violet which is emphasised by a following general pause. The dying flower is described by a chromatically falling line, before the final modulation back to G major changes the pain into jubilation: to die at the beloved's feet. Then Mozart adds two phrases of his own as a coda; in recitative, in free time and using only two notes: "Das arme Veilchen!" (Poor little violet!), a long general pause, and closing the song a tempo with a quotation from the third line: "es war ein herzigs Veilchen." (it was the sweetest violet.) By other composers Other composers who have set this poem to music (besides those mentioned above as composers of Goethe's singspiel) include Philipp Christoph Kayser (1776), Anton Schweitzer (1777), Joseph Anton Steffan (1779), Johann Friedrich Reichardt in 1780 and in 1783, (the second setting was praised by Clara Kathleen Rogers and Felix Mendelssohn) Karl Siegmund von Seckendorff (1779), Friedrich Heinrich Himmel (c. 1807), Peter Josef von Lindpaintner (1815), Václav Tomášek (1815), Carl Gottlieb Reissiger (1827), Clara Schumann (1853), Nikolai Medtner (1909), and Othmar Schoeck (1915). Musical settings in other languages include the composers Halfdan Kjerulf to a Danish translation by Adam Oehlenschläger, to a Swedish text, and an English version by Clara Kathleen Rogers. References External links Mozart: "Das Veilchen“ – im Kontext verschiedener Vertonungen, Hubert Wißkirchen, 25 May 2011 "Das Veilchen", translations, list of musical settings, at the LiederNet Archive , Kathleen Battle, 1990 Musical settings of poems by Johann Wolfgang von Goethe 1785 compositions 1785 songs Compositions by Wolfgang Amadeus Mozart Compositions in G major Stefan Zweig Collection