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"Du bist die Ruh'" (You are rest), D. 776; Op. 59, No. 3 is a Lied composed by Franz Schubert (1797–1828) in 1823. The text is derived from a set of poems by German poet Friedrich Rückert (1788–1866). It is the third poem in a set of four. This song is set for solo voice and piano.
Composition
Schubert used the poem's first lines to title the song. Rückert later titled this poem "Kehr ein bei mir" (Stay with me). The piece is in a triple meter (3/8) and is marked larghetto (fairly slow) and pianissimo (very soft). The original key of this piece is E-flat major. The form of "Du bist die Ruh" is bar form. "Du bist die Ruh"' starts with both hands playing in treble clef and the piano is softly and slowly playing broken triads. The simplicity of the melody only makes this piece that much more difficult to sing as it requires legato and control of the breath. Any inconsistencies in the sound can disrupt the text and take away from the 'peace' of the poem. Schubert sets tender and gentle themes to Rückert's words and with the piano line being so simple, it only enhances the meaning of the song. The progression of the harmonies repeat with the bar form, always establishing the key of the piece. With a pianissimo and larghetto marking and the piano part light in texture, Schubert sets up the poem for the first few lines, "You are peace, the mild peace," in the introduction. This piece has five strophes. The first and second strophe are almost exactly identical to the third and fourth strophes with the exception of one note. The fifth (and final) strophe is the start of the B section ("Dies Augenzelt, von deinem Glanz allein erhellt, o füll es ganz!"). Both the piano and the voice have a marking of pianissimo up until measure 57, when there is finally a crescendo. This is in the first few bars of the B section. In measure 59, Schubert marks forte. Here marks the climax as well as the highest note of the piece along with a decrescendo. There is then a bar of rest and Schubert marks the next entrance at pianissimo once again. Perhaps this is to reinforce the mood of the song. What could be more restful than silence? Schubert repeats this text a second time, creating a sixth strophe to even out the verses. He then ends the vocal line on the dominant (B-flat), which then leaves the piano to resolve the harmony. Throughout the piece, Schubert sets words like "pleasure" on the tonic, and words like "pain" on the dominant harmonies.