On March 1, 1815, two days after first setting Theodor Körner's Sängers Morgenlied (Singer's Morning Song), Schubert apparently decided to reinterpret the poem in a second setting. While the second song (D. 165) is also strophic, everything else about the second Sängers Morgenlied is changed. In place of the bright waltz tempo, the second setting has a slower and more measured tempo. In place of short, bouncy phrases in the vocal, the second setting had a long-breathed cantilena. In place of piano preludes, interludes, and postludes, the second setting concentrates all musical attention on the vocal melody. And in place of a young man intoxicated with love, the singer of the second setting is in ecstasy over the beauty and wonder of the world. Both settings are valid, but the second is perhaps the deeper of the two.

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