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Performers Randall Scarlata, baritone Jeremy Denk, piano. Boston: Isabella Stewart Gardner Museum. Javascript is required for this feature. These file s are part of the Werner Icking Music Collection.

Performers MIDI. Plate BA Editor Eusebius Mandyczewski — Plate F. Originally scanned at about pi, converted to dpi monochrome. Wasserflut: issued the song in the alternative, unofficial key of F-sharp minor originally in E minor Rast: issued both versions of the song only the 2nd version belongs to Op.

Einsamkeit: also issued an alternative, unofficial setting of the song in the key of D minor originally in B minor Mut: issued the 1st version of the song instead of the 2nd version Der Leiermann: also issued an alternative, unofficial setting of the song in the key of B minor originally in A minor. Editor Max Friedlaender Plate Peters , n.

Arranger Hugo Ulrich Leipzig: C. Edition No.


This file is part of the Sibley Mirroring Project. Arranger Robert Wittmann ?? Arranger Stefan Adams. Arranger Franz Liszt — Vienna: Tobias Haslinger , n. Plate T. Emil von Sauer — I provide the original scanned version and the filtered, because the filter does some changes smoothening, sharpening borders and some portions of the scan get lost sometimes when they are too small e. You may ask me for a manually cleaned version. Arranger Leopold Godowsky — New York: Carl Fischer , Arranger Richard Sahla Das Wirtshaus Mut Die Nebensonnen Der Leiermann.

For some time, Schubert appeared very upset and melancholy.

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I am anxious to know what you will say about them. They have cost me more effort than any of my other songs.

Schubert insisted that he had to have good poetry before he could compose good songs — he was among the most literary of all composers. By the end, he even understands his past love to have been illusion. Here, unutterably weary and depressed, the wanderer asks himself why his journey — his life — is so different from that of other people, what compulsion drives him to keep going, and why he chooses to be so isolated.

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Is this death, the bourne from which no traveller returns? The wanderer has sung of his journey all along; now he discovers that he is condemned to continued life, or rather, a living death as a singer poet irrevocably set apart from society. Through a kaleidoscope of polarized musical forms and poetic images, these 24 songs circumambulate a constant theme, a kind of leitmotif that permeates the entire cycle both musically and philosophically: the call to wander.

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Our Winterreise project came from an idea planted in my mind by Philippe Sly some years back. It was an idea about engaging with what naturally animates us rather than doing what is expected or rewarded. Over time this idea developed into an attempt to understand and experience the apparatus of music, the physics of singing and playing, the process of studying, and what it means to ingest music as a life practice.

Matthias Goerne; "Winterreise"; Franz Schubert

Eventually we assembled a group of people to explore a piece of music together. One of the results is this recording. Easy access to the many recordings, video performances, books, and essays on the cycle inform our experience of the piece in a way that would have been unimaginable to Schubert himself. We asked ourselves how this music would sound if it were interpreted by a stranger to that tradition, a kind of outsider, knowing that for us this was no longer possible. A strange coincidence led Phil to a group of four musicians who were willing and able to take on the project — outsiders to the classical tradition and post-Schubertian baggage we were trying to question.

It was important to us from the beginning that the music reside in the bodies of the players, unbound by the notation.

The Song Company | SongCo SOLO: Winterreise

The complex web of tradition that surrounds the performance of the classical music repertoire can be seen as a metaphor for the traditions and expectations that make up society. Often what is at the centre of any matter can be obscured and contorted by what it is dressed in. It seemed to me that the most stripped-down truth we could arrive at was already present in the room — an open, poetic text about an outsider that inspired an outsider composer on his deathbed to write his final cycle.