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"Visionary ... daring and eccentric ... Dizzying ... Swirlyingly weird!"
- Chicago Classical Review

Winter 2010
WINTERREISE
D.911, composed 1827 by
Franz Schubert
(1797-1828)
on texts by
Wilhelm Müller

(1794-1827)

The team behind Orpheus & Euridice bring you a new look at a romantic masterwork!

Schubert’s beloved song-cycle of love and loss receives the unique staging that only Chicago Opera Vanguard could conceive!

T
his “Winter’s Journey” will not soon be forgotten!

"[COV is] an ambitious, forward-thinking new force in the city's music, dance, theater, art, and design scenes!"
– The Chicago Reader

Featuring
Brad Jungwirth baritone
Myron Silberstein
Piano/music director

With
Brian Barber
Sophie Gatins
Jessica Sheffield


Costume Design
Joshua Allard

Technical Director
Erica Burger

Curtain Construction
Philip Dawkins

Lighting Design
Richard Ebeling

Production Manager
Sarah Luse

Video Design
Joshua Pfaff

Tech Manager
Chris Rader

Illustrations
Jaime Reda

Sound Design
Florian Staab

Stage Manager
Shelby Wilson

Associate Director
Karen Yates

Production by
Eric Reda

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Fasseas White Box Theatre
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  LIBRETTO/SYNOPSISTHE HISTORYTHE POETRY AND THE MUSIC
THE COMPOSERTHE POETTHE TEAM
 
 

LIBRETTO/SYNOPSIS

Early on the wanderer sings about his beloved. As the song cycle develops he starts to sing more about the problems of being a beggar, dogs barking at him etc.

1. Gute Nacht (Good Night) • 2. Die Wetterfahne (The Weather-vane) • 3. Gefror'ne Tränen (Frozen Tears) • 4. Erstarrung (Numbness) • 5. Der Lindenbaum (The Linden Tree) • 6. Wasserfluth (Torrent) • 7. Auf dem Flusse (On the Stream) • 8. Rückblick (Retrospect) • 9. Irrlicht (Will o' the wisp) • 10. Rast (Rest) • 11. Frühlingstraum  (Dream of Springtime) • 12. Einsamkeit (Loneliness/Solitude) • 13. Die Post (The Post) • 14. Der greise Kopf (The Grey Head) • 15. Die Krähe (The Crow) • 16. Letzte Hoffnung (Last Hope) • 17. Im Dorfe (In the Village) • 18. Der stürmische Morgen (The Stormy Morning) • 19. Täuschung (Deception) • 20. Der Wegweiser (The Signpost) • 21. Das Wirtshaus (The Inn) • 22. Mut (Courage) • 23. Die Nebensonnen (The Phantom Suns) • 24. Der Leiermann (The Hurdy-Gurdy Man)

Synopsis
 

Die Winterreise

The Winter’s Journey [©2010 Eric Zobel]

1. Gute Nacht [Back to Contents]
By moonlight in winter, the poet leaves the house as he came to it, a stranger. The daughter has allowed their love to grow, and the mother has encouraged the pair to think of marriage: but the daughter's love has wandered to some new sweetheart. So he quietly and secretly steals away while they are sleeping, writing 'Good night' on her door, and leaving the path of his footsteps in the snow.

Gute Nacht
Fremd bin ich eingezogen,
Fremd zieh' ich wieder aus.
Der Mai war mir gewogen
Mit manchem Blumenstrauß.
Das Mädchen sprach von Liebe,
Die Mutter gar von Eh', -
Nun ist die Welt so trübe,
Der Weg gehüllt in Schnee.

Ich kann zu meiner Reisen
Nicht wählen mit der Zeit,
Muß selbst den Weg mir weisen
In dieser Dunkelheit.
Es zieht ein Mondenschatten
Als mein Gefährte mit,
Und auf den weißen Matten
Such' ich des Wildes Tritt.

Was soll ich länger weilen,
Daß man mich trieb hinaus ?
Laß irre Hunde heulen
Vor ihres Herren Haus;
Die Liebe liebt das Wandern -
Gott hat sie so gemacht -
Von einem zu dem andern.
Fein Liebchen, gute Nacht!

Will dich im Traum nicht stören,
Wär schad' um deine Ruh'.
Sollst meinen Tritt nicht hören -
Sacht, sacht die Türe zu !
Schreib im Vorübergehen
Ans Tor dir: Gute Nacht,
Damit du mögest sehen,
An dich hab' ich gedacht.

Good Night
I arrived here as a stranger,
As a stranger I shall leave.
May bestowed on me a perfect
Bliss in bouquets of flowers.
The girl professed her love,
Her mother mentioned marriage.
Now the world is dead,
The road lost in the snow.

The timing of my journey
Is not for me to choose.
I alone must find my way
Through this darkness.
A shadow of the moon
Is my companion
And on the fields of white,
I seek the tracks of deer.

Why stay here any longer
So they can drive me out?
Let stray dogs howl
Before their master’s house;
Love loves to wander-
God has made it so-
From one love to another,
Then, my sweetest love, goodnight!

I won’t disturb your dreaming,
It would be a pity for you to wake.
You won’t hear my footsteps,
Softly, softly close the door.
As I pass your gate,
I’ll write: Goodnight,
So you may see
I thought of you.


 

2. Die Wetterfahne [Back to Contents]
As he goes he notices the winds blowing the weather-vane around on the house, and they blow him away from there as well. If he had taken notice of that fickle sign when he first came, he would not have expected to find a constant woman within. Indoors, their hearts beat like the vane, but not so loud - what do they care for his suffering, when their daughter will be a wealthy bride?

2. Die Wetterfahne
Der Wind spielt mit der Wetterfahne
Auf meines schönen Liebchens Haus.
Da dacht' ich schon in meinem Wahne,
Sie pfiff den armen Flüchtling aus.

Er hätt' es eher bemerken sollen,
Des Hauses aufgestecktes Schild,
So hätt' er nimmer suchen wollen
Im Haus ein treues Frauenbild.

Der Wind spielt drinnen mit den Herzen
Wie auf dem Dach, nur nicht so laut.
Was fragen sie nach meinen Schmerzen ?
Ihr Kind ist eine reiche Braut.

The weather-vane
Wind plays with the weathervane
That tops my darling’s house.
And delusional I thought
That this poor fugitive was mocked.

If only he had seen
The fickle sign above the house,
He would have never hoped
To find a faithful woman there.

The hearts inside are as easily turned
As the wind plays with the vane.
Why care about my dying heart?
Your child will be a wealthy bride.

 

3. Gefror'ne Tränen [Back to Contents]
Frozen tears fall from his cheeks as he walks away, but the breast from which they arise is so burning hot with feelings that they should melt the winter ice completely.

3. Gefror'ne Tränen
Gefrorne Tropfen fallen
Von meinen Wangen ab:
Ob es mir denn entgangen,
Daß ich geweinet hab' ?

Ei Tränen, meine Tränen,
Und seid ihr gar so lau,
Daß ihr erstarrt zu Eise
Wie kühler Morgentau ?

Und dringt doch aus der Quelle
Der Brust so glühend heiß,
Als wolltet ihr zerschmelzen
Des ganzen Winters Eis !

Frozen tears
Frozen drops fall
From my face
Did I not know
That I was crying?

Ah tears, my tears,
Does apathy
Turn you into frost
Like drops of morning dew?

Yet from my heart you
Flow with burning heat
To melt the winter’s
Ice and snow.


 

4. Erstarrung [Back to Contents]
He looks in vain for her footprints in the snow, where they formerly walked together arm in arm among the flowers and green grass. He wants to kiss the ground and weep on it, until he can dissolve the ice and see where they trod. But the flowers are all dead, and he can take no remembrance of her away from there. His heart is lifeless with her image frozen within; but if it thaws, her beautiful image fades.




4. Erstarrung
Ich such' im Schnee vergebens
Nach ihrer Tritte Spur,
Wo sie an meinem Arme
Durchstrich die grüne Flur.

Ich will den Boden küssen,
Durchdringen Eis und Schnee
Mit meinen heißen Tränen,
Bis ich die Erde seh'.

Wo find' ich eine Blüte,
Wo find' ich grünes Gras ?
Die Blumen sind erstorben,
Der Rasen sieht so blaß.

Soll denn kein Angedenken
Ich nehmen mit von hier ?
Wenn meine Schmerzen schweigen,
Wer sagt mir dann von ihr ?

Mein Herz ist wie erstorben,
Kalt starrt ihr Bild darin;
Schmilzt je das Herz mir wieder,
Fließt auch ihr Bild dahin !

Numbness
I search the snow in vain
For traces of her steps.
Where arm in arm she walked
With me through fields of green.

I want to kiss the ground,
to dissolve with my hot tears
the ice and snow
until I see the earth.

Will flowers bloom?
Is the grass still green?
The flowers are all dead.
The grass has withered thin.

What can I take that
Will remind me of this place?
When my sorrow ends,
Who will speak to me of her?

My heart’s stopped cold,
Her picture frozen inside:
If my heart would thaw again.
Her image melts away.


 

5. Der Lindenbaum [Back to Contents]
He comes to the linden tree, with its pale flowers and heart-shaped leaves. that stands at the gate; in the shade of this tree he has dreamt many beautiful dreams, and in the bark he has carved words of love. It was his favourite place. Now he passes it with his eyes shut, even though it is deepest night, but the branches rustle to him, 'Come here old comrade, find your rest here'. A gust of wind blows his hat off, and many hours afterwards he remembers the tree, and it seems to say 'You should have found your rest here.' It is a tacit invitation to suicide. (In Die Schöne Müllerin by the same author the rejected lover actually drowns himself and finds rest in the friendly brook where he dies.)

5. Der Lindenbaum
Am Brunnen vor dem Tore
Da steht ein Lindenbaum;
Ich träumt' in seinem Schatten
So manchen süßen Traum.

Ich schnitt in seine Rinde
So manches liebe Wort;
Es zog in Freud' und Leide
Zu ihm mich immer fort.

Ich mußt' auch heute wandern
Vorbei in tiefer Nacht,
Da hab' ich noch im Dunkeln
Die Augen zugemacht.

Und seine Zweige rauschten,
Als riefen sie mir zu:
Komm her zu mir, Geselle,
Hier find'st du deine Ruh' !

Die kalten Winde bliesen
Mir grad' ins Angesicht;
Der Hut flog mir vom Kopfe,
Ich wendete mich nicht.

Nun bin ich manche Stunde
Entfernt von jenem Ort,
Und immer hör' ich's rauschen:
Du fändest Ruhe dort !

The linden tree
Near the well by the gate
Stands a linden tree;
Its shade has been a place
Of pleasant dreams.

Into its bark I carved
Many words of love;
Both joy and sorrow
Drew me to that spot.

Again I had to pass it
Through the depths of night.
Even in the darkness
I shut my eyes.

I heard the branches rustle
As if they called to me:
Come to me, dear friend,
Here you will find rest.

The bitter wind cut
Right into my face;
My hat flew from my head;
I did not turn around.

Hours have passed
Since I left that place,
And still I hear the rustling:
Rest is found with me.


 

6. Wasserfluth [Back to Contents]
He weeps copiously and his tears fall in the snow. When the Spring comes the snow will melt and flow into the river, and will carry his tears to the house of his beloved.

6. Wasserflut
Manche Trän' aus meinen Augen
Ist gefallen in den Schnee;
Seine kalten Flocken saugen
Durstig ein das heiße Weh.

Wenn die Gräser sprossen wollen
Weht daher ein lauer Wind,
Und das Eis zerspringt in Schollen
Und der weiche Schnee zerrinnt.

Schnee, du weißt von meinem Sehnen,
Sag', wohin doch geht dein Lauf ?
Folge nach nur meinen Tränen,
Nimmt dich bald das Bächlein auf.

Wirst mit ihm die Stadt durchziehen,
Muntre Straßen ein und aus;
Fühlst du meine Tränen glühen,
Da ist meiner Liebsten Haus.

Torrent
Many of my tears have
Fallen to the snow;
The icy flakes thirst
For my pain.

When the grass sprouts
The wind begins to warm
And the ice will break to pieces
And the soft snow will melt.

Snow, you know my longing,
Tell me, where do you go?
Follow my tears,
The brook will then receive you.

Together flow through the town
In and out of the busy streets;
When you feel my tears begin to burn,
There is my dearest’s house.


 

7. Auf dem Fluße [Back to Contents]
The river, usually busy and bubbling, is locked in frozen darkness and lies drearily spread out under the ice. He will write her name, and the date of their first meeting, in the ice with a sharp stone. The river is a likeness of his heart: it beats and swells under the hard frozen surface.

7. Auf dem Fluße
Der du so lustig rauschtest,
Du heller, wilder Fluß,
Wie still bist du geworden,
Gibst keinen Scheidegruß.

Mit harter, starrer Rinde
Hast du dich überdeckt,
Liegst kalt und unbeweglich
Im Sande ausgestreckt.

In deine Decke grab' ich
Mit einem spitzen Stein
Den Namen meiner Liebsten
Und Stund' und Tag hinein:

Den Tag des ersten Grußes,
Den Tag, an dem ich ging;
Um Nam' und Zahlen windet
Sich ein zerbroch'ner Ring.

Mein Herz, in diesem Bache
Erkennst du nun dein Bild ?
Ob's unter seiner Rinde
Wohl auch so reißend schwillt ?

On the stream
You who rushed so joyously
You bright, untamed river
How lifeless you’ve become,
Without a word of parting.

You covered yourself
With a hard, stiff crust,
Cold and motionless you lie
Outstretched in the sand.

Into your surface I engrave
With a sharp stone
The name of my beloved
And the time and day.

The day when we first met,
The day on which I left;
The name and dates
Encircled by a broken ring.

My heart, do you now recognize
Your image in this brook?
Beneath the icy crust
Do raging torrents swell?

  

8. Rückblick [Back to Contents]
His feet are freezing as the soles of his boots are out: but he is eager to leave the town, and he stumbles over every stone. The crows knock the snow off the eaves onto his hat from every house he passes. But when he first came to that inconstant town, larks and nightingales sang at the windows, the lime-trees blossomed, the streams ran clear, and a pair of maiden's eyes shone on him and stole his heart away. When he thinks of that happy day, he longs to walk back along the road to the house where she lives.

8. Rückblick
Es brennt mir unter beiden Sohlen,
Tret' ich auch schon auf Eis und Schnee,
Ich möcht' nicht wieder Atem holen,
Bis ich nicht mehr die Türme seh'.

Hab' mich an jedem Stein gestoßen,
So eilt' ich zu der Stadt hinaus;
Die Krähen warfen Bäll' und Schloßen
Auf meinen Hut von jedem Haus.

Wie anders hast du mich empfangen,
Du Stadt der Unbeständigkeit !
An deinen blanken Fenstern sangen
Die Lerch' und Nachtigall im Streit.

Die runden Lindenbäume blühten,
Die klaren Rinnen rauschten hell,
Und ach, zwei Mädchenaugen glühten. -
Da war's gescheh'n um dich, Gesell !

Kommt mir der Tag in die gedanken,
Möcht' ich noch einmal rückwärts seh'n.
Möcht' ich zurücke wieder wanken,
Vor ihrem Hause stille steh'n.

Backward glance
My feet both burn
Even though I walk on ice and snow
I do not wish to take another breath
Until the spires are out of sight.

I stumbled over every stone
As I hurried out of town.
The crows showered me with snow
From every roof I passed.

How differently you welcomed me,
You fickle town!
At your shining windows sang
rival larks and nightingales.

The bushy lindens bloomed
The clear streams murmured brightly,
And the gleaming of a young girl’s eyes
Seemed to show my destiny.

When I think of that day now
I wish to turn and look once more.
I wish to stumble back again,
To stand silent before her house.
 
 

9. Irrlicht [Back to Contents]
(Will o' the wisp)
The will-o'-the-wisp has led him astray from the road in the darkness: but he is always going off the road, for our joy and sorrow alike are merely sports to delude us. He follows a track down the crag side: all roads lead to their goal, every spring flows to the sea, and every sorrow leads to the grave.

9. Irrlicht
In die tiefsten Felsengründe
Lockte mich ein Irrlicht hin;
Wie ich einen Ausgang finde,
Liegt nicht schwer mir in dem Sinn.

Bin gewohnt das Irregehen,
's führt ja jeder Weg zum Ziel;
Uns're Freuden, uns're Wehen,
Alles eines Irrlichts Spiel !

Durch des Bergstroms trockne Rinnen
Wind' ich ruhig mich hinab,
Jeder Strom wird's Meer gewinnen,
Jedes Leiden auch sein Grab.

Will-o'-the-wisp
Into the deepest chasms
A phantom light has lured me;
I am not worried
How I will find my way.

I am used to being lost,
All paths end the same.
Our joys, our sufferings;
All of it, a game.

In the stream’s dry bed
I calmly journey on.
Every river finds the sea,
Every grief, its grave.
 
 

10. Rast [Back to Contents]
He reaches a charcoal-burner's hut and, worn out by his long trek through the snowstorm with a heavy backpack, he lies down to rest. In the quiet his cuts and bruises sting sorely.

10. Rast
Nun merk' ich erst wie müd' ich bin,
Da ich zur Ruh' mich lege;
Das Wandern hielt mich munter hin
Auf unwirtbarem Wege.

Die Füße frugen nicht nach Rast,
Es war zu kalt zum Stehen;
Der Rücken fühlte keine Last,
Der Sturm half fort mich wehen.

In eines Köhlers engem Haus
Hab' Obdach ich gefunden.
Doch meine Glieder ruh'n nicht aus:
So brennen ihre Wunden.

Auch du, mein Herz, in Kampf und Sturm
So wild und so verwegen,
Fühlst in der Still' erst deinen Wurm
Mit heißem Stich sich regen !

Rest
Only now, as I lie down to rest,
Do I realize how weary I am.
Nothing could tire me as I
Pressed on the dismal path.

My feet did not ask to rest,
It was too cold to stop,
There was no burden on my back,
The storm helped to drive me on.

In the cramped house of a coal burner
I have found shelter
Still my arms, my legs cannot relax
So fiercely my wounds burn.
And you, my heart, in strife and storm
So wild and bold,
Now in silence feel the serpent
stir with its sharp sting!
 
 

11. Frühlingstraum [Back to Contents]
He dreams he is wandering through meadows full of flowers and bird-song in May: he heard the cock's crow and opened his eyes, but it was a raven calling in the cheerless darkness. Who could draw the flowers of ice he can see on the windows? He dreams again, of love, and a maiden's kiss, and the joy and bliss of love, but again the crowing wakes him and he sits up alone. He tries to sleep again: when will the leaves at the window be green - when will she hold him in her arms again?

11. Frühlingstraum
Ich träumte von bunten Blumen,
So wie sie wohl blühen im Mai;
Ich träumte von grünen Wiesen,
Von lustigem Vogelgeschrei.

Und als die Hähne krähten,
Da ward mein Auge wach;
Da war es kalt und finster,
Es schrien die Raben vom Dach.

Doch an den Fensterscheiben,
Wer malte die Blätter da ?
Ihr lacht wohl über den Träumer,
Der Blumen im Winter sah?

Ich träumte von Lieb um Liebe,
Von einer schönen Maid,
Von Herzen und von Küssen,
Von Wonne und Seligkeit.

Und als die Hähne krähten,
Da ward mein Herze wach;
Nun sitz' ich hier alleine
Und denke dem Traume nach.

Die Augen schließ' ich wieder,
Noch schlägt das herz so warm.
Wann grünt ihr Blätter am Fenster ?
Wann halt' ich mein Liebchen im Arm ?

A dream of springtime
Vibrant flowers filled my dreams,
Much like the blooms of May,
I dreamt of grassy meadows,
Of the sound of endless birdsong.

And then the rooster’s crow
Woke me from my sleep;
Everything was cold and dull,
From the roof, the ravens shrieked.

But on the window panes-
Who painted those leaves?
Why mock the dreamer
Whose garden blooms in winter?

I dreamt of our shared love,
Of a beautiful maiden,
Of hearts and kisses,
Rapture and bliss.

And then the rooster’s crow
Awoke my heart;
Now I’m here alone,
With only memory of that dream.

I close my eyes again,
My heart begins to throb.
When will the leaves turn green?
When shall my love be in my arms?
 

12. Einsamkeit [Back to Contents]
He wanders along the busy road ungreeted. Why is the sky so calm and the world so bright? Even in the tempest he was not so lonely as this.

12. Einsamkeit
Wie eine trübe Wolke
Durch heit're Lüfte geht,
Wenn in der Tanne Wipfel
Ein mattes Lüftchen weht:

So zieh ich meine Straße
Dahin mit trägem Fuß,
Durch helles, frohes Leben
Einsam und ohne Gruß.

Ach, daß die Luft so ruhig !
Ach, daß die Welt so licht !
Als noch die Stürme tobten,
War ich so elend nicht.

Loneliness
As a dark cloud
Drifts across clear skies,
A faint breeze sighs
Through the tops of the pines.

So I make my way
With labored steps,
Through light, joyful life
Alone and unnoticed.

The air is so calm,
The world is so bright!
Even in the raging storm
I never felt so miserable.
 

13. Die Post [Back to Contents]
His heart leaps up as the post-horn sounds: they are not bringing him a letter, but it has come from the town, and he will ask if there is news of the beloved.

13. Die Post
Von der Straße her ein Posthorn klingt.
Was hat es, daß es so hoch aufspringt,
Mein Herz ?

Die Post bringt keinen Brief für dich.
Was drängst du denn so wunderlich,
Mein Herz ?

Nun ja, die Post kommt aus der Stadt,
Wo ich ein liebes Liebchen hat,
Mein Herz !

Willst wohl einmal hinüberseh'n
Und fragen, wie es dort mag geh'n,
Mein Herz ?

The post
Through the streets, the post-horn rings.
What reason do you have to leap,
My heart?

No letter has arrived for you,
Why beat so passionately,
My heart?

The mail has arrived from the town
Where once I loved so dearly,
My heart!

Would you like to look
And ask how things are there,
My heart?
 

14. Der greise Kopf [Back to Contents]
The frost in his hair made him think he was going grey, but now it has thawed and his hair is still black. He has heard that some people go grey overnight with sorrow, but though he has felt that sorrow, it has not happened to him.

14. Der greise Kopf
Der Reif hatt' einen weißen Schein
Mir übers Haar gestreuet;
Da glaubt' ich schon ein Greis zu sein
Und hab' mich sehr gefreuet.

Doch bald ist er hinweggetaut,
Hab' wieder schwarze Haare,
Daß mir's vor meiner Jugend graut -
Wie weit noch bis zur Bahre !

Vom Abendrot zum Morgenlicht
Ward mancher Kopf zum Greise.
Wer glaubt's ? und meiner ward es nicht
Auf dieser ganzen Reise !

The grey head
Frost has left a sheen of white
Across my head.
I imagined I was old and grey
And felt so pleased.

But soon it thaws;
Again my hair is black
I grieve my youth has now returned
And the grave is far away.

From dusk to dawn
Many heads turn grey.
Can that be true? Mine
Has never changed!
 
 

15. Die Krähe [Back to Contents]
A crow has followed him all along the way from the town. Is it waiting for him to die, so that it can eat him? It won't be long, let it keep him company to the end.

15. Die Krähe
Eine Krähe war mit mir
Aus der Stadt gezogen,
Ist bis heute für und für
Um mein Haupt geflogen.

Krähe, wunderliches Tier,
Willst mich nicht verlassen ?
Meinst wohl, bald als Beute hier
Meinen Leib zu fassen ?

Nun, es wird nicht weit mehr geh'n
An dem Wanderstabe.
Krähe, laß mich endlich seh'n
Treue bis zum Grabe !

The crow
A crow left town
Along with me
And has since /been circling
Around my head.

You strange creature
Why won’t you leave?
Did you plan to take
My corpse as food?

I don’t have long
To wander on this road.
Crow, let me find at last
A loyal companion to my grave!
 

16. Letzte Hoffnung [Back to Contents]
He wanders among the trees and fixes his gaze on one leaf, which seems to hold his fate. It is a token: if it should fall from the branch, his hope will fall. His heart sinks, and his soul weeps the loss of everything.

16. Letzte Hoffnung
Hie und da ist an den Bäumen
Manches bunte Blatt zu seh'n,
Und ich bleibe vor den Bäumen
Oftmals in Gedanken steh'n.

Schaue nach dem einen Blatte,
Hänge meine Hoffnung dran;
Spielt der Wind mit meinem Blatte,
Zittr' ich, was ich zittern kann.

Ach, und fällt das Blatt zu Boden,
Fällt mit ihm die Hoffnung ab;
Fall' ich selber mit zu Boden,
Wein' auf meiner Hoffnung Grab.

Last hope
Scattered on the trees
A few vivid leaves remain,
And I stand before those trees
Often lost in thought.

I find one leaf
And pin my hopes on it;
If the wind plays with my leaf
My body trembles.

If the leaf falls to the ground,
My hope falls with it.
I too sink to the ground,
To weep at my hope’s grave.


 

17. Im Dorfe [Back to Contents]
People are asleep in the village and the dogs are barking. They dream of many things and have their rest. Let the dogs drive him away so that he does not rest with them - he is finished with all dreaming.

17. Im Dorfe
Es bellen die Hunde, es rasseln die Ketten;
Es schlafen die Menschen in ihren Betten,
Träumen sich manches, was sie nicht haben,
Tun sich im Guten und Argen erlaben;

Und morgen früh ist alles zerflossen.
Je nun, sie haben ihr Teil genossen
Und hoffen, was sie noch übrig ließen,
Doch wieder zu finden auf ihren Kissen.

Bellt mich nur fort, ihr wachen Hunde,
Laßt mich nicht ruh'n in der Schlummerstunde !
Ich bin zu Ende mit allen Träumen.
Was will ich unter den Schläfern säumen ?

In the village
The watchdogs bark, straining their chains
The people are asleep in bed
They dream of things they do not have,
Joyful in the thoughts of good and bad.

And in the morning all is gone.
They had their share of pleasure
They hope in vain that dreams come true,
Can still be found on their pillows.

Drive me out, you waking dogs!
I cannot sleep when it is time.
I am finished with all dreaming
Why should I linger here?


 

18. Der stürmische Morgen [Back to Contents]
The tempest has driven the clouds about the sky, and the fiery sun darts between them. It is like his heart, a cold, wild winter.

18. Der stürmische Morgen
Wie hat der Sturm zerrissen
Des Himmels graues Kleid !
Die Wolkenfetzen flattern
Umher im matten Streit.

Und rote Feuerflammen
Zieh'n zwischen ihnen hin;
Das nenn' ich einen Morgen
So recht nach meinem Sinn !

Mein Herz sieht an dem Himmel
Gemalt sein eig'nes Bild -
Es ist nichts als der Winter,
Der Winter kalt und wild !

The stormy morning
A storm has torn
The grey cloak of Heaven.
Shreds of cloud drift about
In weary strife.

And red flames of fire
Dart around them;
That’s a morning
To my liking!

My heart sees in the sky
A painted image of itself.
It is nothing but the winter,
A winter cold and wild.


 

19. Täuschung [Back to Contents]
A light on the dark and icy road at night, might be a warm place to stay, or the deception of a beautiful face.

19. Täuschung
Ein Licht tanzt freundlich vor mir her,
Ich folg' ihm nach die Kreuz und Quer;
Ich folg' ihm gern und seh's ihm an,
Daß es verlockt den Wandersmann.

Ach ! wer wie ich so elend ist,
Gibt gern sich hin der bunten List,
Die hinter Eis und Nacht und Graus,
Ihm weist ein helles, warmes Haus.

Und eine liebe Seele drin. -
Nur Täuschung ist für mich Gewinn !

Deception
Before me burns a dancing light
Now here, now there
I follow it and watch its course
As it lures the wanderer away.

Those who are as lost as I
Will gladly fall for this,
That through the ice and night and fear
A warm, bright house is promised there

And a loving soul within-
Delusion is my gain!
 

20. Der Wegweiser [Back to Contents]
Straying restlessly away from the roads, he still seeks rest. There is always a signpost in front of him, pointing to the road from which no wanderer returns.

20. Der Wegweiser
Was vermeid' ich denn die Wege,
Wo die ander'n Wand'rer geh'n,
Suche mir versteckte Stege,
Durch verschneite Felsenhöh'n ?

Habe ja doch nichts begangen,
Daß ich Menschen sollte scheu'n, -
Welch ein törichtes Verlangen
Treibt mich in die Wüstenei'n ?

Weiser stehen auf den Straßen,
Weisen auf die Städte zu.
Und ich wandre sonder Maßen
Ohne Ruh' und suche Ruh'.

Einen Weiser seh' ich stehen
Unverrückt vor meinem Blick;
Eine Straße muß ich gehen,
Die noch keiner ging zurück.

The signpost
Why do I avoid the routes
That other travelers take,
To search for hidden paths
Through unmarked mountain snow?

I’ve done no wrong
No need to shun mankind
What foolish wish
Drives me to the wasteland?

At every crossroad stands a post
Pointing towards the town,
And I wander restlessly,
Searching for some rest.

One signpost stands before me,
Unmoving from my gaze.
One road I must take,
Which no one can retrace.
 

21. Das Wirtshaus [Back to Contents]
The 'wayside inn' is a lonely graveyard where he hopes to find rest at last. The wreaths are the tavern sign, inviting him in. But no - all the rooms are taken, and he must carry on, as he tells his faithful walking staff.

21. Das Wirtshaus
Auf einen Totenacker
Hat mich mein Weg gebracht;
Allhier will ich einkehren,
Hab ich bei mir gedacht.

Ihr grünen Totenkränze
Könnt wohl die Zeichen sein,
Die müde Wand'rer laden
Ins kühle Wirtshaus ein.

Sind denn in diesem Hause
Die Kammern all' besetzt ?
Bin matt zum Niedersinken,
Bin tödlich schwer verletzt.

O unbarmherz'ge Schenke,
Doch weisest du mich ab ?
Nun weiter denn, nur weiter,
Mein treuer Wanderstab !

The inn
My path has brought me to a graveyard.
Here would I lodge, I thought to myself.




You green death-wreaths might well be the signs,
That invite the weary traveler into the cool inn.




But in this house are all the rooms taken?
I am weak enough to drop, fatally wounded.




O unmerciful innkeeper, do you turn me away?
Then further on, further on, my faithful walking stick.

 

22. Mut [Back to Contents]
As the wind blows snow in his face, he sings loudly to silence his thoughts of sorrow, so that he cannot hear or feel them. With his trusty staff and cheerful song he'll just keep going on.

22. Mut
Fliegt der Schnee mir ins Gesicht,
Schüttl' ich ihn herunter.
Wenn mein Herz im Busen spricht,
Sing' ich hell und munter.

Höre nicht, was es mir sagt,
Habe keine Ohren;
Fühle nicht, was es mir klagt,
Klagen ist für Toren.

Lustig in die Welt hinein
Gegen Wind und Wetter !
Will kein Gott auf Erden sein,
Sind wir selber Götter !

Courage
The snow flies in my face,
I shake it off.
When my heart cries out in my breast,
I sing brightly and cheerfully.


I do not hear what it says,
I have no ears,
I do not feel what it laments,
Lamenting is for fools.


Merrily stride into the world
Against all wind and weather!
If there is no God on earth,
We are gods ourselves!

 

23. Die Nebensonnen [Back to Contents]
(Phantom Sundog effect)
He used to see three suns, but two of them (the eyes of his beloved) have turned away to shine upon another, and now he sees only one, and he wishes that would pass away and leave him to the darkness.

23. Die Nebensonnen
Drei Sonnen sah ich am Himmel steh'n,
Hab' lang und fest sie angeseh'n;
Und sie auch standen da so stier,
Als wollten sie nicht weg von mir.

Ach, meine Sonnen seid ihr nicht !
Schaut ander'n doch ins Angesicht !
Ja, neulich hatt' ich auch wohl drei;
Nun sind hinab die besten zwei.

Ging nur die dritt' erst hinterdrein !
Im Dunkel wird mir wohler sein.

The Phantom Suns
I saw three suns in the sky,
I stared at them long and hard;
And they, too, stood staring
As if unwilling to leave me.


Ah, but you are not my suns!
Stare at others in the face, then:
Until recently I, too, had three;
Now the best two are gone.


But let the third one go, too!
In the darkness I will fare better.

 

24. Der Leiermann
(The Hurdy-Gurdy Man)
At the end of the village he finds the old barefoot hurdy-gurdy man, winding away his tunes, but no one has given him a penny, or listens, and even the dogs growl at him. But he just carries on playing, and the poet thinks he will cast in his lot with him. The parallel with the singer singing his sad songs in the ice and the slow, unresolved melody of the hurdy-gurdy concludes the cycle with an eerily unfinished feel perfectly in character with the lonely wandering of the singer.

24. Der Leiermann
Drüben hinterm Dorfe
Steht ein Leiermann
Und mit starren Fingern
Dreht er was er kann.

Barfuß auf dem Eise
Wankt er hin und her
Und sein kleiner Teller
Bleibt ihm immer leer.

Keiner mag ihn hören,
Keiner sieht ihn an,
Und die Hunde knurren
Um den alten Mann.

Und er läßt es gehen,
Alles wie es will,
Dreht, und seine Leier
Steht ihm nimmer still.

Wunderlicher Alter !
Soll ich mit dir geh'n ?
Willst zu meinen Liedern
Deine Leier dreh'n ?

The Hurdy-Gurdy Man
There, behind the village,
stands a hurdy-gurdy-man,
And with numb fingers
he plays the best he can.


Barefoot on the ice,
he staggers back and forth,
And his little plate
remains ever empty.


No one wants to hear him,
no one looks at him,
And the hounds snarl
at the old man.


And he lets it all go by,
everything as it will,
He plays, and his hurdy-gurdy
is never still.


Strange old man,
shall I go with you?
Will you play your hurdy-gurdy
to my songs?

 

Adapted from Wikipedia

Wilhelm Müller


 
 

THE HISTORY [Back to Contents]
In an obituary notice for Schubert, dead on November 19, 1828, at age thirty-one, the poet Johann Mayrhofer said of the song cycle Winterreise (“Winter Journey”), “The poet’s irony, rooted in despair, appealed to him: he expressed it in piercing tones.” Thirty years after the composer’s death, another friend, Joseph von Spaun, wrote in his“Reflections and Notes on My Friendship with Franz Schubert”:

“For some time Schubert appeared very upset and melancholy. When I asked him what was troubling him, he would say only, ‘Soon you will hear and understand.’ One day he said to me, ‘Come over to Schober’s today, and I will sing you a cycle of horrifying songs. I am anxious to know what you will say about them. They have cost me more effort than any of my other songs.’ So he sang the entire Winterreise through to us in a voice full of emotion. We were utterly dumbfounded by the mournful, gloomy tone of these songs, and [Franz von] Schober said that only one,‘Der Lindenbaum,’ had appealed to him. To this Schubert replied, ‘I like these songs more than all the rest, and you will come to like them as well.’”

No wonder his friends were taken aback. Winterreise is not charming, not light, not pretty; its beauty is of a different and deeper order, like that of Greek tragedy or Rembrandt’s portraits of old age. It seems almost inconceivable that this work—the epitome of dark soul-searching and existential crisis, its protagonist pushed to the brink of insanity— issued from the mind of someone only twenty-nine years old at the time of composition, but then Schubert was no ordinary man.

The man who supplied Schubert with the words for this cycle was a contemporary of the composer’s named Wilhelm Müller, born in Dessau near Leipzig in 1794. He was famous throughout much of the nineteenth century as “the German Byron” because he too was a philhellene, someone whose frustrated liberal political ideals found an outlet in the cause of Greek independence from the Ottoman Empire. Müller’s Griechenlieder (“Greek Songs”), published between 1821 and 1826, were his best-known works, but he also translated Christopher Marlowe’s The Tragicall Historie of Doctor Faustus into German, edited ten volumes of 17th-century German poetry, and wrote novels, novellas, and lyric poetry, some of it spiked with acid commentary on the post-Napoleonic Prussian regime.

Throughout much of the late-nineteenth and twentieth centuries, it was fashionable to dismiss him as a
third-rate poet whose naive verse was transformed by Schubert’s music, but now we know better. Müller’s fusion of folk-poetic forms and sophisticated content (new wine in old bottles) was original, and powerful. The indisputably great poet Heinrich Heine wrote Müller a letter of praise in 1826 to thank him for “showing me the way.” Schubert, one of the most astute judges of poetry in music history, recognized the quality of Müller’s poetry and plumbed its depths in music twice, first in his 1823 cycle Die schöne Müllerin (“The Beautiful Miller-Maid”) and again in Winterreise. Sadly, Müller, like Schubert, was not granted a long life: during the night of September 30–October 1, 1827, he died unexpectedly, perhaps of a heart attack. It gives one pause to think that Schubert was perhaps completing his compositional labors on Winterreise at the same time, and that Müller never heard this music. “I can neither play nor sing, yet when I write verses, I sing and play after all,” the poet wrote in his diary on his twenty-first birthday. “But courage! Perhaps there is a kindred spirit somewhere who will hear the tunes behind the words and give them back to me.” Indeed there was, beyond most poets’ wildest dreams of musical collaboration.

The genesis of the poetry is complicated, beginning with the publication of the first twelve poems collectively entitled Wanderlieder von Wilhelm Müller. Die Winterreise. In 12 Liedern (“Wandering Songs by Wilhelm Müller. The Winter Journey. In 12 Songs”) in the literary periodical Urania: Taschenbuch auf das Jahr 1823 (“Urania, Pocketbook Anthology for the Year 1823”). It was this source that Schubert evidently discovered in late 1826 or early 1827, as the order of the Urania poems corresponds exactly to Part I (the first half) of his setting—which he thought at the time was a complete work: he wrote “Fine” at the end of “Einsamkeit” (“Loneliness”) with a flourish all the more emphatic for the trouble these songs had cost him. In March 1823, ten additional poems were published in Karl Schall’s and Karl von Holtei’s Deutsche Blätter für Poesie, Literatur, Kunst und Theatre (“German Album-Leaves for Poetry, Literature, Art, and Theater”)—in order, “Der greise Kopf,”“Letzte Hoffnung,” “Die Krähe,” “Im Dorfe,” “Der stürmische Morgen,” “Die Nebensonnen,” “Der Wegweiser,” “Das Wirtshaus,” “Mut,” and “Der Leiermann.” The complete poetic cycle of twenty-four poems, with the addition of “Die Post” (“The Mail Coach”) and “Täuschung” (“Deception”), appeared in the second volume of Müller’s collected poems, the Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten II: Lieder des Lebens und der Liebe (“Poems from the Posthumous Papers of a Traveling Horn-Player: Songs of Life and Love”), published by Ackermann in Dessau in 1824 and dedicated to the composer Carl Maria von Weber. (The first volume of the anthology, published in 1820, began with Die schöne Müllerin; Müller was rightly proud of these two cycles.)

The complex unfurling of the complete poetic work had consequences for its metamorphosis into music. According to Schober, Schubert discovered Müller’s poems in Schober’s library, though when and which source, his friend does not say. Schober and Schubert shared lodgings in the autumn of 1826, after which Schubert lived alone from the end of 1826 until February 1827, when he once again moved in with Schober at the house called “The Blue Hedgehog.” Some time in late 1826 or early 1827, Schubert began setting the cycle to music; in early March 1827, he invited his friends to hear the unveiling of new works but unaccountably failed to appear for the soirée he himself had arranged. Is it possible that Schubert’s plans to unveil his “completed” work in March (if that, in fact, is what he proposed to perform) could have been overturned by his discovery of the Waldhornisten poems and his subsequent realization that his music was not, in fact, complete?

Why Müller changed the ordering of his twenty-four poems at the final stage is anyone’s guess; but Schubert could not duplicate that order when he found the anthology without disrupting the musical continuum already created. Therefore, for his Fortsetzung, or “Continuation” (Part II—the last twelve songs), he simply set the remaining poems in order, beginning with “Die Post,” although he reverses the poet’s order of “Mut” (“Courage”) and “Die Nebensonnen” (“The Phantom Suns”) near the end. It was a typical stroke of genius to do so: in his ordering, the false bravado of “Mut” is followed by the realization of sad truth in “Die Nebensonnen,” just before the encounter with the hurdy-gurdy player.

Schubert might have sent the autograph manuscript of the first twelve songs to the publisher Tobias Haslinger even before he found Müller's complete cycle, and this could have influenced Haslinger’s decision to bring out the work in two stages: Part I of Schubert’s Opus 89 appeared in the summer of 1828, Part II after the composer’s death. (The autograph manuscript—one of the most revealing of this composer’s manuscripts—is in the Pierpont Morgan Library in New York.) According to Haslinger and Schubert’s brother Ferdinand, Schubert corrected the proofs for Part II after he took to his bed in Ferdinand’s apartment on Kettenbrückengasse with his last illness.

Susan Youens is the J.W. Van Gorkom Professor of Music at the University of Notre Dame. She is the author of eight books on 19th-century German song, including Heinrich Heine and the Lied (Cambridge University Press, 2007).

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  THE POETRY AND THE MUSIC [Back to Contents]
As he had done in Die schöne Müllerin, Müller adopted a conventional subject for Die Winterreise, this one taken from the stockpile of standard Romantic themes—a journey by an isolated, alienated wanderer with a tragic finale in madness or death—and varied it in original ways. (Note that Schubert omitted the definite article—“Die,” “The”— from his title, the effect starker and stronger.) These poems constitute a monodrama, the predecessor of such Expressionist interior monologues as Marie Pappenheim’s and Arnold Schoenberg’s Erwartung (Expectation); in both of these works, a single character investigates the labyrinth of his or her own psyche in search of selfknowledge or escape from psychological torment. There are no other personae, no narrator, no implied auditors, no point of view other than the winter wanderer’s. Unlike Die schöne Müllerin, there is no narrative, no plot, no logical succession of events in the external world. Instead, we spy on fleeting emotions and states of mind. What one scholar calls “this outcry of scorched sensibility” goes beyond grief over a sweetheart’s infidelity to fundamental questions about the meaning of existence and confrontations with death. Müller used the word “Eintönigkeit” to sum
up his ideal of poetry that would speak directly to the heart without obtrusive poetic artifice or multiple personae; “Eintönigkeit” literally means “monotony,” but in Müller’s sense, it is the sound of a single instrument as opposed to the sound of a full orchestra. As long as we hear the full range of the instrument (the single persona) in different tempi and dynamics, from softest to loudest, its full beauty will be revealed to us.

It matters that we are never told the name of the philosopher manqué we meet in this cycle, or any other name of place or person, never told what he looks like (except that he has black hair), his occupation, upbringing, or personal history. Like the miller lad in Die schöne Müllerin, the lack of specificity underscores the mythic character of this work and reinforces its interiority; if we know nothing of the winter wanderer’s curriculum vitae, we learn much more about his inner life. He tells us in the first song that he came to this place a stranger and departs still a stranger, a wayfarer who is once again unsuccessful in his quest for a place of belonging. When he is jilted, he loses more than the love of a single person: he loses the hope that human bonds are possible for him. Acutely conscious of his alienation from everyone else, he fears being forced away from the town like a pariah and meets that fear with defiance. Recognizing that he is also a stranger to himself, he resolves to journey into the wintry geography of his inmost self in search of knowledge. He cannot, he recognizes in the first song of the cycle, “Gute Nacht” (“Good Night”), know how long his existential quest will last, and he must undertake the journey alone. Time in Winterreise is psychological time, not ruled by clock or calendar.

Unable to believe in God or any other means by which experience is seen as belonging to a larger order, the wanderer asks questions of himself and of existence throughout the cycle. Well in advance of Freud, he knows that dreams are wish-fulfillments in which the sleeping mind either devises satisfactions unattainable in reality or idealizes bygone events (the eleventh song, “Frühlingstraum,” is a case in point); but, in his despair, he is unable to resist the lure of illusions. Twice (“Irrlicht” and “Täuschung”), Müller uses the metaphor of the will-o’-the-wisp or an illusory light which the wanderer follows, even though he knows that its promise of light and warmth is a delusion. Readers familiar with Freud’s essay on “Mourning and Melancholia” might find in this cycle a poetic version of the process described there, beginning with the mourner’s exclusive devotion to the labor of grief.

Even though reality tells the wanderer that the beloved is no longer his and that his attachment must be withdrawn so that life may continue, the mourning protagonist rebels, immersing himself in memories he is reluctant to relinquish for fear of losing her irrevocably. The fourth song, “Erstarrung” (“Numbness”), enacts the tug of war between emotion and reason; his intellect might tell him that there are no green, growing souvenirs of his Maytime love, but his heart insists on the desperate desire to find them. He tries to bury his grief symbolically in the seventh song, “Auf dem Fluße” (“By the River”), when he carves the birth- and death-dates of their love in a symbolically broken ring, but the attempt to put mourning aside and go on with life is dashed on the rocks of a greater grief, an obsession with the self as different and victimized.

In the second half of the cycle, the wanderer repeatedly longs for death. The tenacity of life when unwanted is one essential theme of this cycle, and yet he only contemplates suicide once, not by his own hand but by allowing Nature to take its course. This incident in the justly famous fifth song, “Der Lindenbaum” (“The Linden Tree”)— which one finds it in many Commersbücher, or 19th-century anthologies of folk songs and popular German melodies—is one of the climactic moments in the work; Thomas Mann invokes it at the end of his novel The Magic Mountain. In this song, the wanderer is tempted by the remembered sound of the linden leaves’ rustling—the linden tree is the traditional rendezvous site for lovers in German literature—to stand still, immersed in memory, until he dies in the winter storm. Without knowing why, he chooses instead to continue on his way.

Eventually, the journey (an antique metaphor for life) brings him to a grim epiphany in the twentieth song, “Der Wegweiser” (“The Signpost”), in which he sees a signpost in his mind for the road he must take, a road “from which no one returns.” Horror-struck, believing himself alone, he does not read the sign aloud; we are left to guess what it says. That Death has written these words, we cannot doubt; but what is one then to make of the next song, “Das Wirtshaus” (“The Inn”)? There, the wanderer stops at a cemetery and begs for a room at the “inn,” but is turned away. His death is inevitable—but not now. At the “end” of the cycle (not truly an end) in “Der Leiermann,” the wanderer sees a hurdy-gurdy player, wordless, frozen, grinding out music so obsessive and elemental as to be deprived of all possibility of transcendence. What the wanderer’s beggar-Doppelgänger endures is living death, worse by far than extinction itself.

When Schubert set these poems to music, he was confronting his own probable fate. Enough was known in the 1820s about the terminal stages of syphilis for Schubert to realize that the disease he had contracted in late 1822 or early 1823 often ended in horrifying dementia and paralysis before the release wrought by death. He might well have wondered as he read “Der Leiermann” whether he too would be condemned to suffer a future with his creative faculties numbed and the capacity to create music restricted to a single phrase, repeated mindlessly over and over again. The cycle ends on a terrifying question mark for which there is no answer, only the echoing silence following the dying-away drone of the hurdy-gurdy.

Realizing this, one understands what a heroic act it was for Schubert to set this text, of all texts, to music, to fashion transcendent art from the bleakest fear imaginable. Somewhat fancifully, I like to think that Death, perhaps flattered by Schubert’s many and varied portraits of him in music, spared the composer the fate he most dreaded, taking him swiftly before insanity and paralysis could claim him as their own. Despite the tragedy of his premature death—and we will always wonder what might have been)—we can only be grateful that he did not become the wanderer but instead turned him into songs “I like better than all the rest.”

Susan Youens is the J.W. Van Gorkom Professor of Music at the University of Notre Dame. She is the author of eight books on 19th-century German song, including Heinrich Heine and the Lied (Cambridge University Press, 2007).

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  THE COMPOSER [Back to Contents]
COMING SOON

[Back to Contents]
 
 
  THE POET [Back to Contents]

Johann Ludwig Wilhelm Müller, in short Wilhelm Müller, known also as Griechen-Müller (Müller of the Greeks) because of his enthusiasm and admiration for the Greek fight for independence from the Turks.

Wilhelm MuellerHe was born in Dessau on the 7th of October 1794 and died there, too, tragically early on the 1st of October 1827. He was the only surviving of six (some say seven) children of the master tailor Christian Leopold Müller and his wife Marie Luise Leopoldine. He attended school in Dessau. Beginning with the year 1812 he studied classical philology in Berlin. In 1813 he joined the Prussian army to defend Germany against Napoleon and thus further German unity. He fought in the battles of Luetzen, Bautzen, Hanau and Kulm as Gardejäger (hunter of the guard, a military title - Was sucht denn der Jäger am Mühlbach hier?). He worked in the Prague depot and the Brussels headquarters and went back to Dessau in 1814.

Together with other fellow students, former soldiers like him, he published his first poems in 1816 (especially poems against the French people) in a volume called Bundesblüten (Blossoms Of The Alliance). He finished his studies in 1817 in Berlin. Being a member of the Berliner Gesellschaft für deutsche Sprache (Berlin Society for the German language) he moved in intellectual circles and was known to Romantiker giants like the Grimms, von Arnim, Brentano, Fouqué and Tieck. On behalf of the Berlin Academy of Sciences he was to travel to Greece, Egypt and the Middle East with the Prussian chamberlain Baron Sack. Because of the plague in Constantinople they stopped off in Italy. The January of 1818 saw them in Rome. Around Easter he parted from Sack because he wanted to stay in Italy - to study (here we have the typical intellectual traveller). He went to Naples and spent the summer in Rome. In Italy he experienced the same dictatorial regulations and the same censureship as in Prussia which made him become more and more liberal and tolerant. Once he wrote to his friend Per Daniel Atterbom, a famous Swedish writer: "Truly, I feel ashamed very often that I lifted my sword against the French people!"

When he came back the Berlin Akademie wasn't too happy about his unauthorized cancellation of the Orient journey and sacked him for leaving Sack (sorry, but I had to make this pun). So he had to return to Dessau in 1819 and work as a grammar school teacher for Latin and Greek, for a ridiculously poor salary. His fame as an author was established beginning with 1821 when he began to publish his folksy poems which are, as Brecht states it, "easy things difficult to make". He worked for the publishing house Friedrich Arnold Brockhaus in Leipzig (yes, the famous encyclopaedia publisher) as translator, critic, biographer and editor. He wrote essays for the yearbooks Hermes and Urania and the Literarische Wochenblatt (Literary Weekly) and edited the Bibliothek deutscher Dichter im 17. Jahrhundert (Library Of German Poets Of The Seventeenth Century).

All this was possible because he had been appointed teacher of classics and librarian of the court library by the duke Leopold Friedrich for a much better salary than as a teacher (it is good to have friends among the mighty). In 1824 he became counsellor to the court. In 1821 he married Adelheid Basedow, the granddaughter of the famous educationalist Johann Bernhard Basedow (now, how is it that famous men always marry other famous men's daughters?). The year 1824 saw his poetical breakthrough: the Waldhornisten poems that include the Schöne Müllerin and the Winterreise. Seemingly harmless verses whose longing for a free and harmonic homecountry express fierce criticism of the reactionary politics of the time. Almost every poem of Mueller got set to music and became tremendously popular by this. A lot of his works, especially the Greece poems, were banned and censured.

He was now a famous man - with famous friends and acquaintances, for example Carl Maria von Weber and Goethe (sounds like fun to be a Romantiker). The duke gave him a wonderful flat in the garden house of the Dessau park Luisium, with orange trees in front of the windows (sounds like big fun to be a Romantiker). Shortly after a journey along the Rhine and through the Southwest of Germany on which he met the important Romantik poets and authors A.W. Schlegel, Schwab, Hauff, Kerner and Uhland he died of a heart attack shortly before his 34th birthday (doesn't sound like fun to be a Romantiker).

Today Müller is virtually forgotten, only scholars and Lieder friends know his name. The people who sing folk songs like Am Brunnen vor dem Tore or Im Krug zum Grünen Kranze have no idea that a "lefty" wrote them (well, a lefty paid by a duke - these were complicated times). But Heinrich Heine, undoubtely one of the gods of German literature, wrote in a letter to Müller: "How pure and clear your songs are, real folk songs. I am idle enough to believe that my name will once, when we live no longer, be mentioned together with yours."
Müller's most important works:

  • 1820 Rom, Römer und Römerinnen (Rome, Roman Men And Women),
  • 1821/24 Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten(Poems From The Posthumously Left Papers Of A Travelling French Horn Player - contains Die schöne Müllerin & Die Winterreise),
  • 1821 Lieder der Griechen (Songs Of The Greeks)
  • 1823 Neue Lieder der Griechen (New Songs Of The Greeks),
  • 1824 Neueste Lieder der Griechen (Newest Songs Of The Greeks),
  • 1825 Neugriechische Volkslieder (Modern Greek Folk Songs),
  • 1826 Missolunghi (yes, these are the supernewest songs of the Greeks),
  • 1826/27 Kleine Liebesreime aus den Inseln des Archipelages (Little Love Rhymes From The Isles Of The Archipelago),
  • 1827 Lyrische Reisen und epigrammatische Spaziergänge (Lyrical Travels And Epigrammatic Walks).
  • Didactic works include the Homerische Vorschule (1824, Homeric Preparatory School). To prove that you can do a lot in only 33 years the guy also made a translation of Christopher Marlowe's Doctor Faustus.

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      THE TEAM [Back to Contents]

    Joshua Allard (Costume Designer/Technician) has designed in Chicago since 2003, working on over 65 productions with over 15 companies, including Lookingglass Theatre, Victory Gardens Theatre, Eclipse Theatre, Piccolo Theatre, Chicago Tap Theatre, and Roosevelt University. He has also served as a choreographer and movement practitioner, and production manager. Joshua toured as the Wardrobe/Props ATD for a children’s musical from the Kennedy Center for the Performing Arts for five months in 2008. He has also served as the general manager and company manager for the storefront opera and artsong company, VOX 3 Collective, Inc.

    Brian Barber (Wanderer: Dancer) marks his Chicago Opera Vanguard debut and in the opera world in general. Graduating from Old Dominion University in Norfolk, Virginia, Brian has experienced a wide range of Chicago theater, with previous credits including Phedra, The Blue Hotel, The Little Prince, Rosencrantz and Guildenstern are Dead and Big Love. He has learned much and truly enjoyed with his time with Chicago Opera Vanguard and Winterreise!

    Dan Cox (COV Managing Director) is a founding member of Chicago Opera Vanguard, having produced the past three productions and serving as dramaturg on last season’s Greek by Mark-Anthony Turnage. He is also the coordinator of Victory Gardens Theater’s Fresh Squeezed series of special performances and fundraises for Children’s Memorial Foundation. He is a former Artistic Assistant for the Goodman Theatre where he served as assistant to Director Tommy Tune on the world premiere of Turn of the Century. As an actor in Chicago, Dan worked with TUTA Theatre, Greasy Joan & Co., Chicago Dramatists, Adventure Stage, and The Idea Place. He is a graduate of Oberlin College.

    Sophie Gatins (Beloved: Actor/Dancer) hails from Atlanta, GA and recently moved in favor of the pleasant winters here. In Chicago, she recently choreographed and performed in a series of works by Charles Busch, produced by The Idea Place. Winterreise marks her inaugural performance with COV and she could not be more thrilled to work with such a talented group. Many thanks to Dan and Eric, much lovin to the rest of the cast and all my love to my family and Mary Hollis. Enjoy the show.

    Brad Jungwirth (Wanderer: Baritone), a native of Rochester, MN, earned his Master’s degree in Vocal Performance at the Chicago College of the Performing Arts of Roosevelt University, where he studied with renowned baritone Richard Stilwell. Previous operatic roles include Dr. Engel in The Student Prince with the Music by the Lake festival, the title role in Walton’s The Bear and Marcello in La Bohéme with the Millennium Chamber Players, Count Almaviva in Le nozze di Figaro with Chicago’s L’opera Piccola, the title role of Mozart’s The Impresario and the husband in Menotti’s Amelia Goes to the Ball (both at Roosevelt University). Solo concert performances include Dvorak’s Te Deum, Beethoven’s Mass in C, and numerous masses and cantatas of J. S. Bach. This past winter he was a young artist with Opera Santa Barbara, where he covered the roles of Morales and Dancaire in Bizet’s Carmen, and was featured in a variety of recitals and preview concerts. Mr. Jungwirth is also an avid performer of contemporary music, and has been highly praised for his performances of Peter Maxwell Davies’ monodrama 8 Songs for a Mad King with the Millennium Chamber Players. Most recently, he sang this difficult work at the 2008 Jusqu’aux Oreilles contemporary music festival in Montréal, Canada, where the Montréal Gazette hailed his performance as “prodigiously convincing.” He received much acclaim for his portrayal of multiple roles in the Chicago premiere of Mark-Anthony Turnage’s “GREEK” with Chicago Opera Vanguard, and is thrilled to be returning to the company for these performances of Winterreise.

    Sarah Luse (Production Manager) is excited to be working on her first production with Chicago Opera Vanguard. Other production management credits include Grapes of Wrath and The Crucible for Infamous Commonwealth Theatre (ICT). Along with production managing Sarah is also a stage manager in the city. Some stage management credits include Almost, Maine, Ruby Sunrise, W;t, and Long Days Journey Into Night (The Gift), Medea and The Ruling Class (BackStage), Lady From Dubuque and Keely and Du (ICT), The Adventures of Cpt. Marbles and His Acting Squad (Provision), and Coronado (Steep). Sarah is also a company member of Infamous Commonwealth Theatre.

    Josh Pfaff (Video Designer) is working with Chicago Opera Vanguard for the second time, having previously designed the video for COV's production of "Greek". Prior work has included video installation exhibitions and experimental documentary. Pfaff graduated from University of Wisconsin Madison with a BA in Film, TV, and Radio. He currently works for CAN TV (Chicago Community Cable Access) as a Video Trainer and Production Services Coordinator.

    Chris Rader (Technical Manager) recently relocated to Chicago from San Francisco where he worked extensively, primarily as a stage manager, but also as a scenic designer & a lighting designer. He co-helmed the theater company NNM Productions with playwright/director Stuart Bousel since 2004, when he joined the newly formed company to design the lights & stage manage their production, Troijka. Other NNM credits include stage managing Love Egos Alternative Rock, Phaedra, and Hamlet; stage management and lighting design for Speak To Me and a revival of Troijka directed by John Dixon with whom he had previously worked as scenic designer for The Maiden’s Prayer with San Francisco StageWorks. Additional Bay Area credits include Crowded Fire Theater, Theatre Rhinoceros, Berkeley Repertory Theatre, Amercian Conservatory Theater, Custom Made Theater, as well as Encore Theater where he assistant stage managed & stage managed, respectively, two world premieres—Adam Rapp’s Dreams of the Salthorse and Terry Tarnoff’s The Bone Man of Benares. He is delighted to now call Chicago home & to find himself so quickly entrenched in the world that is Chicago Opera Vanguard.

    Eric Reda (Director / COV Artistic Director) is artistic director of Chicago Opera Vanguard. Recent credits include Ricky Ian Gordon’s Orpheus and Euridice (COV), Mark Anthony Turnage's Greek (COV), Philip Dawkins Ugly Baby (Strawdog Theatre) & Yes to Everything (Around the Coyote). Eric has collaborative relationships with numerous Chicago theatrical and music ensembles, including Accessible Contemporary Music, Strawdog Theatre, Stage Left Theatre, Second Story Dance Company and The Around the Coyote Festival. Additionally, he participated in the West Coast premiere of composer Meredith Monk and video artist Ann Hamilton’s theatre piece Mercy, and the American premiere of choreographer Pina Bausch’s epic music theatre piece, Nur Du. Eric studied Music Composition at Arizona State University with Chinary Ung, James DeMars, Randall Shinn and Rodney Rogers. He has had the honor of participating in Materclasses with Philip Glass, Joan Tower, Anthony Braxton, Libby Larson, Brent Michael Davids, and Geoffrey Bush. As a composer, his output includes opera, dramatic incidental music, orchestral works, instrumental and vocal chamber music, choral music, and musique concrete. Distinctly American and consciously accessible, his compositions often incorporate found texts and deconstructed aural samples in order to create soundscapes that are both familiar and unexpected. His opera REAGAN’S CHILDREN recently received its stage premiere by Northwestern University.

    Jessica Sheffield (Beloved: Actor/Singer) recently moved to the Chicago area after graduating from the University of West Georgia with a bachelor's degree in Vocal Performance. Her opera roles at the college level include Pamina in Die Zauberflote, Despina in Cosi fan Tutte and Hansel in Hansel and Gretel, all performed with the UWG Opera Workshop. This is Jessica's first production with Chicago Opera Vanguard and she is delighted to be involved with such a wonderful and talented cast and crew!

    Myron Silberstein is a concert pianist, accompanist, and composer. Highlights of his career have included winning first prize at the 26th Annual Giornate Musicali International Piano Competition in 1991, a New York debut at Weill Recital Hall of Carnegie Hall in 1993, and a debut recording for Connoisseur Society of works by Franck, Bloch, and GIannini that was named to Fanfare Magazine's "Want List" in 1996. He maintains an active studio as a piano teacher and voice coach in his home in Rogers Park, where he lives with his wife Laura and their two cats. In his spare time, Myron enjoys knitting and translating works of Sanskrit literature.

    M. Florian Staab (Sound Designer) is a sound and lighting designer currently based in Chicago. He is very excited to be back with COV for another round of opera, yo! Recent credits include The Diary of Anne Frank (Harper College);Tina Girlstar (New York Stage and Film); Blueprints of Relentless Nature and Darwin's Wife (World Premiere in Japan with the Liz Lerman Dance Exchange) and How Can You Run with a Shell on Your Back? (Northwestern University). Staab holds a BA from Oberlin College and an MFA from the University of Illinois. Much love to the Redhead.

    Karen Yates (Associate Director / Movement Director). Directing credits (theater): Twelfth Night, Piccolo Theatre; Memento Polonia, Overdog Productions, Three Days of Rain, Actors Revolution Theatre, and work with Chopin, Chicago Scriptworks, and Around the Coyote. Assistant director: Romeo and Juliet (TUTA, Zeljko Djukic, director); Hamlet, K & K Productions; The Human Capacity, Stage Left. She has studied movement and devising with Complicité, SITI Company, Goat Island, the Laban/Bartenieff Institute of Movement Studies, Wendell Beavers, Antonio Fava, Cathy Naden of Forced Entertainment, UK, Ann Carlson, and Fiona Wright, among others. Recent acting credits: non-singing roles in Faust and Damnation of Faust, Lyric Opera of Chicago; Six Degrees of Separation, Eclipse; as well as work with Writers’ Theatre, BackStage, Oak Park Theatre Festival, Next, Stage Left, Theo Ubique, European Rep, among others. She has served as VP of Education for the League of the Chicago Symphony Orchestra.

    Eric Zobel (Translator) has worked at the Goodman Theatre and for Broadway. He currently teaches in Indianapolis Public Schools.

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