Mendelssohn Bartholdy, Felix.

the songs Trinklied aus dem Divan ('So lang man nüchtern ist'), Op.75 no.3, Wasserfahrt ('Am fernen Horizonte'), Op.50 no.4, Sommerlied ('Wie Feld und Au' so blinkend im Thau!'), Op.50 no.3, and Dreistigkeit ('Worauf kommt es überall an'), the last one unpublished in this chorus version, a working manuscript, notated in brown ink on up to four four-stave systems per page, with autograph superscriptions ("Trinklied aus dem Divan...Wasserfahrt...Sommerlied...Dreistigkeit"), containing numerous cancellations, revisions and corrections, 4 pages, 4to (c.27.9 x 22cm), 16-stave paper, nineteenth-century red embossed paper-covered boards, no place or date, [c.February 1837?], browning, a few small stains, splitting to central fold repaired, strengthened at hinge 

J.M. Cooper, 'Mendelssohn's Works', in D. Seaton, The Mendelssohn Companion (Greenwood Press, 2001), pp.724-6.

Though not identified as such in the current Mendelssohn literature, the author of the poem of the final song is in fact Goethe. This poem, and that of the first song, is taken from his cycle West-östlicher Divan. In fact, Mendelssohn draws on Goethe for all the songs here, with the exception of Wasserfahrt (Heine).

These four delightful songs, scored for male chorus (TTBB), were apparently written only a month or so before Mendelssohn's marriage to Cécile Jeanrenaud at the end of March 1837. They show Mendelssohn at his most relaxed and sociable, and are full of delightful textural effects, such as the expansion of the parts at the close of the third song to produce a sonorous seven-part climax.

Sommerlied and Wasserfahrt were published respectively as Op.50 nos. 3 and 4 during Mendelssohn's lifetime (1840). The autograph of these songs in the present manuscript diverges in a number of significant ways from the printed edition: see, for example, the various differences in rhythm, pitch and scoring in the first 11 bars of Sommerlied. The first song, Trinklied, appeared posthumously in 1849. Additional autographs for these three songs, and also the final song, Dreistigkeit, are in the Berlin Staatsbibliothek. The version of the final song in the Berlin autograph (dated there 23 February 1837) is untitled, and diverges in a number of points from the present text. In its song version Dreistigkeit was published in 1926.