Winterreise Ian Bostridge Thomas Adès Franz Schubert (1797-1828) 20 Der Wegweiser 4. 37 21 Das Wirtshaus 4. 45 Winterreise, op. 89, D911 (1827) 22 Mut! 1. 18 Song cycle on poems by Wilhelm Müller 23 Die Nebensonnen 2. 35 24 Der Leiermann 3. 55 1 Gute Nacht 5. 36 2 Die Wetterfahne 1. 37 Total playing time: 72. 26 3 Gefror’ne Tränen 2. 17 4 Erstarrung 2. 57 Ian Bostridge, tenor 5 Der Lindenbaum 4. 42 Thomas Adès, piano 6 Wasserflut 3. 41 7 Auf dem Flusse 3. 26 8 Rückblick 1. 52 9 Irrlicht 2. 35 10 Rast 3. 02 11 Frühlingstraum 4. 27 12 Einsamkeit 2. 39 13 Die Post 1. 55 14 Der greise Kopf 2. 52 15 Die Krähe 3. 36 16 Letzte Hoffnung 1. 59 17 Im Dorfe 3. 43 18 Der stürmische Morgen 0. 50 19 Täuschung 1. 16 Schubert’s Winterreise has been a central part of my performing career and my musical life for at least three decades. I’ve recorded it twice before. Once, with Julius Drake, as part of a TV project, a documentary and a staged film of the piece (directed by David Alden) to celebrate the Schubert bicentenary in 1997. The second time was an album with Leif Ove Andnes as part of a larger Schubert recording project in the early years of the new century.

What makes this new recording so close to my heart is the partnership with Thomas Adès, whom I’ve worked with so much as composer, conductor and pianist. Touring the piece with him through Europe and the US was a revelation. He brings to the piece a deep searching musical intellect - going back to the manuscript and digging up new readings which the editors have missed - and an imagination which recreates sound and meaning in this, the greatest of all song cycles.

4 5 With a heart filled with endless love for those The 24 songs are forerunners, in a sense, of Der Leiermann (The Hurdy-Gurdy Man) who scorned me, I ... wandered far away. all those songs of love and loss that have For many and many a year I sang songs. been the soundtrack of generation on Drüben hinterm Dorfe Over there behind the village Whenever I tried to sing of love, it turned to generation of teenagers. But the loss of love, Steht ein Leiermann, Stands a hurdy-gurdy man, pain. And again, when I tried to sing of pain, which is only sketched ambiguously in the Und mit starren Fingern And with numb fingers it turned to love. first song, “Goodnight”, is just the beginning Dreht er, was er kann. He grinds away, as best he can. — Schubert, “My Dream”, of it. Schubert’s wanderer embarks on a Barfuß auf dem Eise Barefoot on the ice manuscript, July 3, 1822 journey through a winter landscape that Wankt er hin und her; He sways back and forth, leads him to question his identity, the Und sein kleiner Teller And his little plate Winterreise – Winter Journey – a cycle of conditions of his existence – social, political Bleibt ihm immer leer. Remains always empty. 24 songs for voice and piano based on and metaphysical – and the meaning of life. Keiner mag ihn hören, No-one wants to hear him, poems by Wilhelm Müller, was composed And it is all done with light and shadow, Keiner sieht ihn an; No-one looks at him, by Franz Schubert towards the end of his moving between sardonic humour and Und die Hunde knurren And the dogs growl short life. He died in Vienna in 1828 aged depressive longing. (Not surprisingly, Beckett Um den alten Mann. Around the old man. only 31. Piano-accompanied song is no was one of the cycle’s biggest fans.) The Und er läßt es gehen And he lets it go on, longer part of everyday domestic life and wanderer’s tears turn to ice; he sees flowers Alles, wie es will, Everything, just as it will; has lost its one-time primacy in the concert etched in the frost of the hut where he takes Dreht, und seine Leier Turns the wheel, and his hurdy-gurdy hall. What Germans know as Lieder — is a refuge; he is eyed from the sky by a carrion Steht ihm nimmer still. Never stays still for a moment. niche product, even within the niche that crow, his only faithful companion; and at Wunderlicher Alter, Strange old man, is classical music; but Winterreise is an the last, he sees a beggar musician playing Soll ich mit dir gehn? Should I go with you? indispensable work of art that should be in the street, ignored and unrewarded, the Willst zu meinen Liedern Will you to my songs as much a part of our common experience hurdy-gurdy man. Deine Leier drehn? Play your hurdy-gurdy? as the poetry of Shakespeare and Dante, the paintings of Van Gogh and Picasso, the novels of the Brontë sisters or Marcel Proust.

6 7 There is a Romantic irony embedded in they sound “natural” or “mannered”. The subliminal one, for only then can it avoid Elvis to the Beat poets – it is not such an the title of this last poem. The German simple classical delivery of a folk song by self-consciousness or a certain archness. outlandish suggestion. There is a definite leier, or lyre, was the most Romantic of a “trained” voice may sound uptight and kinship between Schubert’s hurdy-gurdy instruments, so how apt, poignant and artificial to an audience used to hearing One of the rare occasions on which player and Dylan’s tambourine man. poetic to have ended this cycle with a “Barbara Allen” or “O Waly Waly” in the I became conscious of channelling a This weary but not sleepy poet-wanderer lyre song. This, however, is no ordinary nasal twang that has become associated different kind of musical expression was in talks of how you might hear “laughin’, lyre, but a vulgar, indecent hurdy-gurdy, with an “authentic” folk voice. Crossing a concert in Moscow. I’ve often reimagined spinnin’, swingin’ madly across the sun”; of a Drehleier (a rotating or turning lyre), boundaries is perilous, and on the whole, “Der Leiermann” as a sort of Dylan song disappearing “far past the frozen leaves the chosen instrument of the musically opera singers sound as wrong in pop music that doesn’t conform to classical norms / The haunted, frightened trees”. It’s not unaccomplished beggar, the lowest of as pop singers do in German song. At the in singing, but it is hard to achieve the a million miles from his jingle jangle to the low. The hurdy-gurdy is the fiddler’s same time, crossing boundaries, respectful requisite vibe. On this occasion, however, it Schubert’s hurdy-gurdy. version of the bagpipe. The sound box can borrowings and outrageous thefts do clicked: I felt a connection with the greatest be that of a fiddle, a guitar or a lute, but essential work in keeping any art form alive. Dylan love song performance on record, the It is entirely appropriate that Schubert gave the strings are neither plucked nor bowed. bitter masterpiece “Don’t Think Twice, It’s the wretched old hurdy gurdy man “poor Instead, a wheel in the middle sets the Admiring vocalism from Bob Dylan to Billie All Right” on The Freewheelin’ Bob Dylan. music”. Our wanderer’s existential misery strings vibrating as it is turned by a crank. Holiday to Frank Sinatra, I have always Schubert’s “Hurdy-Gurdy Man” emerged as is for the first time confronted with real As a result, the hurdy-gurdy can seem thought that, in principle, one should be a song that was hardly sung, rasping and distress, unchosen and stoically borne. The mechanical and dissociating – the perfect influenced by these extraordinary singers guttural by the standards of bel canto, but world of Beckett here collides with that of instrument, at once ancient and modern, and their compelling way of bending without sounding – I hope – like a ridiculous Henry Mayhew, the Victorian cartographer for the expression of alienation. melody to words and vice versa. Classical intrusion of pop singing into the classical and ethnographer of the London poor, or song and popular song should not be so world. of Sebastião Salgado, the documentary Styles of singing are bound by convention; far apart: they share a lot in their subject photographer of contemporary Brazilian it is the musical context in which listeners matter and in their aesthetic of intimacy. I have no idea if Dylan was aware of life; and as listeners we are taken aback. hear them that determines whether Mostly, however, the influence has to be a Winterreise. Given his eclectic influences At the same time, we feel, and are meant in the 1960s – from Rimbaud to Brecht to to feel, pity and revulsion in equal measure

8 9 as we encounter this outcast fragment matters: they were not allowed to be of humanity with his irritating little folksy judges, witnesses, nor jurors; ineligible for tune, droning on and on. land tenure; unable to serve as guardians or to hold civic office; not accepted by the Our compassion is complex, and what trade guilds; and had no right to normal ultimately complicates it is the fear that damages as plaintiffs in a civil case. Laws this lonely, squalid figure could be us. There changed but the stigma remained, allied to but for the grace of God go you or I. We the deep-rooted suspicion of the rootless are repelled and we are drawn in; we resist, and of those whose musical activities but also admire the fortitude of one who verged on the mystical, the magical, and can carry on in such circumstances. Could the shamanic-demonic – the tale of the we do the same? If the poem resonated Pied Piper of Hamelin had cast a long with Schubert it’s because he, too, was shadow. a musician. Historically, he is the first of the canonical “great” composers to have Müller’s hurdy-gurdy player, then, must made his living solely in the marketplace, have seemed particularly appealing to without a patron, a position in the court a composer and musician living on the or church, or a musical sinecure. He was threshold of modernity, all too conscious by no means the unsuccessful unknown of of the dangers of falling into the terrifying legend and made plenty of money from his state of indigence that the old man compositions. But his position was perilous. represents. Schubert’s awareness of his He led a bohemian life, financially insecure. own prognosis – the terrifying fate of the syphilitic, the inevitable physical and During the middle ages, instrumentalists mental deterioration – can only have had been viewed as incompetent in legal intensified these fears.

10 11 Up until “The Hurdy Gurdy Man” Winterreise for the wanderer singing his woes. “Will audience as it is by singer and pianist. A singer and audience. Not to forget the has been a “monodrama”. Everything you play your hurdy-gurdy to my songs?” mute, stunned applause usually follows, piano, which turns sonic imagery – rustling has been presented to us by the poetic the wanderer asks. If the answer were which can swell into noisier acclaim. leaves, posthorns, a falling leaf – into a voice, the wanderer; and neither Müller to be a “yes”, then the crazy but logical psychological landscape. Singer as ego, nor Schubert has played sophisticated procedure would be to go right back to the Acclaim? Acclaim for what? For the piano as id. By placing the piece in as games by suggesting shiftiness in the beginning of the whole cycle and start all composer? For the music? For the broad a context as possible – exploring its narration. The story may be incomplete, over again. This could explore a notion of performance? Is applause, and the roots in the 1820s, its resonances now, its even reticent or teasing, but the narrator eternal recurrence: we are trapped in the performers’ acceptance of it, somehow personal meaning for Schubert and for is not unreliable. Everything is filtered endless repetition of this existential lament. impertinent? It sometimes, indeed often, others, listeners and performers – I hope through the wanderer’s subjectivity, even if Alternatively, the first sing-through could be feels that way. The normal rules of the I’ve provided a way in to one of the great the harmonic transformations of the piano the monodrama with pianistic imaginarium song recital are in abeyance. No encores creations of the western musical tradition. part sometimes seem to reflect more the that we all experienced, but with the are prepared or expected and, however unconscious than the conscious mind. second, and subsequent, performances enthusiastically the audience respond, none Ian Bostridge given to the accompaniment of the hurdy- will be forthcoming. In this last song, however, a notional source gurdy. The cycle ends with a final cadence (previously published in The Guardian on 3 of alternative subjectivity, however pinched that, in its open-endedness, allows us the Winterreise can seem a little intimidating. January 2015, used with kind permission) and etiolated, presents itself: the hurdy- freedom to choose our own ending. Its 24 gloomy songs are to be taken in one, gurdy player. What is achieved, in the end, extended, 70-minute dose. It shouldn’t be is a wonderful circularity, with the musical- What happens after a performance of like that. The music of the cycle is varied poetical serpent biting its own tail, and Winterreise is a little mysterious but usually and engagingly weird – Schubert’s friends the tantalising offer of narrative closure, follows a pattern. Silence emerges as the were shocked when they first heard it. It is an explanation for what has been going last hurdy-gurdy phrase dissipates into the full of energy, despair, passion, sensuality on. We now see the possibility that the hall, a silence that is often extended and and gallows humour. It is a drama, too, a hurdy-gurdy player may have been there forms part of the shared experience of the piece of theatre, with its own rhythm, and all along, and have been the very occasion piece; a silence performed as much by the a crucial role for the confrontation between

12 13 1 Gute Nacht

Fremd bin ich eingezogen, As a stranger I arrived here, Fremd zieh’ ich wieder aus. as a stranger I go forth. Der Mai war mir gewogen Maytime was good to me Mit manchem Blumenstrauß. with many a bunch of flowers. Das Mädchen sprach von Liebe, The girl spoke of love, Die Mutter gar von Eh’, – her mother even of marriage. Nun ist die Welt so trübe, Now the world is dismal, Der Weg gehüllt in Schnee. the path veiled in snow.

Ich kann zu meiner Reisen For my journey I cannot Nicht wählen mit der Zeit, choose my own time; Muß selbst den Weg mir weisen I must pick the way myself In dieser Dunkelheit. through this darkness. Es zieht ein Mondenschatten My mooncast shadow acts Als mein Gefährte mit, as my companion Und auf den weißen Matten and on the white meadow Such’ ich des Wildes Tritt. I look for deer’s footprints.

Was soll ich länger weilen, Why should I stay longer Daß man mich trieb hinaus? until they drive me out? Laß irre Hunde heulen Let stray dogs howl Vor ihres Herren Haus; outside the master’s house. Die Liebe liebt das Wandern – Love loves to wander— Gott hat sie so gemacht – God made it so— Der Wind spielt drinnen mit den Herzen Indoors the wind plays with hearts Von einem zu dem andern. from one to the next. wie auf dem Dach, nur nicht so laut. as on the roof, but not so loudly. Fein Liebchen, gute Nacht! Sweetheart, goodnight! Was fragen sie nach meinen Schmerzen? What do they care for my sorrows? Ihr Kind ist eine reiche Braut. Their child is a rich bride. Will dich im Traum nicht stören, I will not disturb your dreams: Wär schad’ um deine Ruh’, that would spoil your rest. 3 Sollst meinen Tritt nicht hören – You must not hear my footsteps— Gefror’ne Tränen Sacht, sacht die Türe zu! soft, softly shut the doors! Ich schreibe nur im Gehen As I leave I shall write Gefror’ne Tränen fallen Frozen tears are falling An’s Tor noch gute Nacht, ‘Goodnight’ upon the gate for you, von meinen Wangen ab: off my cheeks: Damit du mögest sehen, so that you may see Ob es mir denn entgangen, did I not notice, then, An dich hab’ ich gedacht. I have been thinking of you. daß ich geweinet hab’? that I have been crying?

2 Ei Tränen, meine Tränen, O tears, my tears, Die Wetterfahne und seid ihr gar so lau, are you so tepid then daß ihr erstarrt zu Eise that you turn to ice Der Wind spielt mit der Wetterfahne The wind plays with the weather-vane wie kühler Morgentau? like cold morning dew? auf meines schönen Liebchens Haus. on my fair sweetheart’s house. Da dacht ich schon in meinem Wahne, In my confusion I just thought Und dringt doch aus der Quelle Yet you spring from your source sie pfiff den armen Flüchtling aus. its whistling mocked this poor fugitive. der Brust so glühend heiß, in my breast so burning hot als wolltet ihr zerschmelzen that you should melt Er hätt’ es ehr bemerken sollen, He should have noticed sooner des ganzen Winters Eis! all winter’s ice! des Hauses aufgestecktes Schild, the emblem set upon the house; so hätt’ er nimmer suchen wollen then he would never have tried to look im Haus ein treues Frauenbild. for faithful womanhood within.

16 17 4 Erstarrung Mein Herz ist wie erfroren, My heart is as good as frozen; kalt starrt ihr Bild darin: within it her image gazes coldly. Ich such’ im Schnee vergebens Vainly I search in the snow Schmilzt je das Herz mir wieder If ever my heart thaws again, nach ihrer Tritte Spur, for the footprint she left fließt auch das Bild dahin. her image too will melt away. wo sie an meinem Arme when arm in arm with me she durchstrich die grüne Flur. rambled over the green meadow. 5 Der Lindenbaum Ich will den Boden küssen, I want to kiss the ground, durchdringen Eis und Schnee pierce through ice and snow Brunnen vor dem Tore, By the well at the town gate mit meinen heißen Tränen, with my hot tears da steht ein Lindenbaum: stands a lime tree; bis ich die Erde seh’. until I see the soil beneath. Ich träumt in seinem Schatten in its shadow I have dreamed so manchen süßen Traum. so many a sweet dream. Wo find’ ich eine Blüte, Where shall I find a blossom, wo find’ ich grünes Gras? where find green grass? Ich schnitt in seine Rinde On its bark I have carved Die Blumen sind erstorben The flowers are dead, so manches liebe Wort; so many a loving word. der Rasen sieht so blaß. the grass looks so pale. es zog in Freud’ und Leide In joy and sorrow it drew zu ihm mich immer fort. me to it again and again. Soll denn kein Angedenken Can there be no keepsake, then, ich nehmen mit von hier? to carry away with me? Ich mußt’ auch heute wandern Just now my journey took me Wenn meine Schmerzen schweigen, When my sorrows fall silent, vorbei in tiefer Nacht, past it at dead of night, wer sagt mir dann von ihr? what shall tell me of her? da hab’ ich noch im Dunkel and even in the darkness die Augen zugemacht. I had to close my eyes.

Und seine Zweige rauschten, And its branches rustled als riefen sie mir zu: as if they were calling to me:

18 19 Komm her zu mir, Geselle, “Come here to me, lad, Schnee, du weißt von meinem Sehnen, Snow, you know of my longing: hier find’st du deine Ruh’! here you will find your rest”! Sag’ mir, wohin doch geht dein Lauf? say, which way will you flow? Folge nach nur meinen Tränen, Just follow my tears: Die kalten Winde bliesen The chill winds blew nimmt dich bald das Bächlein auf. their stream will soon carry you away. mir grad ins Angesicht; straight in my face: der Hut flog mir vom Kopfe, my hat flew off my head. Wirst mit ihm die Stadt durchziehen, You will course the town with them, ich wendete mich nicht. I did not turn back. munt’re Straßen ein und aus; in and out of lively streets. Fühlst du meine Tränen glühen, When you feel my tears grow warm, Nun bin ich manche Stunde Now I am many hours da ist meiner Liebsten Haus. that will be my sweetheart’s house. entfernt von jenem Ort, away from that place; und immer hör’ ich’s rauschen: yet still I hear the rustling: 7 Du fändest Ruhe dort! “There you would have found rest”. Auf dem Flusse

6 Der du so lustig rauschtest, You who so merrily murmured, Wasserflut du heller, wilder Fluß, clear, wild stream, wie still bist du geworden, how silent you have become: Manche Trän’ aus meinen Augen Many a tear from my eyes gibst keinen Scheidegruß. you give no greeting as we part. ist gefallen in den Schnee; has dropped into the snow. seine kalten Flocken saugen Its chilly flakes suck Mit harter, starrer Rinde With hard, stiff hoar durstig ein das heiße Weh. thirstily up my burning woe. hast du dich überdeckt, you have covered yourself; liegst kalt und unbeweglich you lie cold and motionless, Wenn die Gräser sprossen wollen When the grass begins to shoot, im Sande ausgestreckt. stretched out in the sand. weht daher ein lauer Wind, a warm breeze will blow there, und das Eis zerspringt in Schollen and the ice will melt in torrents In deine Decke grab’ ich On your crust I carve und der weiche Schnee zerrinnt. and the snow will dissolve. mit einem spitzen Stein with a sharp stone

20 21 den Namen meiner Liebsten the name of my beloved Wie anders hast du mich empfangen, How otherwise did you welcome me, und Stund und Tag hinein: and the hour and the day. du Stadt der Unbeständigkeit! you volatile town! An deinen blanken Fenstern sangen At your bright windows sang Den Tag des ersten Grußes, The day of first hello, die Lerch’ und Nachtigall im Streit. the lark vying with the nightingale. den Tag, an dem ich ging; the day I went away; um Nam’ und Zahlen windet round name and figures winds Die runden Lindenbäume blühten, The plump lime trees were in bloom, Sich ein zerbrochner Ring. a broken ring. die klaren Rinnen rauschten hell, the clear streams babbled brightly, und ach, zwei Mädchenaugen glühten. – and alas, two girlish eyes were glowing!— Mein Herz, in diesem Bache In this brook, my heart, Da war’s gescheh’n um dich, Gesell’! then you were done for, my friend! erkennst du nun dein Bild? do you now recognize your likeness? Ob’s unter seiner Rinde How under its crust Kömmt mir der Tag in die Gedanken, Whenever that day comes to mind, Wohl auch so reißend schwillt? there is a roaring torrent too? möcht’ ich noch einmal rückwärts seh’n, I long to look back once more, möcht’ ich zurücke wieder wanken, long to stumble back again 8 vor ihrem Hause stille steh’n. and stand in silence outside her house. Rückblick 9 Es brennt mir unter beiden Sohlen, It is burning hot under both my feet, Irrlicht Tret’ ich auch schon auf Eis und Schnee, though I am walking on ice and snow; Ich möcht’ nicht wieder Atem holen, I would rather not draw breath again In die tiefsten Felsengründe Into deepest clefts of rock Bis ich nicht mehr die Türme seh’. until the towers are out of sight. lockte mich ein Irrlicht hin: a will o’ the wisp enticed me. Wie ich einen Ausgang finde, How I shall find my way out Hab’ mich an jeden Stein gestoßen, I bruised myself on every stone, liegt nicht schwer mir in dem Sinn. does not weigh heavily on my mind. so eilt’ ich zu der Stadt hinaus; so did I hurry out of the town. die Krähen warfen Bäll’ und Schloßen The crows threw snowballs and hailstones auf meinen Hut von jedem Haus. onto my hat from every roof.

22 23 Bin gewohnt das Irregehen, I am used to going astray: doch meine Glieder ruh’n nicht aus: But my limbs will not rest, ‘s führt ja jeder Weg zum Ziel: every path leads to its destination. So brennen ihre Wunden. their wounds are burning so. Unsre Freuden, unsre Wehen, Our joys, our sorrows alles eines Irrlichts Spiel! are all the toys of a will o’ the wisp! Auch du, mein Herz, in Kampf und Sturm You too, my heart, in struggle and storm so wild und so verwegen, so wild and so untamed, Durch des Bergstroms trock’ne Rinnen Along the mountain stream’s dry bed fühlst in der Still’ erst deinen Wurm now in the stillness feel the serpent within wind’ ich ruhig mich hinab, I calmly tread downward. mit heißem Stich sich regen! rear up with its searing sting. jeder Strom wird’s Meer gewinnen, Every stream will reach the sea; jedes Leiden auch ein Grab. every sorrow too its grave. 11 Frühlingstraum 10 Rast Ich träumte von bunten Blumen, I dreamed of bright flowers So wie sie wohl blühen im Mai; such as blossom in May; Nun merk’ ich erst, wie müd’ ich bin, Now I finally realize how tired I am, Ich träumte von grünen Wiesen, I dreamed of green meadows da ich zur Ruh’ mich lege: as I lie down to rest. Von lustigem Vogelgeschrei. and the calling of birds. das Wandern hielt mich munter hin Walking kept my spirits up auf unwirtbarem Wege. along an inhospitable road. Und als die Hähne krähten, And when the cocks crew, Da ward mein Auge wach; I opened my eyes; Die Füße frugen nicht nach Rast, My feet did not ask for rest— Da war es kalt und finster, it was cold and dark, es war zu kalt zum Stehen; it was too cold to stand still; Es schrieen die Raben vom Dach. on the roof the ravens croaked. der Rücken fühlte keine Last, my back felt no burden, der Sturm half fort mich wehen. the storm helped to blow me along. Doch an den Fensterscheiben, But on the window panes Wer malte die Blätter da? who had been painting leaves? In eines Köhlers engem Haus In a charcoal-burner’s tiny hut Ihr lacht wohl über den Träumer, Well may you laugh at the dreamer hab’ Obdach ich gefunden; I have found shelter. Der Blumen im Winter sah? who saw flowers in winter.

24 25 Ich träumte von Lieb’ um Liebe, I dreamed of love for love, durch helles, frohes Leben, through bright, happy life Von einer schönen Maid, of a fair maiden, einsam und ohne Gruß. lonely and ungreeted. Von Herzen und von Küssen, of hearts and kisses, Von Wonn’ und Seligkeit. of bliss and felicity. Ach, daß die Luft so ruhig! Pity the air is so calm, Ach, daß die Welt so licht! pity the world is so bright! Und als die Hähne krähten, And when the cocks crew Als noch die Stürme tobten, When the storms still howled Da ward mein Herze wach; my heart opened: war ich so elend nicht. I felt less miserable. Nun sitz ich hier alleine now all alone I sit here 13 Und denke dem Traume nach. and ponder my dream. Die Post

Die Augen schließ’ ich wieder, I close my eyes again: Von der Straße her ein Posthorn klingt. Up from the street a post horn blows. Noch schlägt das Herz so warm. my heart still beats as warmly. Was hat es, daß es so hoch aufspringt, What is it that makes you beat so fast, Wann grünt ihr Blätter am Fenster? When will you leaves at the window be green? mein Herz? my heart? Wann halt’ ich mein Liebchen im Arm? When will I hold my darling in my arms? Die Post bringt keinen Brief für dich. The post-coach brings you no letter; 12 Was drängst du denn so wunderlich, then why do you throb so strangely, Einsamkeit mein Herz? my heart?

Wie eine trübe Wolke Like a mournful cloud Nun ja, die Post kommt aus der Stadt, Well, the post comes from the town durch heit’re Lüfte geht, passing through clear sky wo ich ein liebes Liebchen hatt’, where I had a best beloved, wenn in der Tanne Wipfel when through the fir tops mein Herz! my heart! ein mattes Lüftchen weht: a gentle breeze blows, Willst wohl einmal hinüberseh’n Do you just want to peep across So zieh ich meine Straße so I wend my way und fragen, wie es dort mag geh’n, and ask how things are going there, dahin mit trägem Fuß, onward with halting step mein Herz? my heart?

26 27 14 Der greise Kopf Krähe, wunderliches Tier, Crow, curious creature, Willst mich nicht verlassen? will you not forsake me? Der Reif hatt’ einen weißen Schein There was a white coat of frost Meinst wohl, bald als Beute hier You probably soon expect, mir übers Haar gestreuet; spread over my hair. Meinen Leib zu fassen? to seize my lifeless body? da glaubt’ ich schon ein Greis zu sein It made me think I was already old, Und hab’ mich sehr gefreuet. which made me very glad. Nun, es wird nicht weit mehr geh’n Well, there is not far to go An dem Wanderstabe. for me and my walking stick. Doch bald ist er hinweggetaut, But soon it thawed away Krähe, laß mich endlich seh’n, Crow, let me at last behold hab’ wieder schwarze Haare, and my hair is black again. Treue bis zum Grabe! fidelity to the grave! daß mir’s vor meiner Jugend graut – Now my youthfulness appals me: wie weit noch bis zur Bahre! how far still to the funeral bier! 16 Letzte Hoffnung Vom Abendrot zum Morgenlicht Between dusk and dawn ward mancher Kopf zum Greise. many a head has turned white. Hie und da ist an den Bäumen Here and there on trees Wer glaubt’s? und meiner ward es nicht Can you believe that mine has not manches bunte Blatt zu seh’n, a colored leaf can be seen. auf dieser ganzen Reise! this whole journey through! und ich bleibe vor den Bäumen And I stand in front of the trees oftmals in Gedanken steh’n. often, sunk in thought. 15 Die Krähe Schaue nach dem einen Blatte, I gaze at one leaf, hänge meine Hoffnung dran; hang my hopes upon it; Eine Krähe war mit mir A crow was with me spielt der Wind mit meinem Blatte, if the wind toys with my leaf Aus der Stadt gezogen, coming out of town. zittr’ ich, was ich zittern kann. I tremble as much as I can. Ist bis heute für und für Back and forth till now it Um mein Haupt geflogen. has flown above my head. Ach, und fällt das Blatt zu Boden, Ah! if the leaf falls to the ground, fällt mit ihm die Hoffnung ab; my hopes tumble with it.

28 29 18 fall’ ich selber mit zu Boden, I fall to the ground myself, Der stürmische Morgen wein’ auf meiner Hoffnung Grab. weep at the tomb of my hopes. Wie hat der Sturm zerrissen How the storm has torn 17 des Himmels graues Kleid! the grey mantle of heaven! Im Dorfe Die Wolkenfetzen flattern The wisps of cloud flutter umher im matten Streit. about, jostling feebly. Es bellen die Hunde, es rascheln die Ketten; Dogs are barking, their chains are rattling. es schlafen die Menschen in ihren Betten, People are asleep in their beds. Und rote Feuerflammen And tongues of red fire träumen sich manches, was sie nicht haben, They dream of plenty that they have not, zieh’n zwischen ihnen hin; flicker among them. tun sich im Guten und Argen erlaben: Sate themselves to both good and evil: Das nenn’ ich einen Morgen I reckon this a morning so recht nach meinem Sinn! to match my frame of mind! Und morgen früh ist alles zerflossen. and next morning it has all vanished. Je nun, sie haben ihr Teil genossen But then, they have enjoyed their share Mein Herz sieht an dem Himmel My heart sees in the sky und hoffen, was sie noch übrig ließen, and hope some of it will be left gemalt sein eig’nes Bild – its own painted portrait. doch wieder zu finden auf ihren Kissen. to be found back on their pillows. es ist nichts als der Winter, It is nothing but winter, der Winter, kalt und wild! winter, chill and savage. Bellt mich nur fort, ihr wachen Hunde, Bark me away, you watchdogs! laßt mich nicht ruh’n in der Let me not rest in these hours of slumber! 19 Schlummerstunde! I am done with all dreaming; Täuschung Ich bin zu Ende mit allen Träumen — why linger among those asleep? was will ich unter den Schläfern säumen? Ein Licht tanzt freundlich vor mir her, A friendly light dances in front of me; ich folg’ ihm nach die Kreuz und Quer; I follow it hither and thither. ich folg’ ihm gern und seh’s ihm an, Follow it gladly and watch its course daß es verlockt den Wandersmann. as it lures the wanderer onward.

30 31 Ach! wer wie ich so elend ist, Ah, anybody as wretched as I Einen Weiser seh’ ich stehen One signpost I see stand there, gibt gern sich hin der bunten List, gladly falls for such colorful trickery unverrückt vor meinem Blick; steadfast before my gaze. die hinter Eis und Nacht und Graus as, beyond ice and night and misery, eine Straße muß ich gehen, One road I must travel ihm weist ein helles, warmes Haus. it shows him a cheerful, warm house, die noch keiner ging zurück. from which there is no way back. und eine liebe Seele drin – and within it a soul dear to him— nur Täuschung ist für mich Gewinn! Only delusion brings me success! 21 Das Wirtshaus 20 Der Wegweiser Auf einen Totenacker To a graveyard hat mich mein Weg gebracht; my path has brought me. Was vermeid’ ich denn die Wege, Why do I avoid the highways Allhier will ich einkehren, Here I will lodge, wo die ander’n Wand’rer gehn, that other travelers take, hab’ ich bei mir gedacht. I thought to myself. suche mir versteckte Stege to seek out hidden tracks durch verschneite Felsenhöh’n? through snowbound rocky heights? Ihr grünen Totenkränze You verdant funeral wreaths könnt wohl die Zeichen sein, could well be signs Habe ja doch nichts begangen, As I have done no wrong die müde Wand’rer laden that invite exhausted travelers daß ich Menschen sollte scheu’n, – that I should shun mankind. ins kühle Wirtshaus ein. into the cool inn. welch ein törichtes Verlangen What senseless craving treibt mich in die Wüstenei’n? drives me into the wilderness? Sind denn in diesem Hause But in this house die Kammern all’ besetzt? all rooms seem occupied already? Weiser stehen auf den Strassen, Signposts stand on the roads, Bin matt zum Niedersinken, I am tired enough to drop, weisen auf die Städte zu, point towards towns. bin tödlich schwer verletzt. I am hurt to death. und ich wand’re sonder Maßen Yet I wander on and on, ohne Ruh’ und suche Ruh’. restless, in search of rest. O unbarmherz’ge Schenke, Pitiless tavern, doch weisest du mich ab? do you turn me away?

32 33 23 Nun weiter denn, nur weiter, Onward, then, lead me onward, Die Nebensonnen mein treuer Wanderstab! my faithful walking stick! Drei Sonnen sah ich am Himmel steh’n, I saw three suns stand in the sky. 22 hab’ lang und fest sie angeseh’n; I watched them long and fixedly. Mut! und sie auch standen da so stier, And they stood there as blank and bright als könnten sie nicht weg von mir. as if they would not leave my sight. Fliegt der Schnee mir ins Gesicht, When the snow flies in my face, Ach, meine Sonnen seid ihr nicht! Alas, you cannot be my suns! schüttl’ ich ihn herunter. I brush it away; Schaut Andren doch ins Angesicht! Turn then, and gaze at other ones! Wenn mein Herz im Busen spricht, when my heart exclaims in my breast, Ja, neulich hatt’ ich auch wohl drei; Not long ago I had three of my own; sing’ ich hell und munter. I sing bright and cheerful. nun sind hinab die besten zwei. but now the best two have gone down. Ging nur die dritt’ erst hinterdrein! Would that the third might disappear! Höre nicht, was es mir sagt, Don’t heed what it tells me, Im Dunkeln wird mir wohler sein. In darkness I would rather dwell. habe keine Ohren; have no ears for that, fühle nicht, was es mir klagt, don’t feel its complaining— 24 Klagen ist für Toren. Only fools complain. Der Leiermann

Lustig in die Welt hinein Merrily off into the world, Drüben hinterm Dorfe Over there behind the village gegen Wind und Wetter! spite all wind and weather! steht ein Leiermann stands a hurdy-gurdy man, Will kein Gott auf Erden sein, If we can’t have gods on earth, und mit starren Fingern and with numb fingers sind wir selber Götter! then we are gods ourselves. dreht er, was er kann. he grinds away, as best he can.

Barfuß auf dem Eise Barefoot on the ice wankt er hin und her he sways back and forth, und sein kleiner Teller and his little plate bleibt ihm immer leer. remains always empty.

34 35 Keiner mag ihn hören, No-one wants to hear him, keiner sieht ihn an, no-one looks at him, und die Hunde knurren and the dogs growl um den alten Mann. around the old man.

Und er läßt es gehen And he lets it go on, alles, wie es will, everything, just as it will, dreht und seine Leier Turns the wheel, and his hurdy-gurdy steht ihm nimmer still. never stays still for a moment.

Wunderlicher Alter, Strange old man, soll ich mit dir geh’n? should I go with you? Willst zu meinen Liedern Will you to I my songs, deine Leier dreh’n? play your hurdy-gurdy?

36 Acknowledgments

PRODUCTION TEAM Executive producer Renaud Loranger A&R manager Kate Rockett What we stand for: Recording producer John Fraser Recording engineer Philip Siney

Liner notes Ian Bostridge The Power of Classical Music Cover artwork Stuart Pearson-Wright PENTATONE believes in the power of classical music and is invested in the Design Zigmunds Lapsa philosophy behind it: we are convinced that refined music is one of the most Product management Kasper van Kooten important wellsprings of culture and essential to human development.

True Artistic Expression This album was recorded live at the Wigmore Hall, London, September 2018. We hold the acoustic tastes and musical preferences of our artists in high regard, and these play a central role from the start to the end of every recording project. This ranges from repertoire selection and recording technology to choosing cover art and other visual assets for the booklet.

Sound Excellence PENTATONE stands for premium quality. The musical interpretations delivered by our artists reach new standards in our recordings. Recorded with the most PENTATONE TEAM powerful and nuanced audio technologies, they are presented to you in the most Vice President A&R Renaud Loranger | Director Simon M. Eder luxurious, elegant products. A&R Manager Kate Rockett Head of Marketing, PR & Sales Silvia Pietrosanti Sit back and enjoy