Um Mitternacht moves from the most brilliant day to deepest night, and the change is once more immediately apparent in its coloration. Mahler calls for an orchestra without strings. In addition to pairs of woodwinds (with a single oboe d’amore replacing the usual oboes), three horns, two trumpets, three trombones, a single tuba, and timpani, both harp and piano are prescribed.

The length, weight and scale of the song match its theme. Five six-line stanzas (each of which begins and ends with “Um Mitternacht”) are set in a rich and complex contrapuntal idiom, more symphonic than lyric in character.

 ---

A listening guide of Rückert-Lieder – Um Mitternacht with Lew Smoley.