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We were quite dumbfounded by the gloomy mood of these songs and Schober said he had only liked one song, Der Lindenbaum. It is also possible that he would have regarded a twenty-four-song cycle as too great an undertaking at that stage. In doing so we would risk interfering with the hand of the composer. Schubert knew what he was doing. If he was the victim of fate and chance in this matter, or simply a composer unfortunate enough not to have the right book of poems in his possession at the right time, he turned everything to his artistic advantage.

Is this not, after all, the least of what we might have expected from a composer—magician of his stature? But Winterreise needs no rescue team. Afterword—music in the street, and in the mind Schubert must have heard countless musicians of every kind on the streets of Vienna.

His youth was spent in a time of military mobilization and he must have walked in step with many a military band playing their unsophisticated marches militaires. But in this city almost everyone aspired to be a musician. These vagabonds, many of them still children, had to make their living somehow.

They lined the city walls and hid in dark passages with their harps and guitars, hoping to make a few pennies from striking up in pathetic tones for passers-by. As he walked home to his lodgings, one of which was located in the city walls near the Karolinentor in late and early , the composer must often have had these strains ringing in his ears. The topic of street music was an emotive one since long before the time of Schubert, and so it has remained.

The dignity of art and indignity of destitution can be a highly uncomfortable combination when confronted in reality and heard at close quarters. It is only the occasional street-musician who gives the kind of musical pleasure which results in money falling in large quantities into his hat; gifted entertainers have a good chance of progressing to a life on the boards. It is far more usual for badly played music to accompany acts of grudging, or embarrassed, compassion.

The skeletal figure of Death is sometimes represented playing the hurdy-gurdy in medieval iconography, and it is not surprising that Der Leiermann is often taken to be 'Freund Hain', the figure of Death. This sudden and strangely appropriate mention of a musician, at the last moment in the cycle, may well have been the factor which decided the composer to expand the Ur Winterreise into a twenty-four-song work.

Schubert must have been familiar with the problem of penury among musicians who could no longer work, whose talents had been eroded by misfortune and illness. Performing artists and composers, then as now, are self-employed and have to make careful plans for their future. Even a tiny accident can render a player unable to work, and Schubert's hand-to-mouth existence was not protected by such things as insurance and pension plans, much less a Musicians' Benevolent Fund.

In ordinary circumstances he need never have feared the loss of his musical capital. Since there had been a long and dark shadow across his life: syphilis. This disease had a number of alarming prognoses. Chief among these was that, after a number of years, it was probable that the disease would attack the brain and, with it, the powers of thought and creativity.

By four years had already elapsed and, although he was still in command of all his faculties to say the least! Whom would it not in similar circumstances? Of course, we know something that he could not foresee—that he was to die within a year of completing Winterreise , spared the effects of tertiary syphilis, still at the height of his musical powers, still composing like a god. But it was really much more likely that, in the normal course of his illness, the river of Schubertian melody would dry up.

Perhaps he would be left, like the similarly afflicted Baudelaire, endlessly repeating the same words, parrot-fashion, like a record-playing needle stuck in the same groove of the brain. Can we imagine a Schubert bereft of melody and unable to compose?

This was what he expected would be his fate. It was only a matter of time before the fall of the Damoclean sword. It is far too easy to imagine the character of the winter traveller as a self-portrait of the composer himself, denied love and alienated from society; no such autobiographical claim should be made for the cycle as a whole. The winter traveller is in a sense bigger than Schubert himself as King Lear is bigger than Shakespeare.

The hero of this cycle achieves an eloquence and stature that are reserved for the mightiest characters in opera. Winterreise is a dramatic event and cannot be explained solely by the sad fate of its creator who was largely able to forget himself and his problems when he was in the process of composing it.

As we have seen, many songs in the work refer back to earlier works and can be seen simply as a continuation of Schubert's pioneering achievements in the genre, something quite separate from the special pleading of biographical parallels. But there is documentary evidence that Schubert was shaken to the core in writing this work and that he was strangely moody and withdrawn during its gestation.

Of all the songs it is Der Leiermann which might have provoked this reaction. With its barren and bleak landscape it is the only song in Schubert's entire output which is denuded of music itself. There is no real harmonic movement, and the repetitive musical phrases go round in circles. The stumbling fingers of the old man are numb with cold, but perhaps they are also impeded by illness any musician's nightmare—arthritis, multiple sclerosis, some other neurological complaint—syphilis perhaps.

In this way the hurdy-gurdy player on the ice does not seem to be a symbol of death as we usually understand it, but something which, in Schubert's eyes and ears, was far worse—living death, or, in his case, life without real music. One need look no further than the last years of both Schumann and Wolf for an illustration of the protracted period of humiliating disability in the antechamber of death.

In the failing music of both these masters' last periods we can detect the chilly grip and numb fingers of the hurdy-gurdy man. Der Leiermann was not drawn from the composer's own experience; the eerie tune was not formed from the large bank of musical allusion and tonal analogue at his disposal throughout the rest of the cycle: nor could the song benefit from the unending fount of melody on which Schubert could draw at any time he chose.

Where then does this music come from? The future, perhaps. The composer's future, that is. This song is a moonscape, a projection of an unknown tomorrow. Will your music be a fitting accompaniment for my poems? Is this how life—my life at least—will come to an end?

How the mighty have fallen! At the beginning of Schubert would never have believed that he would one day imagine a situation where his own musical abilities might have something in common with the incompetent drone and stumble of a hurdy-gurdy player. Plunge it into Lethe's flood'. The commentary on that work in Volume 25 suggests that, in sacrificing his protagonist and experiencing death alongside the young miller in musical terms, the composer found the strength to continue with what remained of his own life—five matchless years of creativity.

This was a cathartic act of self-therapy by someone in extremis, a composer whose artistic survival was in danger of extinction, and who used the most powerful thing he had—his own art—to overcome the crisis. Those who imagine the worst and put it down on paper, even turn it into art, might be thought pessimists and hypochondriacs.

But the belief in knowing your enemy, looking him in the eye, and disarming him before the moment of meeting is an ancient one. In Stone Age culture, rock-paintings depicted the successful hunt in anticipation of the event; in medieval times those wishing to be spared the plague simulated its symptoms in a dance of death.

Just as Schubert had drowned the miller-boy in his stead, so he encourages the winter traveller to sing non-music with the hurdy-gurdy player; he even composes the non-music for them. Were Diu Werlt Alle Min. Estuans Interius. Olim Lacus Colueram. Ego Sum Abbas. Intaberna Quando Sumus. Amor Volat Undique. Dies, Nox Et Omnia. Stetis Puella. Circa Mea Pectora.

Si Puer Cum Puellula. Veni, Veni, Venias. In Trutina. Tempus Est Locundum. Ave Formosissima. Soprano: Anne Margerethe Dahl. Tenor: Blazej Grek. Conductor: Ilya Stupel. Carnaval Des Animaux. Hens And Cocks. Wild Asses. Personages With Long Ears. Suddeutsche Philharmonie, Cond: Hanspeter Gmur. Adagio - Allegro Moderato. Maestoso - Allegro Moderato. Symphonie No. Largo Maestoso - Vivace. Finale: Capriccio — Moderato. Musici Di San Marco Dir. Adagio Cantabile -Vivace Assai.

Menuetto Allegro Molto. Finale Allegro Molto. Allegro Appassionato. Bamberger Symphoniker, Dir. Piano: Hans Lang. Comfort Ye My People. Ev'ry Valley Shall Be Exalted. Behold The Lamb Of God. The Trumpet Shall Sound. Famous Ballet Music. Arabian Dance. Dance Of The Toy Flutes. Flower Waltz. Introduction, The Lilac Fairy. Pas D'action "Rose Adagio". Scene: Lake In Moonlight. Dance Of The Swans. Neapolitan Dance. Pas De Deux. Hungarian Dance.

Wedding Dance. Piano: Svetlana Stanceva. Classical Ouvertures. The Creatures Of Prometheus Op. Fidelio Op Suddeutsche Philharmonie, Conductor: Hanspeter Gmur. The Magic Flute. Egmont Op. Figaro's Wedding. London Philharmonic, Conductor: Alfred Scholz. Leonore No. III Op. Coriolan Op. London Philharmonic, Conductor: Alberto Lizzio. Menuetto: Allegro Molto. From Valses Nobles Op. German Dance. Symphonisches Orchester Berlin, Dir. Concerto Grosso Op. Vivace Grave. Adagio - Allegro - Adagio. Allegro - Largo Pastorale.

I Solisti Di Zagreb. Concerto A5 - B Minor. Adagio, Allegro. Violin Romance No. Brabants Orkest, Conductor: Eduardo Maturet. Adagio Sostenuto-Presto. Andante Con Variazioni. Finale: Presto. Divertimento No. Salzburg Soloists. Allegro Andante Allegro Assai Violin Concerto No. Adagio Vivace Largo Ma Tanto Allegro Violin: J. Sturmisch Bewegt, Mit Grosster Vehementz Scherzo: Kraftig, Nicht Zu Schnell Adagietto: Sehr Langsam Allegro Assai Opus 29 Andantino Opus 36 Vivace Opus 51 Allegro Agitato Posthumus Nocturnes Larghetto E Staccato Presto Largo Larghetto Affectuoso A Tempo Giusto Musette: Larghetto Allegro Concerto Grosso No.

Hornpipe Concerto Grosso No. Allemande: Andante Grave Andante Allegro Allegro Moderato Molto Vivace Adagio Molto E Cantabile Allegro The Summer Allegro Non Molto, Allegro Adagio E Piano Presto The Autumn Adagio Molto Allegro The Winter Allegro Non Molto Allegro Molto Larghetto Allegro Vivace Andante Cantabile Menuetto: Allegro Allegro Non Troppo Andante Moderato Allegro Giocoso Pizzicato Polka Morgenstimmung Ases Tod Arabischer Tanz Peer Qynts Heimkehr Solvejgs Lied Slowak Philharmonic, Cond.

Allegro Molto Moderato Moderato Tempo Di Valse Scherzo Allegro Con Brio Allegretto Grazioso Scherzo: Presto Thema Con Variazioni: Andantino - Allegretto Finale: Allegro Giusto Stringquartet No. Allegro Ma Non Troppo Menuett: Allegretto Andante Con Moto Con Moto Moderato Prelude Aragonaise Intermezzo Seguedille Les Dragons D'alcala Marche De Contrabandiers Habanera Nocturne Chanson Du Toreador La Garde Montante Boheme L 'Arlesienne Op.

Ouverture Minuetto Adagietto Carillon L 'Arlesienne Op. Pastorale Menuetto Hungarian State Orchestra, Cond. Bolero New Philharmonic Orchestra, Cond. Life For The Tsar Polonaise Pas De Quatre Krakowiak Philharmonica Hungarica, Cond. Ouverture Tannhauser Suddeutsche Philharmonie, Cond. Ouverture Rienzi Nurnberg Symphonic, Cond. Faust- Ouverture Nurnberg Symphonic, Cond. Andantino Semplice — Presto - Tempo 1 Allegro Con Fuoco Menuett Clair De Lune Allegretto All'ungarese Symphony No.

Menuetto Finale Clarinet Concerto No. Romanza II III Valse - Ballet Gymnopedies Prelude D'enginhard Gnossiennes No II IV VI Je Te Veux - Valse Allegro Agitato Music For The Royal Fireworks Allegro Maestoso Romance Larghetto Rondo Vivace Piano Concerto No. Maestoso Feierlich Und Gemessen, Nicht Schleppend Ouverture Semiramis Philharmonica Slavonica, Cond. Andantino Allegro Aperto Andante Ma Non Troppo Allegro Affetuoso Intermezzo: Andante Grazioso Nicht Zu Schnell Mit Innigem Ausdruck Innig Affettuoso Adagio, Ma Non Troppo Allegro Con Spirito Tempo Di Siciliana Die Vorstellung Des Chaos Vollendet 1st Das Grosse Werk Polka Furiant Comedians Philharm.

Adagio - Allegro Molto Scherzo: Molto Vivace Adagio Allegro Presto Symphony No. Molto Allegro Adagio Un Poco Mosso Adagio Molto: Adagio Con Brio O Fortuna Fortune Plango Vulnera Veris Leta Facies Omnia Sol Temperat Ecce Gratum Tanz Floret Silva Nobilis Chramer, Gip Die Varwe Mir Were Diu Werlt Alle Min Estuans Interius Olim Lacus Colueram Ego Sum Abbas Intaberna Quando Sumus Amor Volat Undique Dies, Nox Et Omnia Stetis Puella Circa Mea Pectora Si Puer Cum Puellula Veni, Veni, Venias In Trutina Tempus Est Locundum Dulcissime Ave Formosissima Hens And Cocks Wild Asses Tortoises Elephant Kangaroo Aquarium Personages With Long Ears Cuckoo Birds Pianist Fossils Swan Adagio - Allegro Moderato Largo Maestoso - Vivace Adagio Cantabile -Vivace Assai Menuetto Allegro Molto Allegro Appassionato Allegretto Grazioso Bamberger Symphoniker, Dir.

Comfort Ye My People Ev'ry Valley Shall Be Exalted Behold The Lamb Of God Hallelujah The Trumpet Shall Sound March Trepak Arabian Dance Dance Of The Toy Flutes Flower Waltz Introduction, The Lilac Fairy Pas D'action "Rose Adagio" Panorama Waltz

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