Abstract
Carl Zelter, Carl Loewe, Franz Schubert, and Franz Liszt all composed settings of Goethe's famous Nachtlied “Über allen Gipfeln.” Gathering multiple layers of rhyme and rhythm, Goethe's poem achieves a rare cogency that invests every syllable with musical significance. Each of the composed settings reflects this process of gathering in different ways, from Zelter's lulling rhythms and Loewe's processional harmonies to Schubert's landscape of echoes and Liszt's drama of cosmic assimilation. Thus this monad of a poem allows each composer to set afresh the temporal and spatial coordinates of human mortality.
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