Winterreise
Winterreise | |
---|---|
Song cyclebyFranz Schubert | |
![]() Schubert in 1825, byWilhelm August Rieder,1875 oil painting after a watercolor | |
Catalogue | D.911 |
Opus | 89 |
Text | poems byWilhelm Müller |
Composed | 1827 |
Published | 1828 |
Movements | 24 |
Scoring |
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Winterreise(German pronunciation:[ˈvɪntɐˌʁaɪzə],Winter Journey) is asong cyclefor voice and piano byFranz Schubert(D.911, published asOp.89 in 1828), a setting of 24poemsby German poetWilhelm Müller.It is the second of Schubert's two song cycles on Müller's poems, the earlier beingDie schöne Müllerin(D. 795, Op. 25, 1823).
Both were originally written fortenorvoice but are frequentlytransposedto other vocal ranges, a precedent set by Schubert himself. The two works pose interpretative demands on listeners and performers due to their scale and structural coherence. AlthoughLudwig van Beethoven's cycleAn die ferne Geliebte(To the Distant Beloved) was published earlier, in 1816, Schubert's cycles hold the foremost place in the genre's history.
The autograph manuscript of the cycle is preserved in theMorgan Library & Museum.
Authorship and composition[edit]
Winterreisewas composed in two parts, each with twelve songs, the first part in February 1827 and the second in October 1827.[1]The two parts were also published separately byTobias Haslinger,the first on 14 January 1828, and the second (the proofs of which Schubert was still correcting days before his death on 19 November) on 30 December 1828.[2]
The text consists of poems byWilhelm Müller.Müller, a poet, soldier and Imperial Librarian atDessauinPrussia(present-day east-central Germany), died in 1827 aged 33, and probably never heard the first setting of his poems inDie schöne Müllerin(1823), let aloneWinterreise.Die schöne Müllerinhad become central to the performing repertoire and partnership of Schubert with his friend, thebaritonesingerJohann Michael Vogl,who introduced Schubert's songs to many people in their tours through Austria in the mid-1820s.
Schubert found the first twelve poems under the titleWanderlieder von Wilhelm Müller. Die Winterreise. In 12 Liedernin an almanack (Urania. Taschenbuch auf das Jahr 1823 ) published in Leipzig in 1823.[3][4]His intimate friendFranz von Schoberhad provided this book for him.[5]It was after he set these, in February 1827, that he discovered the full series of poems in Müller's book of 1824,Poems from the posthumous papers of a travelling horn-player,dedicated to the composerCarl Maria von Weber(godfather of Müller's sonF. Max Müller), "as a pledge of his friendship and admiration". Weber died in 1826. On 4 March 1827, Schubert invited a group of friends to his lodgings intending to sing the first group of songs, but he was out when they arrived, and the event was postponed until later in the year, when the full performance was given.[6]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Wilhelm_M%C3%BCller_by_Schr%C3%B6ter.jpg/170px-Wilhelm_M%C3%BCller_by_Schr%C3%B6ter.jpg)
Between the 1823 and 1824 editions, Müller varied the texts slightly and also (with the addition of the further 12 poems) altered the order in which they were presented. Owing to the two stages of composition, Schubert's order in the song-cycle preserves the integrity of the cycle of the first twelve poems published and appends the twelve new poems as aFortsetzung(Continuation), following Müller's order (if one excludes the poems already set) with the one exception of switching "Die Nebensonnen" and "Mut!".[7]In the complete book edition, Müller's final running-order was as follows:
"Gute Nacht"; "Die Wetterfahne"; "Gefror'ne Tränen"; "Erstarrung"; "Der Lindenbaum"; "Die Post"; "Wasserflut"; "Auf dem Flusse"; "Rückblick"; "Der greise Kopf"; "Die Krähe"; "Letzte Hoffnung"; "Im Dorfe"; "Der stürmische Morgen"; "Täuschung"; "Der Wegweiser"; "Das Wirtshaus"; "[Das] Irrlicht"; "Rast"; "Die Nebensonnen"; "Frühlingstraum"; "Einsamkeit"; "Mut!"; "Der Leiermann".[8]
Thus, Schubert's numbers would run 1–5, 13, 6–8, 14–21, 9–10, 23, 11–12, 22, 24, a sequence occasionally attempted byHans Joachim Moserand Günther Baum.
Schubert's original group of settings therefore closed with the dramatic cadence of "Irrlicht", "Rast", "Frühlingstraum" and "Einsamkeit", and his second sequence begins with "Die Post". Dramatically, the first half is the sequence from the leaving of the beloved's house, and the second half the torments of reawakening hope and the path to resignation.
InWinterreiseSchubert raises the importance of the pianist to a role equal to that of the singer. In particular, the piano's rhythms constantly express the moods of the poet, like the distinctive rhythm of "Auf dem Flusse", the restless syncopated figures in "Rückblick", the dramatic tremolos in "Einsamkeit", the glimmering clusters of notes in "Irrlicht", or the sharp accents in "Der stürmische Morgen". The piano supplies rich effects in the nature imagery of the poems, the voices of the elements, the creatures and active objects, the rushing storm, the crying wind, the water under the ice, birds singing, ravens croaking, dogs baying, the rusty weathervane grating, thepost horncalling, and the drone and repeated melody of thehurdy-gurdy.[9]
Opinions of Schubert's intentions[edit]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/6/66/Julius_Schmid_Schubertiade.jpg/280px-Julius_Schmid_Schubertiade.jpg)
Many have attempted to explain the reason Schubert composedWinterreise.A possible explanation is documented in a book by Elizabeth Norman McKay,Schubert: The Piano and Dark Keys:"Towards the end of 1822... Schubert was very sick, having contracted thesyphilisthat inevitably was to affect the remainder of his life: his physical and mental health, and the music he was to compose. "As detailed below, he worked onWinterreiseas he was dying of syphilis.[10]
In addition to his friendFranz von Schober,Schubert's friends who often attended hisSchubertiadenor musical sessions includedEduard von Bauernfeld,Joseph von Spaun,and the poetJohann Mayrhofer.Both Spaun and Mayrhofer describe the period of the composition ofWinterreiseas one in which Schubert was in a deeply melancholic frame of mind, as Mayrhofer puts it, because "life had lost its rosiness and winter was upon him." Spaun tells that Schubert was gloomy and depressed, and when asked the reason replied,
"Come to Schober's today and I will play you a cycle of terrifying songs; they have affected me more than has ever been the case with any other songs." He then, with a voice full of feeling, sang the entireWinterreisefor us. We were altogether dumbfounded by the sombre mood of these songs, and Schober said that one song only, "Der Lindenbaum", had pleased him. Thereupon Schubert leaped up and replied: "These songs please me more than all the rest, and in time they will please you as well."[11]
It is argued that in the gloomy nature of theWinterreise,compared withDie schöne Müllerin,there is
a change of season, December for May, and a deeper core of pain, the difference between the heartbreak of a youth and a man. There is no need to seek in external vicissitudes an explanation of the pathos of theWinterreisemusic when the composer was this Schubert who, as a boy of seventeen, had the imagination to fix Gretchen's cry in music once for all, and had so quivered year by year in response to every appeal, toMignon's and the Harper's grief, to Mayrhofer's nostalgia. It is not surprising to hear of Schubert's haggard look in theWinterreiseperiod; but not depression, rather a kind of sacred exhilaration... we see him practically gasping with fearful joy over his tragicWinterreise– at his luck in the subject, at the beauty of the chance which brought him his collaborator back, at the countless fresh images provoked by his poetry of fire and snow, of torrent and ice, of scalding and frozen tears. The composer of theWinterreisemay have gone hungry to bed, but he was a happy artist.[12]
Schubert's last task in life was the correction of the proofs for part 2 ofWinterreise,and his thoughts while correcting those of the last song, "Der Leiermann", when his last illness was only too evident, can only be imagined. However, he had heard the whole cycle performed by Vogl (which received a much more enthusiastic reception),[13]though he did not live to see the final publication, nor the opinion of theWiener Theaterzeitung:
Müller is naive, sentimental, and sets against outward nature a parallel of some passionate soul-state which takes its colour and significance from the former. Schubert's music is as naive as the poet's expressions; the emotions contained in the poems are as deeply reflected in his own feelings, and these are so brought out in sound that no-one can sing or hear them without being touched to the heart.[14]
Elena Gerhardtsaid of theWinterreise,"You have to be haunted by this cycle to be able to sing it."[13]
Nature of the work[edit]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Schubert_-_Winterreise%2C_24_ms_f%C2%B015r.png/310px-Schubert_-_Winterreise%2C_24_ms_f%C2%B015r.png)
In his introduction to thePetersedition (with the critical revisions ofMax Friedlaender), ProfessorMax Müller,son of the poetWilhelm Müller,remarks that Schubert's two song-cycles have a dramatic effect not unlike that of a full-scale tragic opera, particularly when performed by great singers such asJenny Lind(Die schöne Müllerin) orJulius Stockhausen(Winterreise). LikeDie schöne Müllerin,Schubert'sWinterreiseis not merely a collection of songs upon a single theme (lost or unrequited love) but is in effect one single dramatic monologue, lasting over an hour in performance. Although some individual songs are sometimes included separately in recitals (e.g. "Gute Nacht", "Der Lindenbaum" and "Der Leiermann" ), it is a work which is usually presented in its entirety. The intensity and the emotional inflections of the poetry are carefully built up to express the sorrows of the lover, and are developed to an almost pathological degree from the first to the last note, something explored (along with the cultural context of the work) by the tenorIan BostridgeinSchubert's Winter Journey: Anatomy of an Obsession.[15]Over the course of the cycle, grief over lost love progressively gives way to more general existential despair and resignation – the beloved is last directly mentioned only halfway into the work – and the literal winter's journey is arguably at least in part allegorical for this psychological and spiritual one. Wintry imagery of cold, darkness, and barrenness consistently serve to mirror the feelings of the isolated wanderer.
The cycle consists of amonodramafrom the point of view of the wandering protagonist, in which concrete plot is somewhat ambiguous. After his beloved falls for another, the grief-stricken young man steals away from town at night and follows the river and steep ways to a charcoal burner's hut, where he rests before moving on. He comes across a village, passes a crossroads, and arrives at a cemetery. Here being denied even the death on which he has become fixated, he defiantly renounces faith before reaching a point of resignation. Finally he encounters a derelict street musician, the only instance in the cycle in which another character is present. The mysterious and ominous nature of the musician, along with the question posed in the last lines, leave the fate of the wanderer open to interpretation.
The two Schubert cycles (primarily for male voice), of whichWinterreiseis the more mature, are absolute fundamentals of the GermanLied,and have strongly influenced not only the style but also the vocal method and technique in German classical music as a whole. The resources of intellect and interpretative power required to deliver them, in the chamber or concert hall, challenge the greatest singers.
Songs[edit]
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Reworkings by others[edit]
- Franz Liszttranscribed 12 of the songs in the cycle for piano (S. 561), rearranging their order: 1. "Gute Nacht" (S.561/1); 4. "Erstarrung" (S.561/5); 5. "Der Lindenbaum" (S.561/7); 6. "Wasserflut" (S.561/6); 13. "Die Post" (S.561/4); 17. "Im Dorfe" (S.561/12); 18. "Der stürmische Morgen" (S.561/11); 19. "Täuschung" (S.561/9); 21. "Das Wirtshaus" (S.561/10); 22. "Mut!" (S.561/3); 23. "Die Nebensonnen" (S.561/2); and 24. "Der Leiermann" (S.561/8).[16]He may have intended to transcribe them all.[17]See alsoTranscriptions by Franz Liszt.
- Leopold Godowskymade a number of piano transcriptions of Schubert songs; the only one fromWinterreisewas the first song, "Gute Nacht".[18]
- Maury Yestonbased his musical-theatre song cycle, commissioned byCarnegie Hallfor its Centennial,December SongsonWinterreise.
- Hans Zenderorchestrated a version of the cycle in 1993, altering the music in the process.
- Jens Josefcreated in 2001 a version for tenor and string quartet. It was recorded byChristian Elsnerand theHenschel Quartetin 2002,[19]and performed in 2004 byPeter Schreierand the Dresdner Streichquartett.[20]
- John Neumeiermade a ballet toWinterreiseon hisHamburg Balletcompany in December 2001.[21]
- Rood Adeotranslated Müller's poem "Das Wirtshaus" into an English version "The Hotel", and wrote a new composition to it for piano,Wurlitzer electric piano,celesta,harmonium,and bass. It was recorded by Rood Adeo & Nighthawks at the Diner at theWisseloord Studiosin 2002, and released on the albumTransit Cellophane.[22]
- Oboist Normand Forget made a unique chamber version for accordion and wind quintet including bass clarinet,oboe d'amoreand baroque horn, recorded in September 2007 by tenorChristoph Prégardien,accordionistJoseph Petricand the Montréal ensemble Pentaèdre. It was performed at the Hohenems Schubertiade, Austria 2009, and the Berlin Philharmonic Chambermusic series with the Berlin Philharmonic Wind Quintet 2013.[23]
- The deaf actor Horst Dittrich translated the cycle of poems intoAustrian Sign Languagein 2007 and presented it on stage in a production ofARBOS – Company for Music and Theatredirected byHerbert Gantschacher,with Rupert Bergmann (bass-baritone) and Gert Hecher (piano), in 2008 in Vienna and Salzburg and in 2009 inVillach(Austria).[24]
- Rick Burkhardt,Alec DuffyandDave Malloycreated anObie award-winning theatrical adaptation of the cycle,Three Pianos,directed byRachel Chavkin.The show played at theOntological TheaterandNew York Theatre Workshopin 2010[25]and theAmerican Repertory Theaterin 2011.[26]
- Matthias Loibner ,inspired by "Der Leiermann", the last song ofWinterreise,arranged the cycle for voice andhurdy-gurdy,and recorded it in 2010 with sopranoNataša Mirković .[27]
- Keith Kouna's 2013 albumLe voyage d'hiverwas a French-language reimagining ofWinterreise.[28]
- A new version of the entire cycle for voice and accordion (2014) features indie rock singer Corn Mo and accordionist William Schimmel.[29]
- Conal Morrison and Conor Linehan combined songs fromWinterreise(translated into English by Stephen Clark) withGeorg Büchner'sWoyzeckin a music theatrical productionWoyzeck in Winterwhich was produced by Landmark Productions and performed at theGalway International Arts Festival,theBarbican Centre,London, and theDublin Theatre Festivalin 2017. The cast was led byPatrick O'KaneandCamille O'Sullivan.[30]Other leading cast members includedRosaleen Linehan,Barry McGovernand Stephen Brennan.
- Covenant,a Swedish synthpop/industrial band, released "Der Leiermann" on their 2000 singleUnited States of Mind.[31]
- British translator and lyricistJeremy Samsproduced an English translation that was recorded by baritoneRoderick Williamsand pianistChristopher Glynnin 2018.[32]
- Composer and conductor Massimiliano Matesic made an orchestral version of the cycle,[33]which premiered in Zurich on December 29, 2018.[34]
Editions[edit]
Besides re-ordering Müller's songs, Schubert made a few changes to the words: verse 4 of "Erstarrung" in Müller's version read [Schubert's text bracketed]: "Mein Herz ist wie erfroren [erstorben]" ( "frozen" instead of "dead" ); "Irrlicht" verse 2 read "...unsre Freuden, unsre Wehen [Leiden]" ( "pains" instead of "sorrows" ) and "Der Wegweiser" verse 3 read "Weiser stehen auf den Strassen [Wegen]" ( "roads" instead of "paths" ). These have all been restored inMandyczewski's edition (the widely availableDoverscore) and are offered as alternative readings inDietrich Fischer-Dieskau's revision ofMax Friedlaender's edition forPeters.A few of the songs differ in the autograph and a copy with Schubert's corrections. "Wasserflut" wastransposedby Schubert from F♯minor to E minor without alteration; "Rast" moved from D minor to C minor and "Einsamkeit" from D minor to B minor, both with changes to the vocal line; "Mut" was transposed from A minor to G minor; "Der Leiermann" was transposed from B minor to A minor. The most recent scholarly edition ofWinterreiseis the one included as part of theBärenreiterNew Schubert Edition,edited byWalther Dürr,volume 3, which offers the songs in versions for high, medium and low voices. In this edition the key relationships are preserved: only one transposition is applied to the whole cycle.
The following table names the keys used in different editions.
Published transpositions Song Autograph & copy Petersedition of Friedlaendler (1884) Schirmer Autograph Tiefere Stimme Tiefer Alt oder Bass Low 1. Gute Nacht D minor B♭minor A minor C minor 2. Die Wetterfahne A minor F minor D minor F minor 3. Gefror'ne Tränen F minor D minor B minor D minor 4. Erstarrung C minor G minor G minor A minor 5. Der Lindenbaum E major D major C major E major 6. Wasserflut F♯minor,
changed to E minorC minor B minor C♯minor 7. Auf dem Flusse E minor C minor A minor C minor 8. Rückblick G minor E♭minor D minor E minor 9. Irrlicht B minor G minor F minor G minor 10. Rast D minor,
changed to C minorA minor G minor A minor 11. Frühlingstraum A major F major F major G major 12. Einsamkeit D minor,
changed to B minorA minor G minor B minor 13. Die Post E♭major B major G major B♭major 14. Der greise Kopf C minor A minor A minor C minor 15. Die Krähe C minor A minor G minor B♭minor 16. Letzte Hoffnung E♭major C major B♭major D major 17. Im Dorfe D major C major B♭major D major 18. Der stürmische Morgen D minor C minor B minor D minor 19. Täuschung A major G major G major A major 20. Der Wegweiser G minor E♭minor D minor E minor 21. Das Wirtshaus F major E♭major D major F major 22. Mut A minor,
changed to G minorF minor D minor F minor 23. Die Nebensonnen A major F major F major A major 24. Der Leiermann B minor,
changed to A minorF minor F minor G minor
Enduring influence[edit]
Schubert'sWinterreisehas had a marked influence on several key works, includingGustav Mahler'sLieder eines fahrenden Gesellen[35]andBenjamin Britten'sNight-piece.[36]In 1991,Maury Yestoncomposed both the original music and text ofDecember Songs,a song cycle influenced byWinterreise,on commission fromCarnegie Hallfor its Centennial celebration.[37]In 1994 Polish poetStanisław Barańczakpublished his poems, entitledPodróż zimowa,which – apart from one translation of a work by Müller – were inspired by Schubert's music.[38][non-primary source needed] 2020Deutschlandfunkpresents a new production of the Winterreise byAugst& Daemgen. In the program Atelier neuer Musik it says: "Hardly any other recording of the Winterreise cycle deals with Müller's texts and Schubert's music in such a radically different way than the reading of the composers and interpreters Oliver Augst and Marcel Daemgen. The focus of the arrangements is not the brilliantly polished beautiful sound of centuries-old traditional musical tradition, but rather its strict breakthrough in order to gain a new, undisguised access to the topicality of old texts and the core of the music."
Recordings[edit]
There are numerous recordings.
- Before 1936 are the complete 1928 version ofHans Duhanwith Ferdinand Foll and Lene Orthmann,[39]the incompleteRichard Tauberversion withMischa Spoliansky,[40]and the version ofGerhard Hüschwith Hanns Udo Müller (1933, for which an HMV limited edition subscription society was created).[41]
- Hans Hotterfirst recorded the cycle in 1942 with pianistMichael RaucheisenforDeutsche Grammophon.
- There is an account byPeter Anderswith Raucheisen recorded in Berlin in 1945.[42]
- Hans Hotter's famous account withGerald Moorewas issued in May 1955.[43]Hotter went on to make two more recordings: withErik Werbain 1961 and a live one with Hans Dokoupil in Tokyo in 1969.
- Gérard Souzay's 1963 recording withDalton Baldwin.
- Dietrich Fischer-Dieskau,among the most famous of exponents, is showcased in seven versions spanning four decades:[44]
- three withGerald Moore(1955 HMV,[45]1963 HMV,[46]and 1972 DG),[47]
- and one each withJörg Demus(1966, DG),[48]Daniel Barenboim(1980, DG),[49]Alfred Brendel(1986, Philips)[50]andMurray Perahia(1992, Sony Classical).[51]
- A recording was made byPeter PearswithBenjamin Britten(issued 1965).[52]
- Very low-pitched recordings are available byKurt Mollwith pianist Cord Garben (Orfeo, 1983), and byMartti Talvelawith pianistRalf Gothóni(BIS, 1984), and byJosef Greindlwith pianistHertha Klust(Preiser 1957), and byLászló Polgárwith pianistJan Schultsz(Hungaroton, 2005).
- Jon Vickerswith Peter Schaaf (1983,VAI)[53]
- Mezzo-SopranoChrista Ludwig1986 recording withJames Levine,pianist on Deutsche Grammophon.
- Olaf Bär's 1989 recording withGeoffrey Parsonson EMI classics.
- Peter SchreierwithAndrás Schiff(1994, London/Decca)
- Wolfgang HolzmairwithImogen Cooper(1996, Philips),
- Thomas QuasthoffwithCharles Spencer(1998, RCA)
- Mezzo-SopranoBrigitte FassbaenderwithAribert Reimann
- Christian Gerhaherwith Gerold Huber (2001, RCA Sony BMG, re-edited in 2008)
- ContraltoNathalie StutzmannwithInger Södergren(2005, Erato)
- Thomas Quasthoff with Daniel Barenboim (2005, DGG, DVD B-0005149-09)
- TenorIan BostridgewithLeif Ove Andsnes(2006, EMI Classics); also, in 2000, Bostridge and pianistJulius Drakemade a dramatic video recording of the entire cycle.[54]
- Mark PadmorewithPaul Lewis(2009, Harmonia Mundi)
- Werner GürawithChristoph Bernerplaying aRönischfortepianoof 1872 (2010,Harmonia Mundi)[55]
- Mark PadmorewithKristian Bezuidenhout(2018, Harmonia Mundi)
Some videotaped performances are also available, including mezzo-sopranoChrista Ludwigwith Charles Spencer (1994, Art Haus Musik), several by Fischer-Dieskau, one byHermann Preywith pianistHelmut Deutsch,and a version by Thomas Quasthoff and pianist Daniel Barenboim filmed at theBerlin Philharmoniein 2005.Francisco Araizatenor and Jean Lemaire (2014 Arthaus) coupled with Schumann'sDichterliebe;studio recording.
References[edit]
- ^Reed 1985,p. 441.
- ^Giarusso 2008,p. 26.
- ^Urania: Taschenbuch auf das Jahr 1823(in German). Leipzig: Brockhaus. 1823. pp. 207–223.
- ^Youens 1991,p. 21.
- ^Schubert: Die Erinnerungen seiner Freunde.Otto Erich Deutsch. Wiesbaden: Breitkopf & Härtel. 1983. p. 235.ISBN3-7651-0186-9.OCLC10759777.
{{cite book}}
:CS1 maint: others (link) - ^Robertson 1965.
- ^Youens 1991,p. 22.
- ^Max Friedlaender,inFranz Schubert – Sammlung,"Textrevision zu Franz Schubert's Liedern", following page 260.
- ^Rehberg & Rehberg 1946,pp. 338–39.
- ^Service, Tom(28 April 2010)."Schubert's syphilitic sonata".The Guardian.London.
- ^Haywood 1939.
- ^Capell 1928,chapter onWinterreise.
- ^abOsborne 1955
- ^Cited byMann 1955
- ^Bostridge 2014.
- ^Versions of Works by Others (Liszt):Scores at theInternational Music Score Library Project
- ^Publisher's Note pp. ix–x inFranz Liszt: The Schubert Song Transcriptions for Solo Piano: Series II: The Complete Winterreise and Seven other Great Songs,1996, Mineola, New York, Dover Publications
- ^"Classical Music Listening and Downloading".classicsonline.
- ^"Schubert: Winterreise / Christian Elsner, Henschel Quartet".arkivmusic. 2002.Retrieved30 November2010.
- ^"Bekannte Tour durch eine neue Klangwelt".Sächsische Zeitung(in German). 21 June 2004.Retrieved30 November2010.
- ^"Hamburg Ballett John Neumeier".hamburgballett.de.
- ^"Transit Cellophane".muziekweb.Retrieved2014-12-03.
- ^Pentaèdre (Danièle Bourget, Martin Charpentier, Normand Forget, Louis-Philippe Marsolais, Mathieu Lussier). ATMA ACD2 2546
- ^"Illusion"by Franz Schubert and Wilhelm Müller on stage by Horst Dittrich (Austrian Sign Language),Rupert Bergmann(bass-baritone) and Gert Hecher (piano)
- ^Eric Grode (1 December 2010)."Taking Schubert for a Wild Joy Ride".The New York Times.Retrieved5 June2020.
- ^"Three Pianos".BroadwayWorld(review). 19 December 2011.Retrieved5 June2022.
- ^"Schubert:WinterreiseNataša Mirković-De Ro (tenor) Matthias Loibner (hurdy-gurdy) ".November 2010.Retrieved21 January2011.
- ^"La marche vers la mort de Keith Kouna".Le Devoir,December 7, 2013.
- ^"Die Winterreise,by William Schimmel and Corn Mo ".William Schimmel and Corn Mo.Retrieved2016-12-03.
- ^Billington, Michael(2017-07-20)."Woyzeck in Winterreview – a haunting fusion of two unfinished masterpieces ".The Guardian.ISSN0261-3077.Retrieved2017-07-25.
- ^"Covenant – Der Leiermann".Discogs.Retrieved11 February2019.
- ^"Pianist Christopher Glynn on Schubert in English: 'this new translation never walks on stilts'".theartsdesk.5 May 2018.Retrieved2019-09-10.
- ^"Winterreise/Matesic".Retrieved6 October2019.
- ^"Premiere of the Matesic version".YouTube.Retrieved6 October2019.
- ^Schroeder, David P.Our Schubert: his enduring legacy,The Scarecrow Press, 2009: p. 174
- ^Keller, Hans.Film music and beyond: writing on music and the screen, 1946–59.Ed. Christopher Wintle. Plumbago Books, 2006: p. 96
- ^"About Maury Yeston".About Maury Yeston's website.Retrieved1 July2013.[self-published source]
- ^Stanisław Barańczak.Wiersze Zebrane[Collected Poems], Wydawnictwo a5, 2006: p. 383
- ^German HMV, 24 sides, ER 270–272, 274–276, ES 383–386, 392–393: see Darrell 1936, p. 414.[incomplete short citation]CD: Prestige Recordings, HT S004.
- ^Polydor-Odeon, only songs 1, 5, 6, 8, 11, 13, 15, 18, 20, 21, 22, 24); cf. Darrell 1936, p. 414.[incomplete short citation]
- ^Blom 1933.Reissued from HMV DA 1344–1346 (10 ") and DB 2039–2044 (12" ),World RecordsSH 651–652 transfer by Keith Hardwick for EMI 1980.
- ^"Music; A Journey Through the Bleakest of Winters"byJoseph Horowitz,The New York Times12 December 1999
- ^Columbia CXS 1222, CX 1223, reissued as Seraphim IC-6051 withSchwanengesang,etc.
- ^James Jolly (30 November 1999)."Dietrich Fischer-Dieskau and Schubert'sWinterreise.How Gramophone followed this winter's journey ".Gramophone.Retrieved19 April2011.
- ^HMV ALP 1298/9, recorded 13–14 January 1955, issued November 1955; followingDie schöne Müllerinissued 1953
- ^HMV ALP 2001/2, ASD 551/2, recorded 16–17 November 1962, sleeve notes byMann 1955;followingDie schöne Müllerinissued 1962: Reissued inA Schubert Anthology,EMI/HMV SLS 840 box set, BOX 84001–84003.
- ^DGG LP 2720 059, CD 437 237-2, recorded August 1971
- ^DGG LP 39201/2, recorded May 1965
- ^DGG LP 2707 118, CD 439 432-2, recorded 1979
- ^Philips CD 411 463-2, recorded July 1985
- ^Sony Classical CD SK48237, recorded July 1990
- ^Decca Stereo, SET 270–271.
- ^Biography,Peter Schaaf
- ^"Ian Bostridge (tenor) Julius Drake (piano)".Retrieved14 July2012.
- ^Clements, Andrew (18 March 2010)."Schubert:Die Winterreise– CD review ".The Guardian.
Sources[edit]
- Blom, Eric(1933). "Foreword and analytical notes".Schubert's "Winterreise".London: The "Winterreise" Society, Gramophone Company.
- Bostridge, Ian(2014).Schubert's Winter Journey: Anatomy of an Obsession.London: Faber & Faber.
- Capell, Richard(1928).Schubert's Song.London: Ernest Benn.
- Giarusso, Richard (2008)."Beyond the Leiermann".In Barbara M. Reul; Lorraine Byrne Bodley (eds.).The Unknown Schubert.Ashgate.ISBN978-0-7546-6192-4.
- Haywood, Ernest (20 January 1939). "Terrifying Songs".Radio Times.
- Mann, William(1955).Schubert Winterreise(Sleeve notesHMVASD 552).Gramophone.
- Osborne, Charles(1955).Schubert Winterreise(Sleeve notes HMV ALPS 1298/9 (Gramophone)).
- Reed, John (1985).The Schubert Song Companion.New York: Universe Books.ISBN0-87663-477-3.
- Rehberg, Walter;Rehberg, Paula (1946).Schubert: Sein Leben und Werk.Zurich: Artemis-Verlag.
- Robertson, Alec (1965).Schubert, Winterreise(Brochure accompanying Decca SET 270-271). London: Decca Records.
- Youens, Susan(1991).Retracing a Winter's Journey: Schubert's Winterreise.Ithaca, New York: Cornell University Press.
Further reading[edit]
![](https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Ingo_K%C3%BChl_%22Der_Lindenbaum%22_Bild_5_aus_dem_24-teiligen_Bilderzyklus_%22Winterreise%22_nach_Franz_Schubert%2C_%C3%96l_auf_Leinwand_100_x_100_cm%2C_1996%2C_Werkverzeichnis_23-96%2C_Privatbesitz_Berlin.jpg/220px-thumbnail.jpg)
- À Campo, Joep (2021).Erotiek, religie, esthetiek. De Winterreise in het strijklicht van de Romantiek.Rotterdam: ArtScape-ArteVista.ISBN978-90-77232-200.
- Besack, Michael (1998).Winterreise: Reflections on a Winter Journey.Esoteric Journeys through Poetry and Song. Vol. 2. Berkeley: Regent Press.ISBN978-1-889059-10-5.
- Deutsch, Otto Erich(1957).Schubert: Die Erinnerungen seiner Freunde.Leipzig: Breitkopf & Härtel.
- Deutsch, Otto Erich (1964).Franz Schubert: Zeugnisse seiner Zeitgenossen.Frankfurt: Fischer-Verlag.
- Dorschel, Andreas, "Wilhelm MüllersDie Winterreiseund die Erlösungsversprechen der Romantik ", in:The German QuarterlyLXVI (1993), nr. 4, pp. 467–476.
- Fischer-Dieskau, Dietrich(1977).Schubert's Songs.New York: Knopf.
- Moore, Gerald(1975).The Schubert Song Cycles – with thoughts on performance.London: Hamish Hamilton.
- Ingo Müller: "Eins in Allem und Alles in Einem": Zur Ästhetik von Gedicht- und Liederzyklus im Lichte romantischer Universalpoesie. In: Günter Schnitzler und Achim Aurnhammer (Hrsg.): Wort und Ton. Freiburg i. Br. 2011 (= Rombach Wissenschaften: Reihe Litterae. Bd. 173), S. 243–274.
- Ingo Kühl,Winterreise – 24 Bilder zum gleichnamigen Liederzyklus von Franz Schubert – nach Gedichten von Wilhelm Müller – gemalt nach der Interpretation vonBarry McDaniel,Gesang – Jonathan Alder, Klavier (1985).Berlin 1996. (Deutsche Nationalbibliothek)
- Müller, Wilhelm,Aus den hinterlassenen Papieren eines reisenden Waldhornisten, II: Lieder des Lebens und der Liebe.
- Neuman, Andrés,El viajero del siglo(Traveller of the Century). Madrid: Alfaguara, 2009. XII Alfaguara Award of novel.
- Schubert, Franz,Sammlung der Lieder kritisch revidirt von Max Friedlaender,vol. I, preface by Max Müller (Peters, Leipzig).
- Suurpää, Lauri:Death in Winterreise: Musico-Poetic Associations in Schubert's Song Cycle.Bloomington: Indiana University Press, 2014.ISBN978-0-253-01100-8.
External links[edit]
![](https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png)
![](https://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/38px-Wikisource-logo.svg.png)
- Winterreise:Schubert's autograph manuscript in the Morgan Library & Museum
- Winterreise:Scores at theInternational Music Score Library Project
- Manuscript,Schubert Online
- Schubert - Winterreise – A Beginners' Guide – Overview, analysis and the best recordings – The Classic Review
- Comprehensive research website,Iain C. Phillips
- German textsandEnglish translations
- Randall Scarlata (baritone) andJeremy Denk(piano)part 1andpart 2from theIsabella Stewart Gardner MuseuminMP3format
- Complete performanceby sopranoLotte Lehmann
- Winterreise,MIDI
- A Web site aboutWinterreiseby Margo Briessinck
- The complete text, spoken in German, at librivox.org (N. 20)
- MP3s ofHawaii Public Radiobroadcasts archived atlottelehmannleague.org/singing-sins-archive:
- Schubert Comparisons February 2, 2014(comparing performances of songs fromWinterreise)
- Winterreise2015: 1 February 2015(comparing twoWinterreiserecordings of 2014:Jonas KaufmannwithHelmut Deutsch,andGerald FinleywithJulius Drake)
- Die Winterreise (1994)atIMDb,withBrigitte Fassbaender(mezzo-soprano),Wolfram Rieger(piano), directed byPetr Weigl
- Winterreise (1994)atIMDb,withIan Bostridge(tenor),Julius Drake(piano), directed byDavid Alden