Winterreise D911[74’33]
1
Gute Nacht Fremd bin ich eingezogen[5’50]
2
Die Wetterfahne Der Wind spielt mit der Wetterfahne[1’54]
3
Gefrorne Tränen Gefrorne Tropfen fallen[2’40]
4
Erstarrung Ich such’ im Schnee vergebens[3’04]
5
Der Lindenbaum Am Brunnen vor dem Tore[5’22]
6
Wasserflut Manche Trän’ aus meinen Augen[3’42]
7
Auf dem Flusse Der du so lustig rauschtest[3’50]
8
Rückblick Es brennt mir unter beiden Sohlen[2’14]
9
Irrlicht In die tiefsten Felsengründe[2’26]
10
Rast Nun merk’ ich erst, wie müd’ ich bin[3’31]
11
Frühlingstraum Ich träumte von bunten Blumen[4’32]
12
Einsamkeit Wie eine trübe Wolke[2’52]
13
Die Post Von der Strasse her ein Posthorn klingt[2’17]
14
Der greise Kopf Der Reif hat einen weissen Schein[3’06]
15
Die Krähe Eine Krähe war mit mir[2’05]
16
Letzte Hoffnung Hie und da ist an den Bäumen[2’22]
17
Im Dorfe Es bellen die Hunde, es rasseln die Ketten[3’34]
18
Der stürmische Morgen Wie hat der Sturm zerrissen[0’53]
19
Täuschung Ein Licht tanzt freundlich vor mir her[1’16]
20
Der Wegweiser Was vermeid’ ich denn die Wege[4’24]
21
Das Wirtshaus Auf einen Totenacker[4’24]
22
Mut! Fliegt der Schnee mir in’s Gesicht[1’28]
23
Die Nebensonnen Drei Sonnen sah ich am Himmel stehn[3’03]
24
Der Leiermann Drüben hinter’m Dorfe[3’44]
The Gramophone-award winning partnership of Gerald Finley and Julius Drake turns to perhaps the most celebrated song-cycle of them all. Schubert’s Winterreise is a masterpiece of despair, astonishing in its bleakness and enthrallingly mesmerizing as the journey continues. Finley brings all his considerable dramatic powers to his performance—and all but submerges them under the ice.
Richard Wigmore writes that ‘before Winterreise Schubert had composed individual songs of pathos and despair, even of apocalyptic terror. What was new about the cycle was the spareness and angularity of much of the writing, the work’s sustained godless pessimism and its obsessive exploration of a mind veering between delusion, ironic self-awareness and nihilistic despair. The water music, limpid, turbulent or benedictory, of Schubert’s earlier Müller cycle, Die schöne Müllerin, yields in Winterreise to musical emblems of trudging and stumbling, bareness and exhaustion, derangement and frozen, trancelike stillness’.
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