgekommen' strikes us as more modern perhaps. The accompaniment is no more than a short-score of the vocal parts. When this is the case with Schubert ensembles there is a possibility that the piece is supposed to be a capella and that the accompaniment has been written only for rehearsal purposes. The final loud A major chord at the end of each strophe is part of the musical effect however; it seems that the piano is needed after all.
from notes by Graham Johnson © 1994
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