It is the first of three songs by Strauss based on love poems by Bierbaum, composed and published in Munich in 1895, and dedicated to Eugen Gura.
The theme is a man going to meet a beloved woman, as in Johann Wolfgang von Goethe's 1771 poem "Willkommen und Abschied" (Welcome and Farewell).
Weite Wiesen im Dämmergrau; Die Sonne verglomm, die Sterne ziehn; Nun geh' ich hin zu der schönsten Frau, Weit über Wiesen im Dämmergrau, Tief in den Busch von Jasmin.
Durch Dämmergrau in der Liebe Land; Ich gehe nicht schnell, ich eile nicht; Mich zieht ein weiches, sammtenes Band Durch Dämmergrau in der Liebe Land, In ein blaues, mildes Licht.
The term Dämmergrau, a combination of Dämmerung (twilight) and grau (grey), repeated four times (in lines 1 and 4) contrasts with the final word Licht (light).
29 on one day, 7 June 1895,[6] the year after he married Pauline de Ahna and settled in Munich, the town of his birth.
[10] Strauss reportedly completed "Traum durch die Dämmerung" in the only 20 minutes his wife gave him before an errand.
[7][11] He scored the three songs, which all contemplate walking, for medium voice and piano, and dedicated them to Eugen Gura, a leading baritone of the court opera in Munich.
"Traum durch die Dämmerung" also appeared in English in a translation by John Bernhoff and Nelia Fabretto,[1] in transpositions for low and high voice, and with an orchestral arrangement by Robert Heger.
[12] Strauss quoted the music, along with several other early works, in the fifth section of his tone poem Ein Heldenleben (A Hero's Life), Op.
[1][12] In the version for medium voice, the music of "Traum durch die Dämmerung" begins in F-sharp major.
When the view changes in line 3 from observation of nature to the destination, the key shifts abruptly to B-flat major,[5] and the word "schönsten" (most beautiful) is accented by a long high note.
"Traum durch die Dämmerung" was composed by Alfred von Sponer as the second of Drei Lieder für 1 mittlere Singstimme mit Pianofortebegleitung (Three songs for medium voice and piano accompaniment), Op.