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{{short description|Song cycle composed by Franz Schubert}}
{{italic title}}
{{Infobox musical composition
| name              = ''Winterreise''
| type              = [[Song cycle]]
| composer          = [[Franz Schubert]]
| image             = Franz Schubert by Wilhelm August Rieder 1875.jpg
| caption           = Schubert in 1825, by [[Wilhelm August Rieder]], 1875 oil painting after a watercolor
| dedication        = 
| catalogue         = [[Schubert Thematic Catalogue|D.]] 911
| opus              = 89
| translation       = 
| text              = poems by [[Wilhelm Müller]]
| movements         = 24
| composed          = {{start date|1827}}
| scoring           = {{hlist | tenor | piano }}
| published         = {{start date|1828}}
}}

'''''Winterreise''''' ({{IPA|de|ˈvɪntɐˌʁaɪzə}}, ''Winter Journey'') is a [[song cycle]] for voice and piano by [[Franz Schubert]] ([[Schubert Thematic Catalogue|D]]. 911, published as [[Opus number|Op]]. 89 in 1828), a setting of 24 [[Poetry|poems]] by German poet [[Wilhelm Müller]]. It is the second of Schubert's two song cycles on Müller's poems, the earlier being ''[[Die schöne Müllerin]]'' (D. 795, Op. 25, 1823).

Both were originally written for [[tenor]] voice but are frequently [[Transposition (music)|transposed]] to other vocal ranges, a precedent set by Schubert himself. The two works pose interpretative demands on listeners and performers due to their scale and structural coherence. Although [[Ludwig van Beethoven]]'s cycle ''[[An die ferne Geliebte]]'' (''To the Distant Beloved'') was published earlier, in 1816, Schubert's cycles hold the foremost place in the genre's history.

The cycle consists of a [[monodrama]] from the point of view of the wandering protagonist, in which concrete plot is somewhat ambiguous. After his beloved falls for another, the grief-stricken young man steals away from town at night and follows the river and steep ways to a charcoal burner's hut, where he rests before moving on. He comes across a village, passes a crossroads, and arrives at a cemetery. Here being denied even the death on which he has become fixated, he defiantly renounces faith before reaching a point of resignation. Finally he encounters a derelict street musician, the only instance in the cycle in which another character is present. The mysterious and ominous nature of the musician, along with the question posed in the last lines, leave the fate of the wanderer open to interpretation.

The autograph manuscript of the cycle is preserved in the [[Morgan Library & Museum]].

== Authorship and composition ==
''Winterreise'' was composed in two parts, each with twelve songs, the first part in February 1827 and the second in October 1827.{{sfn|Reed|1985|p=441}} The two parts were also published separately by [[Tobias Haslinger]], the first on 14 January 1828, and the second (the proofs of which Schubert was still correcting days before his death on 19 November) on 30 December 1828.{{snf|Giarusso|2008|page=26}}

The text consists of poems by [[Wilhelm Müller]]. Müller, a poet, soldier and Imperial Librarian at [[Dessau]] in [[Prussia]] (present-day east-central Germany), died in 1827 aged 32, and probably never heard the first setting of his poems in ''Die schöne Müllerin'' (1823), let alone ''Winterreise''. ''Die schöne Müllerin'' had become central to the performing repertoire and partnership of Schubert with his friend, the [[baritone]] singer [[Johann Michael Vogl]], who introduced Schubert's songs to many people in their tours through Austria in the mid-1820s.

Schubert found the first twelve poems under the title ''Wanderlieder von Wilhelm Müller. Die Winterreise. In 12 Liedern'' in an almanack (''{{ill|Urania. Taschenbuch auf das Jahr 1823|de|Urania (Almanach)}}'') published in Leipzig in 1823.<ref>{{Cite book |url=http://opacplus.bsb-muenchen.de/title/11244068/ft/bsb10312443?page=245 |title=Urania: Taschenbuch auf das Jahr 1823 |publisher=Brockhaus |year=1823 |location=Leipzig |pages=207–223 |language=german}}</ref>{{sfn|Youens|1991|p=21}} His intimate friend [[Franz von Schober]] had provided this book for him.<ref>{{Cite book |title=Schubert: Die Erinnerungen seiner Freunde |date=1983 |publisher=Breitkopf & Härtel |others=Otto Erich Deutsch |isbn=3-7651-0186-9 |location=Wiesbaden |pages=235 |oclc=10759777}}</ref> It was after he set these, in February 1827, that he discovered the full series of poems in Müller's book of 1824, ''Poems from the posthumous papers of a travelling horn-player'', dedicated to the composer [[Carl Maria von Weber]] (godfather of Müller's son [[Max Müller|F. Max Müller]]), "as a pledge of his friendship and admiration". Weber died in 1826. On 4 March 1827, Schubert invited a group of friends to his lodgings intending to sing the first group of songs, but he was out when they arrived, and the event was postponed until later in the year, when the full performance was given.{{sfn|Robertson|1965}}

[[File:Wilhelm Müller by Schröter.jpg|thumb|upright|left|Wilhelm Müller]]

Between the 1823 and 1824 editions, Müller varied the texts slightly and also (with the addition of the further 12 poems) altered the order in which they were presented. Owing to the two stages of composition, Schubert's order in the song-cycle preserves the integrity of the cycle of the first twelve poems published and appends the twelve new poems as a ''Fortsetzung'' (''Continuation''), following Müller's order (if one excludes the poems already set) with the one exception of switching "Die Nebensonnen" and "Mut!".{{sfn|Youens|1991|p=22}} In the complete book edition, Müller's final running-order was as follows:<blockquote>"Gute Nacht"; "Die Wetterfahne"; "Gefror'ne Tränen"; "Erstarrung"; "Der Lindenbaum"; "Die Post"; "Wasserflut"; "Auf dem Flusse"; "Rückblick"; "Der greise Kopf"; "Die Krähe"; "Letzte Hoffnung"; "Im Dorfe"; "Der stürmische Morgen"; "Täuschung"; "Der Wegweiser"; "Das Wirtshaus"; "[Das] Irrlicht"; "Rast"; "Die Nebensonnen"; "Frühlingstraum"; "Einsamkeit"; "Mut!"; "Der Leiermann".<ref>[[Max Friedlaender (musicologist)|Max Friedlaender]], in ''Franz Schubert – Sammlung'', "Textrevision zu Franz Schubert's Liedern", following page 260.</ref></blockquote>Thus, Schubert's numbers would run 1–5, 13, 6–8, 14–21, 9–10, 23, 11–12, 22, 24, a sequence occasionally attempted by [[Hans Joachim Moser]] and Günther Baum.

Schubert's original group of settings therefore closed with the dramatic cadence of "Irrlicht", "Rast", "Frühlingstraum" and "Einsamkeit", and his second sequence begins with "Die Post". Dramatically, the first half is the sequence from the leaving of the beloved's house, and the second half the torments of reawakening hope and the path to resignation.

In ''Winterreise'' Schubert raises the importance of the pianist to a role equal to that of the singer. In particular, the piano's rhythms constantly express the moods of the poet, like the distinctive rhythm of "Auf dem Flusse", the restless syncopated figures in "Rückblick", the dramatic tremolos in "Einsamkeit", the glimmering clusters of notes in "Irrlicht", or the sharp accents in "Der stürmische Morgen". The piano supplies rich effects in the nature imagery of the poems, the voices of the elements, the creatures and active objects, the rushing storm, the crying wind, the water under the ice, birds singing, ravens croaking, dogs baying, the rusty weathervane grating, the [[post horn]] calling, and the drone and repeated melody of the [[hurdy-gurdy]].{{sfn|Rehberg|Rehberg|1946|pp=338–39}}

== Opinions of Schubert's intentions ==
[[File:Julius_Schmid_Schubertiade.jpg|thumb|280x280px|Julius Schmid's 1897 painting, ''Schubertiade'']]
Many have attempted to explain the reason Schubert composed ''Winterreise.'' A possible explanation is documented in a book by Elizabeth Norman McKay, ''Schubert: The Piano and Dark Keys'': "Towards the end of 1822 ... Schubert was very sick, having contracted the [[syphilis]] that inevitably was to affect the remainder of his life: his physical and mental health, and the music he was to compose." As detailed below, he worked on ''Winterreise'' as he was dying of syphilis.<ref>{{cite news|url=https://www.theguardian.com/music/tomserviceblog/2010/apr/28/schubert-syphilitic-sonata|location=London|work=[[The Guardian]]|first=Tom|last=Service|author-link=Tom Service|title=Schubert's syphilitic sonata|date=28 April 2010}}</ref>

In addition to his friend [[Franz von Schober]], Schubert's friends who often attended his ''[[Schubertiade]]n'' or musical sessions included [[Eduard von Bauernfeld]], [[Joseph von Spaun]], and the poet [[Johann Mayrhofer]]. Both Spaun and Mayrhofer describe the period of the composition of ''Winterreise'' as one in which Schubert was in a deeply melancholic frame of mind, as Mayrhofer puts it, because "life had lost its rosiness and winter was upon him." Spaun tells that Schubert was gloomy and depressed, and when asked the reason replied,
<blockquote>"Come to Schober's today and I will play you a cycle of terrifying songs; they have affected me more than has ever been the case with any other songs." He then, with a voice full of feeling, sang the entire ''Winterreise'' for us. We were altogether dumbfounded by the sombre mood of these songs, and Schober said that one song only, "Der Lindenbaum", had pleased him. Thereupon Schubert leaped up and replied: "These songs please me more than all the rest, and in time they will please you as well."{{sfn|Haywood|1939}}
</blockquote>

It is argued that in the gloomy nature of the ''Winterreise'', compared with ''Die schöne Müllerin'', there is <blockquote>
a change of season, December for May, and a deeper core of pain, the difference between the heartbreak of a youth and a man. There is no need to seek in external vicissitudes an explanation of the pathos of the ''Winterreise'' music when the composer was this Schubert who, as a boy of seventeen, had the imagination to fix Gretchen's cry in music once for all, and had so quivered year by year in response to every appeal, to [[Mignon]]'s and the Harper's grief, to Mayrhofer's nostalgia. It is not surprising to hear of Schubert's haggard look in the ''Winterreise'' period; but not depression, rather a kind of sacred exhilaration... we see him practically gasping with fearful joy over his tragic ''Winterreise'' – at his luck in the subject, at the beauty of the chance which brought him his collaborator back, at the countless fresh images provoked by his poetry of fire and snow, of torrent and ice, of scalding and frozen tears. The composer of the ''Winterreise'' may have gone hungry to bed, but he was a happy artist.{{sfn|Capell|1928|loc=chapter on ''Winterreise''}}</blockquote>

Schubert's last task in life was the correction of the proofs for part 2 of ''Winterreise'', and his thoughts while correcting those of the last song, "Der Leiermann", when his last illness was only too evident, can only be imagined. However, he had heard the whole cycle performed by Vogl (which received a much more enthusiastic reception),<ref name="C. Osborne, 1955">{{harvnb|Osborne|1955}}</ref> though he did not live to see the final publication, nor the opinion of the ''Wiener Theaterzeitung'':<blockquote>
Müller is naive, sentimental, and sets against outward nature a parallel of some passionate soul-state which takes its colour and significance from the former. Schubert's music is as naive as the poet's expressions; the emotions contained in the poems are as deeply reflected in his own feelings, and these are so brought out in sound that no-one can sing or hear them without being touched to the heart.<ref>Cited by {{harvnb|Mann|1955}}</ref>
</blockquote>

[[Elena Gerhardt]] said of the ''Winterreise'', "You have to be haunted by this cycle to be able to sing it."<ref name="C. Osborne, 1955"/>

== Nature of the work ==
[[File:Schubert - Winterreise, 24 ms f°15r.png|thumb|upright=1.4|First page of the autograph score of "Der Leiermann"]]
In his introduction to the [[Edition Peters|Peters]] edition (with the critical revisions of [[Max Friedlaender (musicologist)|Max Friedlaender]]), Professor [[Max Müller]], son of the poet [[Wilhelm Müller]], remarks that Schubert's two song-cycles have a dramatic effect not unlike that of a full-scale tragic opera, particularly when performed by great singers such as [[Jenny Lind]] (''Die schöne Müllerin'') or [[Julius Stockhausen]] (''Winterreise''). Like ''[[Die schöne Müllerin]]'', Schubert's ''Winterreise'' is not merely a collection of songs upon a single theme (lost or unrequited love) but is in effect one single dramatic monologue, lasting over an hour in performance. Although some individual songs are sometimes included separately in recitals (e.g. "Gute Nacht", "Der Lindenbaum" and "Der Leiermann"), it is a work which is usually presented in its entirety. 

The intensity and the emotional inflections of the poetry are carefully built up to express the sorrows of the lover and are developed to an almost pathological degree from the first to the last note, something explored (along with the cultural context of the work) by the tenor [[Ian Bostridge]] in ''Schubert's Winter Journey: Anatomy of an Obsession''.{{sfn|Bostridge|2014}} Over the course of the cycle, grief over lost love progressively gives way to more general existential despair and resignation – the beloved is last directly mentioned only halfway into the work – and the literal winter's journey is arguably at least in part allegorical for this psychological and spiritual one. Wintry imagery of cold, darkness, and barrenness consistently serve to mirror the feelings of the isolated wanderer.

The two Schubert cycles (primarily for male voice), of which ''Winterreise'' is the more mature, are absolute fundamentals of the German ''Lied'', and have strongly influenced not only the style but also the vocal method and technique in German classical music as a whole. The resources of intellect and interpretative power required to deliver them, in the chamber or concert hall, challenge the greatest singers.

== Songs ==
A breakdown of each of the 24 songs is given below.
[[File:01 - Gute Nacht (CK 2946-2, ES 383).flac|thumb|"Gute Nacht" (All by [[Hans Duhan]], 1928)]]

#<li value=1>"'''Gute Nacht'''" ("Good Night"): "A stranger I arrived; a stranger I depart." In May, he won the love of a girl and hoped to marry her. But now his world is bleak, and he must leave, in winter, in the dead of night, finding his own way in the trackless snow. "Love loves to wander—from one person to the next." He writes "Good Night" on her gate as he passes to show he thought of her.
:::<score> { \new Staff << \relative c'' { \set Staff.midiInstrument = #"clarinet" \tempo 4 = 60 \set Score.tempoHideNote = ##t
  \key f \major \time 2/4 \autoBeamOff \set Score.currentBarNumber = #7 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 f8 | e d a f | e8.[( f16)] e8 d' | a8. f16 a[( f)] e[( f)] | d4 }
  \addlyrics { Fremd bin ich ein- ge- | zo-- gen, Fremd | zieh' ich wie- der | aus. } >>
}</score>
{{Clear}}
[[File:02 - Die Wetterfahne (CK 2947-2, ES 383).flac|thumb|"Die Wetterfahne"]]
#<li value=2>"'''Die Wetterfahne'''" ("The Weathervane"): The weathervane on her house creaks in the shifting winds, mocking him and showing the inconstant hearts inside. "What do they care about my suffering? Their child is a wealthy bride!"

:::<score> { \new Staff << \relative c'' { \set Staff.midiInstrument = #"clarinet" \tempo 4 = 72 \set Score.tempoHideNote = ##t
  \key a \minor \time 6/8 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 e,8 | c'[( b)] a gis[( b)] c | d[( c)] b a c d | e[( d)] c f[( e)] dis | e[( b)] gis e'4 }
  \addlyrics { Der Wind-- spielt mit-- der Wet- ter- fah- ne auf mei-- nes schö-- nen Lieb- chens Haus. } >>
}</score>
{{Clear}}

[[File:03 - Gefrorene Tränen (CK 2948-1, ER 270).flac|thumb|"Gefror'ne Tränen"]]
#<li value=3>"'''Gefror'ne Tränen'''" ("Frozen Tears"): He notices he has been crying and chides his tears for being only lukewarm so that they freeze. They come out of his heart hot enough to melt all the winter's ice!

:::<score> { \new Staff << \relative c'' { \set Staff.midiInstrument = #"clarinet" \tempo 4 = 90 \set Score.tempoHideNote = ##t
  \key f \minor \time 2/2 \autoBeamOff \set Score.currentBarNumber = #8 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 4 c4 | c bes8[(aes)] aes4 g | aes2 f4 g8[( des')] | c4 bes8[( aes)] aes4 g | aes2 }
  \addlyrics { Ge- fror- ne Trop- fen fal- len von-- mei- nen Wan- gen ab. } >>
}</score>
{{Clear}}
[[File:04 - Erstarrung (CK 2949-1, ER 270).flac|thumb|"Erstarrung"]]

#<li value=4>"'''Erstarrung'''" ("Frozen"): He looks in vain for her footprints beneath the snow where she once walked with him through the green meadow; he wants to melt away the snow and ice with his tears. He has nothing to remember her by except his pain. She is frozen in his heart; if it thaws, her image will flow away.
:::<score> { \new Staff << \relative c'' { \set Staff.midiInstrument = #"clarinet" \tempo 4 = 128 \set Score.tempoHideNote = ##t
  \key c \minor \time 4/4 \autoBeamOff \set Score.currentBarNumber = #7 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 4 g4 g g g c ees d2 c4 b! b c d g,( c2) }
  \addlyrics { Ich such' im Schnee ver- ge- bens nach ih- rer Trit- te Spur, } >>
}</score>

{{Clear}}

[[File:05 - Der Lindenbaum (CK 2950-2, ES 384).flac|thumb|"Der Lindenbaum"]]
#<li value=5>"'''{{visible anchor|Der Lindenbaum}}'''" ("The Linden Tree"): The tree, a reminder of happier days, seems to call to him as he passes by in the depth of night, promising rest. But he turns away, into the cold wind. And now, miles away, he still hears it calling him: "Here you would find peace."

:::<score> { \new Staff << \relative c'' { \set Staff.midiInstrument = #"clarinet" \tempo 4 = 90 \set Score.tempoHideNote = ##t
  \key e \major \time 3/4 \autoBeamOff \set Score.currentBarNumber = #8 \override TupletBracket #'bracket-visibility = ##f \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 b8 | b4. gis8 gis gis | gis4 e r8 e8 | fis4. gis8 {\times 2/3 { a[( gis)] fis }} | e2 }
  \addlyrics { Am Brun- nen vor dem To- re da steht ein Lin-- den- baum } >>
}</score>

{{Clear}}

[[File:06 - Wasserfluth (CK 2951-2, ES 384).flac|thumb|"Wasserflut"]]

#<li value=6>"'''Wasserflut'''" ("Flood"): The cold snow thirstily sucks up his tears; when the warm winds blow, the snow and ice will melt, and the brook will carry them through the town to where his sweetheart lives.

:::<score> { \new Staff << \relative c' { \set Staff.midiInstrument = #"clarinet" \tempo 4 = 60 \set Score.tempoHideNote = ##t
  \key e \minor \time 3/4 \autoBeamOff \set Score.currentBarNumber = #5 \override TupletBracket #'bracket-visibility = ##f \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  {\times 2/3 { e8[( g)] b }} e4. b8 | {\times 2/3 { g[( fis)] e }} b'4 b,8 r8 | fis'8. b16 fis8. b16 {\times 2/3 { fis8[( b)] a}} | g2 }
  \addlyrics { Man- che Trän' aus mei- nen Au- gen ist ge- fal- len in-- den Schnee } >>
}</score>

{{Clear}}

[[File:07 - Auf dem Flusse (CK 2952-2, ES 385).flac|thumb|"Auf dem Flusse"]]

#<li value=7>"'''Auf dem Flusse'''" ("On the Stream"): The gaily rushing stream lies silent under a hard crust. In the ice, he carves a memorial to their love. The river is an image of his heart swelling up powerfully beneath the frozen surface.

:::<score>
{ \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 45 \set Score.tempoHideNote = ##t
  \key e \minor \time 2/4 \autoBeamOff \set Score.currentBarNumber = #5 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  e8 e16 fis g8. a16 | b8 b r8 b, | e8. fis16 g8. a16 | b4 }
  \addlyrics { Der du so lus- tig rausch- test, du hel- ler, wil- der Fluß } >>
}</score>

{{Clear}}

[[File:08 - Rückblick (CK 2953-1, ES 385).flac|thumb|"Rückblick"]]

#<li value=8>"'''Rückblick'''" ("Backwards Glance"): He recounts his headlong flight from the town and recalls his springtime arrival in the "city of inconstancy," and two girlish eyes which captivated him. When he thinks of that time, he would like to go back and stand silently in front of her house.

:::<score>
{ \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 108 \set Score.tempoHideNote = ##t
  \key g \minor \time 3/4 \autoBeamOff \set Score.currentBarNumber = #10 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 d8 | d fis g a bes a | g a16 a bes8 c d^\< e!\! | f^\> e!\! d4 }
  \addlyrics { Es brennt mir un- ter bei- den Soh- len, tret' ich auch schon auf Eis und Schnee } >>
}</score>

{{Clear}}

[[File:09 - Irrlicht (BK 2954-2, ES 271).flac|thumb|"Irrlicht"]]

#<li value=9>"'''Irrlicht'''" ("[[Will-o'-the-wisp]]"): The false light of the will-o'-the-wisp has led him astray, but he is used to that. Every path leads to the same goal. Our joys and sorrows are but a trick of the light. Every stream reaches the sea, every sorrow its grave.

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 30 \set Score.tempoHideNote = ##t
  \key b \minor \time 3/8 \autoBeamOff \set Score.currentBarNumber = #5 \override TupletBracket #'bracket-visibility = ##f \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
   b16. b32 fis8. fis16 |  e16. g32 b,8. b16 | fis'16. fis32 fis 16. fis32 {\times 2/3 { fis16[( gis)] ais }} | b4 }
  \addlyrics { In die tief- sten Fel- sen- grün- de lock- te mich ein Irr-_ licht hin } >>
}</score>

{{Clear}}

[[File:10 - Rast (BK 2955-2, ER 271).flac|thumb|"Rast"]]

#<li value=10>"'''Rast'''" ("Rest"): Only now that he has stopped to rest does he realize how tired and sore he is. And in the quiet he feels for the first time the "worm" which stings him inwardly.
:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 45 \set Score.tempoHideNote = ##t
  \key c \minor \time 2/4 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 g8 | g8. aes16 g8 g | bes8. aes16 aes8 aes | b!8. b16 d8 c16([ b]) | c4 c,8 }
  \addlyrics { Nun merk' ich erst wie müd' ich bin, da ich zur Ruh' mich le- ge } >>
}</score>

{{Clear}}

[[File:11 - Frühlingstraum (CK 2956-1, ES 386).flac|thumb|"Frühlingstraum"]]

#<li value=11>"'''Frühlingstraum'''" ("Dream of Spring"): He dreams of springtime and love, but wakes to cold and darkness and the shrieking of ravens. He sees frost leaves painted on the window. When will they turn green? When will he again embrace his beloved?

:::<score> { \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 90 \set Score.tempoHideNote = ##t
  \key a \major \time 6/8 \autoBeamOff \set Score.currentBarNumber = #5 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 e8 | e8. fis16 e8 cis'4 cis8 | \grace b8( a4) a8 r4 a8 | b8. cis16 b8 e8. fis16 e8 | cis4 }
  \addlyrics { Ich träum- te von bun- ten Blu- men, so wie sie wohl blü- hen im Mai } >>
}</score>

{{Clear}}

[[File:12 - Einsamkeit (CK 2957-2, ES 386).flac|thumb|"Einsamkeit"]]

#<li value=12>"'''Einsamkeit'''" ("Loneliness"): He wanders, like a sad and lonely cloud, through the bright and happy Life around him. "Even when the storms were raging. I was not so miserable."

:::<score> { \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 45 \set Score.tempoHideNote = ##t
  \key b \minor \time 2/4 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 fis8 | fis8. g16 fis[( g)] fis[( b)] | cis4 b8 b | b16[( fis)] fis8 fis16[( g)] e[( cis)] | fis4 }
  \addlyrics { Wie ei- ne trü- be_ Wol- ke durch hei- tre Lüf- te_ geht } >>
}</score>

{{Clear}}

[[File:13 - Die Post (CK 2958-2, ER 272).flac|thumb|"Die Post"]]

#<li value=13>"'''Die Post'''" ("The Post"): He hears a [[post horn]]. "Why does my heart leap up so? There's no letter for you! But maybe there's some news of her?"

:::<score>
{ \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 120 \set Score.tempoHideNote = ##t
  \key ees \major \time 6/8 \autoBeamOff \set Score.currentBarNumber = #9 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 4 bes8 bes | bes4 bes8 g4 g8 | bes4 bes8 g4 }
  \addlyrics { Von der Stra- ße her ein Post- horn klingt. } >>
}</score>

{{Clear}}

[[File:14 - Der greise Kopf (BK 2959-2, ER 272).flac|thumb|"Der greise Kopf"]]

#<li value=14>"'''Der greise Kopf'''" ("The Gray Head"): Frost has turned his hair gray and he rejoices at being an old man. But when it thaws, he is horrified to be a youth again: "How far it is still to the grave."

:::<score>
{ \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 60 \set Score.tempoHideNote = ##t
  \key c \minor \time 3/4 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \override TupletBracket #'bracket-visibility = ##f
  \partial 8 c8 | c8. ees16 g4. as8 | g8. b!16 d4. }
  \addlyrics { Der Reif hatt' ei- nen wei- ßen Schein } >>
}</score>

{{Clear}}

[[File:15 - Die Krähe (CK 2960-2, ER 274).flac|thumb|"Die Krähe"]]

#<li value=15>"'''Die Krähe'''" ("The Crow"): A crow has been following him. It has never left him, expecting to take his body as its prey. "It won't be much longer now. Crow, show me constancy unto death!"

:::<score>
{ \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 45 \set Score.tempoHideNote = ##t
  \key c \minor \time 2/4 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  c'8 b! c g | bes! aes g4 | f8 aes g f8 | ees[( d)] c }
  \addlyrics { Ei- ne Krä- he war mit mir aus der Stadt ge- zo- gen } >>
}</score>

{{Clear}}

[[File:16 - Letzte Hoffnung (CL 4400-2, ES 392).flac|thumb|"Letzte Hoffnung"]]

#<li value=16>"'''Letzte Hoffnung'''" ("Last Hope"): He gambles on a leaf quivering in the wind. If it falls from the tree, all his hopes are dashed. He falls to the ground himself and weeps over the "grave" of his hopes.

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 50 \set Score.tempoHideNote = ##t
  \key ees \major \time 3/4 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  ces8 aes ces4. aes8 | f a! bes4. aes8 | g f ees f g8. f16 | ees4 }
  \addlyrics { Hie und da ist an den Bäu- men man- ches bun- te Blatt zu seh'n } >>
}</score>

{{Clear}}

[[File:17 - Im Dorfe (CL 4399-1, ES 392).flac|thumb|"Im Dorfe"]]

#<li value=17>"'''Im Dorfe'''" ("In the Village"): Dogs bark, and all the people are asleep, dreaming of success and failure, finding on their pillows what eluded them in life. "I am done with all dreaming. Why should I linger among the sleepers?"

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 120 \set Score.tempoHideNote = ##t
  \key d \major \time 12/8 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 2.. a8 a4. a4 a8 | fis4. fis4 fis8 a4. a4 a8 | fis4. fis4 }
  \addlyrics { Es bel- len die Hun- de, es ras- seln die Ket- ten } >>
}</score>

{{Clear}}

[[File:18 - Der stürmische Morgen (BK 2963-1, ER 274).flac|thumb|"Der stürmische Morgen"]]

#<li value=18>"'''Der stürmische Morgen'''" ("The Stormy Morning"): The storm is an image of his heart, wild and cold like the winter.

:::<score> { \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 110 \set Score.tempoHideNote = ##t
  \key d \minor \time 4/4 \autoBeamOff \set Score.currentBarNumber = #3 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 d8 | d8. e16 d([ e]) f([ g]) a4 d,8 a' | a8. d16 cis8 d e4. }
  \addlyrics { Wie hat der Sturm_ zer-_ ris- sen des Him- mels grau- es Kleid! } >>
}</score>

{{Clear}}

[[File:19 - Täuschung (BL 4398-2, ER 275).flac|thumb|"Täuschung"]]

#<li value=19>"'''Täuschung'''" ("Deception"): A dancing light wants to lead him astray, and he is glad to go along. "Behind ice and night and horror" it shows him a warm, bright house and a loving wife within. Illusion is all he has to go on.

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 110 \set Score.tempoHideNote = ##t
  \key a \major \time 6/8 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 cis8 | cis4.~ cis4 a8 | e4 e8 \grace fis16( e8[)( dis]) e | fis4.( e4) }
  \addlyrics { Ein Licht_ tanzt freund- lich vor_ mir her,_ } >>
}</score>

{{Clear}}

[[File:20 - Der Wegweiser (CL 4402-1, ES 393).flac|thumb|"Der Wegweiser"]]

#<li value=20>"'''Der Wegweiser'''" ("The Signpost"): "Why do I take secret ways and avoid the other travelers? I've committed no crime. What foolish desire drives me to seek the wastelands?" He journeys endlessly, seeking peace and finding none. A signpost points the way: "I must travel a road where no one has ever yet returned."

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 60 \set Score.tempoHideNote = ##t
  \key g \minor \time 2/4 \autoBeamOff \set Score.currentBarNumber = #6 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 g16 a | bes8 bes bes bes | bes4 g8 a16 bes | c8 bes a g | a4 }
  \addlyrics { Was ver- meid ich denn die We- ge, wo die an- dern Wand- rer gehn } >>
}</score>

{{Clear}}

[[File:21 - Das Wirtshaus (CL 4403-1, ES 393).flac|thumb|"Das Wirtshaus"]]

#<li value=21>"'''Das Wirtshaus'''" ("The Inn"): He comes to a graveyard and wants to enter. But all the rooms in this "inn" are taken; he resolves to go on his way with his faithful walking-stick.

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 45 \set Score.tempoHideNote = ##t
  \key f \major \time 4/4 \autoBeamOff \set Score.currentBarNumber = #5 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  \partial 8 g8 | a8. a16 bes8 a a4 g8 g | g8. g16 a8 fis8 g4 }
  \addlyrics { Auf ei- nen To- ten- ak- ker hat mich mein Weg ge- bracht. } >>
}</score>

{{Clear}}

[[File:22 - Mut (BK 2967-1, ER 275).flac|thumb|"Mut!"]]

#<li value=22>"'''Mut!'''" ("Have Courage!"): He shakes the snow from his face and sings cheerfully to silence his heart's stirrings, striding into the world, against wind and weather: "If there's no God on earth, then we ourselves are gods!"

:::<score> { \new Staff << \relative c' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 72 \set Score.tempoHideNote = ##t
  \key g \minor \time 2/4 \autoBeamOff \set Score.currentBarNumber = #5 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  d8 g16[( a)] bes4~ | bes8 a g a | d,4 r4 | a'8. b!16 a16[( g)] fis[( e!)] | fis4 d | }
  \addlyrics { Fliegt der_ Schnee_ mir ins Ge- sicht, schüttl' ich ihn her- un- ter. } >>
}</score>

{{Clear}}

[[File:23 - Die Nebensonnen (BL 4401-1, ER 276).flac|thumb|"Die Nebensonnen"]]

#<li value=23>"'''Die Nebensonnen'''" ("The Companion Suns"): He sees [[sun dogs|three suns]] staring at him in the sky. "You are not my suns! Once I too had three, but the best two have now set. If only the third would follow, I'll be happier in the darkness."

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 60 \set Score.tempoHideNote = ##t
  \key a \major \time 3/4 \autoBeamOff \set Score.currentBarNumber = #9 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""

  \partial 8 cis8 | cis8. b16 b4 b8 cis | d8. cis16 cis4. }
  \addlyrics { Drei Son- nen sah ich am Him- mel steh'n } >>
}</score>

{{Clear}}

[[File:24 - Der Leiermann (BK 2969-1, ER 276).flac|thumb|"Der Leiermann"]]

#<li value=24>"'''Der Leiermann'''" ("The Hurdy-Gurdy Man"): Back of the village stands a [[hurdy-gurdy]] man, cranking his instrument with frozen fingers. His begging bowl is always empty; no one listens, and the dogs growl at him. But his playing never stops. "Strange old man. Shall I come with you? Will you play your hurdy-gurdy to accompany my songs?"

:::<score> { \new Staff << \relative c'' {\set Staff.midiInstrument = #"clarinet" \tempo 4 = 66 \set Score.tempoHideNote = ##t
  \key a \minor \time 3/4 \autoBeamOff \set Score.currentBarNumber = #9 \set Score.barNumberVisibility = #all-bar-numbers-visible \bar ""
  a8 e a b c a | e a gis b e,4 | }
  \addlyrics { Drü- ben hin- term Dor- fe steht ein Lei- er- mann. } >>
}</score>

== Reworkings by others ==
* [[Franz Liszt]] transcribed 12 of the songs in the cycle for piano (S. 561), rearranging their order: 1. "Gute Nacht" (S.561/1); 4. "Erstarrung" (S.561/5); 5. "Der Lindenbaum" (S.561/7); 6. "Wasserflut" (S.561/6); 13. "Die Post" (S.561/4); 17. "Im Dorfe" (S.561/12); 18. "Der stürmische Morgen" (S.561/11); 19. "Täuschung" (S.561/9); 21. "Das Wirtshaus" (S.561/10); 22. "Mut!" (S.561/3); 23. "Die Nebensonnen" (S.561/2); and 24. "Der Leiermann" (S.561/8).<ref>{{IMSLP|work=Versions of Works by Others (Liszt, Franz)|cname=Versions of Works by Others (Liszt)}}</ref> He may have intended to transcribe them all.<ref>Publisher's Note pp. ix–x in [https://books.google.com/books?id=tusf4c6GZV0C&dq=Liszt%20Schubert%20Winterreise%20transcriptions&pg=PT176 ''Franz Liszt: The Schubert Song Transcriptions for Solo Piano: Series II: The Complete Winterreise and Seven other Great Songs''], 1996, Mineola, New York, Dover Publications</ref> See also [[Transcriptions by Franz Liszt]].
* [[Leopold Godowsky]] made a number of piano transcriptions of Schubert songs; the only one from ''Winterreise'' was the first song, "Gute Nacht".<ref>{{cite web|url=http://www.classicsonline.com/catalogue/product.aspx?pid=1589|title=Classical Music Listening and Downloading|website=www.classicsonline.com}}</ref>
*[[Maury Yeston]] based his musical-theatre song cycle, commissioned by [[Carnegie Hall]] for its Centennial, ''[[December Songs]]'' on ''Winterreise''.
* [[Hans Zender]] orchestrated a version of the cycle in 1993, altering the music in the process.
* [[Jens Josef]] created in 2001 a version for tenor and string quartet. It was recorded by [[Christian Elsner]] and the [[Henschel Quartet]] in 2002,<ref>{{cite web |url=http://www.arkivmusic.com/classical/album.jsp?album_id=53291 |title=Schubert: Winterreise / Christian Elsner, Henschel Quartet |year=2002 |access-date=30 November 2010 |publisher=arkivmusic.com }}</ref> and performed in 2004 by [[Peter Schreier]] and the Dresdner Streichquartett.<ref>{{cite web|url=http://www.mhalberstadt.net/rec_archief04.htm#4tet|title=Bekannte Tour durch eine neue Klangwelt|language=de|date=21 June 2004|access-date=30 November 2010|work=[[Sächsische Zeitung]]}}</ref>
* [[John Neumeier]] made a ballet to ''Winterreise'' on his [[Hamburg Ballet]] company in December 2001.<ref>{{cite web|url=http://www.hamburgballett.de/e/neumeier.htm|title=Hamburg Ballett John Neumeier|website=www.hamburgballett.de}}</ref>
* [[Rood Adeo]] translated Müller's poem "Das Wirtshaus" into an English version "The Hotel", and wrote a new composition to it for piano, [[Wurlitzer electric piano]], [[celesta]], [[harmonium]], and bass. It was recorded by Rood Adeo & Nighthawks at the Diner at the [[Wisseloord Studios]] in 2002, and released on the album ''Transit Cellophane''.<ref name="Rood Adeo & Nighthawks at the Diner's 'The Hotel'">{{cite web|title=Transit Cellophane|url=http://www.muziekweb.nl/Link/JK114820|website=muziekweb|access-date=2014-12-03}}</ref>
* Oboist Normand Forget made a unique chamber version for accordion and wind quintet including bass clarinet, [[oboe d'amore]] and baroque horn, recorded in September 2007 by tenor [[Christoph Prégardien]], accordionist [[Joseph Petric]] and the Montréal ensemble Pentaèdre. It was performed at the Hohenems Schubertiade, Austria 2009, and the Berlin Philharmonic Chambermusic series with the Berlin Philharmonic Wind Quintet 2013.<ref>Pentaèdre (Danièle Bourget, Martin Charpentier, Normand Forget, Louis-Philippe Marsolais, Mathieu Lussier). ATMA ACD2 2546</ref>
* The deaf actor Horst Dittrich translated the cycle of poems into [[Austrian Sign Language]] in 2007 and presented it on stage in a production of [[ARBOS – Company for Music and Theatre]] directed by [[Herbert Gantschacher]], with Rupert Bergmann (bass-baritone) and Gert Hecher (piano), in 2008 in Vienna and Salzburg and in 2009 in [[Villach]] (Austria).<ref>[http://www.dailymotion.com/video/x5oj6x_franz-schubert-winter-journey-illus_music "Illusion"] by Franz Schubert and Wilhelm Müller on stage by Horst Dittrich (Austrian Sign Language), [[Rupert Bergmann]] (bass-baritone) and Gert Hecher (piano)</ref>
* Rick Burkhardt, [[Alec Duffy]] and [[Dave Malloy]] created an [[Obie Award|Obie award]]-winning theatrical adaptation of the cycle, ''Three Pianos'', directed by [[Rachel Chavkin]]. The show played at the [[Incubator Arts Project|Ontological Theater]] and [[New York Theatre Workshop]] in 2010<ref>{{cite news|url=https://www.nytimes.com/2010/12/05/theater/05pianos.html|title=Taking Schubert for a Wild Joy Ride|author=Eric Grode|work=[[The New York Times]]|date=1 December 2010|access-date=5 June 2020}}</ref> and the [[American Repertory Theater]] in 2011.<ref>{{cite web|url=https://www.broadwayworld.com/boston/article/BWW-Reviews-THREE-PIANOS-A-Music-Event-on-Wheels-20111219|title=''Three Pianos''|type=review|work=[[BroadwayWorld]]|date=19 December 2011|access-date=5 June 2022}}</ref>
* {{ill|Matthias Loibner|de}}, inspired by "Der Leiermann", the last song of ''Winterreise'', arranged the cycle for voice and [[hurdy-gurdy]], and recorded it in 2010 with soprano {{ill|Nataša Mirković|de}}.<ref>{{Cite web |url=http://matthias.loibner.net/pro/winterreise.html |title=Schubert: ''Winterreise'' Nataša Mirković-De Ro (tenor) Matthias Loibner (hurdy-gurdy)|date=November 2010|access-date=21 January 2011}}</ref>
* [[Keith Kouna]]'s 2013 album ''Le voyage d'hiver'' was a French-language reimagining of ''Winterreise''.<ref>[https://www.ledevoir.com/culture/musique/394460/la-marche-vers-la-mort-de-keith-kouna "La marche vers la mort de Keith Kouna"]. ''[[Le Devoir]]'', December 7, 2013.</ref>
* A new version of the entire cycle for voice and accordion (2014) features indie rock singer Corn Mo and accordionist William Schimmel.<ref>{{Cite web|url=https://williamschimmelandcornmo.bandcamp.com/releases|title=''Die Winterreise'', by William Schimmel and Corn Mo|website=William Schimmel and Corn Mo|access-date=2016-12-03}}</ref>
*Conal Morrison and Conor Linehan combined songs from ''Winterreise'' (translated into English by Stephen Clark) with [[Georg Büchner]]'s ''[[Woyzeck]]'' in a music theatrical production ''Woyzeck in Winter'' which was produced by Landmark Productions and performed at the [[Galway International Arts Festival]], the [[Barbican Centre]], London, and the [[Dublin Theatre Festival]] in 2017. The cast was led by [[Patrick O'Kane]] and [[Camille O'Sullivan]].<ref>{{Cite news|url=https://www.theguardian.com/stage/2017/jul/20/woyzeck-in-winter-review-black-box-galway-international-festival|title=''Woyzeck in Winter'' review – a haunting fusion of two unfinished masterpieces|last=Billington|first=Michael|author-link=Michael Billington (critic)|date=2017-07-20|work=[[The Guardian]]|access-date=2017-07-25|issn=0261-3077}}</ref> Other leading cast members included [[Rosaleen Linehan]], [[Barry McGovern]] and Stephen Brennan.
*[[Covenant (band)|Covenant]], a Swedish synthpop/industrial band, released "Der Leiermann" on their 2000 single ''United States of Mind''.<ref>{{Cite web |url=https://www.discogs.com/Covenant-Der-Leiermann/release/103226|title=Covenant – Der Leiermann|website=[[Discogs]]|date=13 January 2000 |access-date=11 February 2019}}</ref>
*British translator and lyricist [[Jeremy Sams]] produced an English translation that was recorded by baritone [[Roderick Williams]] and pianist [[Christopher Glynn]] in 2018.<ref>{{Cite web|url=https://theartsdesk.com/classical-music/pianist-christopher-glynn-schubert-english-new-translation-never-walks-stilts|title=Pianist Christopher Glynn on Schubert in English: 'this new translation never walks on stilts'|website=theartsdesk.com|date=5 May 2018|access-date=2019-09-10}}</ref>
*Composer and conductor Massimiliano Matesic made an orchestral version of the cycle,<ref>{{Cite web |url=https://www.sikorski.de/475/en/0/a/0/orchestral_music/1042994_winterreise_for_orchestra.html|title=Winterreise/Matesic|access-date=6 October 2019}}</ref> which premiered in Zurich on December 29, 2018.<ref>{{Cite web |url= https://www.youtube.com/watch?v=xflmAzX_riA|title=Premiere of the Matesic version|website=[[YouTube]]|date=27 February 2019 |access-date=6 October 2019}}</ref>

== Editions ==
Besides re-ordering Müller's songs, Schubert made a few changes to the words: verse 4 of "Erstarrung" in Müller's version read [Schubert's text bracketed]: "Mein Herz ist wie erfroren [erstorben]" ("frozen" instead of "dead"); "Irrlicht" verse 2 read "...unsre Freuden, unsre Wehen [Leiden]" ("pains" instead of "sorrows") and "Der Wegweiser" verse 3 read "Weiser stehen auf den Strassen [Wegen]" ("roads" instead of "paths"). These have all been restored in [[Eusebius Mandyczewski|Mandyczewski]]'s edition (the widely available [[Dover Publications|Dover]] score) and are offered as alternative readings in [[Dietrich Fischer-Dieskau]]'s revision of [[Max Friedlaender (musicologist)|Max Friedlaender]]'s edition for [[Edition Peters|Peters]]. A few of the songs differ in the autograph and a copy with Schubert's corrections. "Wasserflut" was [[Transposition (music)|transposed]] by Schubert from F{{music|#}} minor to E minor without alteration; "Rast" moved from D minor to C minor and "Einsamkeit" from D minor to B minor, both with changes to the vocal line; "Mut" was transposed from A minor to G minor; "Der Leiermann" was transposed from B minor to A minor. The most recent scholarly edition of ''Winterreise'' is the one included as part of the [[Bärenreiter]] ''[[New Schubert Edition]]'', edited by [[Walther Dürr]], volume 3, which offers the songs in versions for high, medium and low voices. In this edition the key relationships are preserved: only one transposition is applied to the whole cycle.

The following table names the keys used in different editions.

:{| class="wikitable" style="text-align:center"
|+Published transpositions
! rowspan="2" |No.
! rowspan="2" | Song !! Autograph & copy !! colspan=2 | [[Edition Peters|Peters]] edition of Friedlaendler (1884) !! [[G. Schirmer, Inc.|Schirmer]]
|-
| Autograph || {{lang|de|Tiefere Stimme}} || {{lang|de|Tiefer Alt oder Bass}} || Low
|-
|1
| style="text-align:left" | "Gute Nacht"
| D minor || B{{music|b}} minor || A minor || C minor
|-
|2
| style="text-align:left" | "Die Wetterfahne"
| A minor || F minor || D minor || F minor
|-
|3
| style="text-align:left" | "Gefror'ne Tränen"
| F minor || D minor || B minor || D minor
|-
|4
| style="text-align:left" | "Erstarrung"
| C minor || G minor || G minor || A minor
|-
|5
| style="text-align:left" | "Der Lindenbaum"
| E major || D major || C major || E major
|-
|6
| style="text-align:left" | "Wasserflut"
| F{{music|#}} minor,<br />changed to E minor || C minor || B minor || C{{music|#}} minor
|-
|7
| style="text-align:left" | "Auf dem Flusse"
| E minor || C minor || A minor || C minor
|-
|8
| style="text-align:left" | "Rückblick"
| G minor || E{{music|b}} minor || D minor || E minor
|-
|9
| style="text-align:left" | "Irrlicht"
| B minor || G minor || F minor || G minor
|-
|10
| style="text-align:left" | "Rast"
| D minor,<br />changed to C minor || A minor || G minor || A minor
|-
|11
| style="text-align:left" | "Frühlingstraum"
| A major || F major || F major || G major
|-
|12
| style="text-align:left" | "Einsamkeit"
| D minor,<br />changed to B minor || A minor || G minor || B minor
|-
|13
| style="text-align:left" | "Die Post"
| E{{music|b}} major || B major || G major || B{{music|b}} major
|-
|14
| style="text-align:left" | "Der greise Kopf"
| C minor || A minor || A minor || C minor
|-
|15
| style="text-align:left" | "Die Krähe"
| C minor || A minor || G minor || B{{music|b}} minor
|-
|16
| style="text-align:left" | "Letzte Hoffnung"
| E{{music|b}} major || C major || B{{music|b}} major || D major
|-
|17
| style="text-align:left" | "Im Dorfe"
| D major || C major || B{{music|b}} major || D major
|-
|18
| style="text-align:left" | "Der stürmische Morgen"
| D minor || C minor || B minor || D minor
|-
|19
| style="text-align:left" | "Täuschung"
| A major || G major || G major || A major
|-
|20
| style="text-align:left" | "Der Wegweiser"
| G minor || E{{music|b}} minor || D minor || E minor
|-
|21
| style="text-align:left" | "Das Wirtshaus"
| F major || E{{music|b}} major || D major || F major
|-
|22
| style="text-align:left" | "Mut"
| A minor,<br />changed to G minor || F minor || D minor || F minor
|-
|23
| style="text-align:left" | "Die Nebensonnen"
| A major || F major || F major || A major
|-
|24
| style="text-align:left" | "Der Leiermann"
| B minor,<br />changed to A minor || F minor || F minor || G minor
|-
|}

== Enduring influence ==
Schubert's ''Winterreise'' has had a marked influence on several key works, including [[Gustav Mahler]]'s ''[[Lieder eines fahrenden Gesellen]]''<ref>Schroeder, David P. ''Our Schubert: his enduring legacy'', The Scarecrow Press, 2009: p. 174</ref> and [[Benjamin Britten]]'s ''Night-piece''.<ref>Keller, Hans. ''Film music and beyond: writing on music and the screen, 1946–59''. Ed. Christopher Wintle. Plumbago Books, 2006: p. 96</ref> In 1991, [[Maury Yeston]] composed both the original music and text of ''[[December Songs]]'', a song cycle influenced by ''Winterreise'', on commission from [[Carnegie Hall]] for its Centennial celebration.<ref>{{cite web|url=http://www.mauryyeston.com/about|title=About Maury Yeston|work=About Maury Yeston's website|access-date=1 July 2013}}{{Self-published source|date=November 2020}}</ref> In 1994 Polish poet [[Stanisław Barańczak]] published his poems, entitled ''Podróż zimowa'', which – apart from one translation of a work by Müller – were inspired by Schubert's music.<ref>[[Stanisław Barańczak]]. ''Wiersze Zebrane'' [Collected Poems], Wydawnictwo a5, 2006: p. 383</ref>{{Primary source inline|date=November 2020}}
2020 [[Deutschlandfunk]] presents a new production of the Winterreise by [[:de:Oliver Augst|Augst]] & Daemgen. In the program Atelier neuer Musik it says: "Hardly any other recording of the Winterreise cycle deals with Müller's texts and Schubert's music in such a radically different way than the reading of the composers and interpreters Oliver Augst and Marcel Daemgen. The focus of the arrangements is not the brilliantly polished beautiful sound of centuries-old traditional musical tradition, but rather its strict breakthrough in order to gain a new, undisguised access to the topicality of old texts and the core of the music."

== Recordings ==
There are numerous recordings.
* Before 1936 are the complete 1928 version of [[Hans Duhan]] with Ferdinand Foll and Lene Orthmann,<ref>German His Master's Voice, 24 sides, ER 270–272, 274–276, ES 383–386, 392–393: see Darrell 1936, p. 414.{{incomplete short citation|date=August 2019}} CD: Prestige Recordings, HT S004.</ref> the incomplete [[Richard Tauber]] version with [[Mischa Spoliansky]],<ref>Polydor-Odeon, only songs 1, 5, 6, 8, 11, 13, 15, 18, 20, 21, 22, 24); cf. Darrell 1936, p. 414.{{incomplete short citation|date=August 2019}}</ref> and the version of [[Gerhard Hüsch]] with Hanns Udo Müller (1933, for which an His Master's Voice limited edition subscription society was created).<ref>{{harvnb|Blom|1933}}. Reissued from His Master's Voice DA 1344–1346 (10") and DB 2039–2044 (12"), [[World Record Club|World Records]] SH 651–652 transfer by Keith Hardwick for EMI 1980.</ref>
* [[Hans Hotter]] first recorded the cycle in 1942 with pianist [[Michael Raucheisen]] for [[Deutsche Grammophon]].
* There is an account by [[Peter Anders (tenor)|Peter Anders]] with Raucheisen recorded in Berlin in 1945.<ref>[https://www.nytimes.com/1999/12/12/arts/music-a-journey-through-the-bleakest-of-winters.html?pagewanted=all "Music; A Journey Through the Bleakest of Winters"] by [[Joseph Horowitz]], ''[[The New York Times]]'' 12 December 1999</ref>
* Hans Hotter's famous account with [[Gerald Moore]] was issued in May 1955.<ref>Columbia CXS 1222, CX 1223, reissued as Seraphim IC-6051 with ''[[Schwanengesang]]'', etc.</ref> Hotter went on to make two more recordings: with [[Erik Werba]] in 1961 and a live one with Hans Dokoupil in Tokyo in 1969.
* [[Gérard Souzay]]'s 1963 recording with [[Dalton Baldwin]].
* [[Dietrich Fischer-Dieskau]], among the most famous of exponents, is showcased in seven versions spanning four decades:<ref>{{Cite web |url=http://www.gramophone.net/ArchiveExplorer/View/159|work=[[Gramophone (magazine)|Gramophone]]|title=Dietrich Fischer-Dieskau and Schubert's ''Winterreise''. How Gramophone followed this winter's journey|author=James Jolly|date=30 November 1999|access-date=19 April 2011}}</ref>
** three with [[Gerald Moore]] (1955 His Master's Voice,<ref>His Master's Voice ALP 1298/9, recorded 13–14 January 1955, issued November 1955; following ''Die schöne Müllerin'' issued 1953</ref> 1963 His Master's Voice,<ref>His Master's Voice ALP 2001/2, ASD 551/2, recorded 16–17 November 1962, sleeve notes by {{harvnb|Mann|1955}}; following ''Die schöne Müllerin'' issued 1962: Reissued in ''A Schubert Anthology'', EMI/His Master's Voice SLS 840 box set, BOX 84001–84003.</ref> and 1972 DG),<ref>DGG LP 2720 059, CD 437 237-2, recorded August 1971</ref>
** and one each with [[Jörg Demus]] (1966, DG),<ref>DGG LP 39201/2, recorded May 1965</ref> [[Daniel Barenboim]] (1980, DG),<ref>DGG LP 2707 118, CD 439 432-2, recorded 1979</ref> [[Alfred Brendel]] (1986, Philips)<ref>Philips CD 411 463-2, recorded July 1985</ref> and [[Murray Perahia]] (1992, Sony Classical).<ref>Sony Classical CD SK48237, recorded July 1990</ref>
* A recording was made by [[Peter Pears]] with [[Benjamin Britten]] (issued 1965).<ref>Decca Stereo, SET 270–271.</ref>
* Very low-pitched recordings are available by [[Kurt Moll]] with pianist Cord Garben (Orfeo, 1983), and by [[Martti Talvela]] with pianist [[Ralf Gothóni]] (BIS, 1984), and by [[Josef Greindl]] with pianist [[Hertha Klust]] (Preiser 1957), and by [[László Polgár (bass)|László Polgár]] with pianist [[Jan Schultsz]] (Hungaroton, 2005).
* [[Jon Vickers]] with Peter Schaaf (1983, [[Video Artists International|VAI]])<ref>[http://www.peterschaaf.com/pianist/bio/ Biography], Peter Schaaf</ref>
* [[Peter Schreier]] and [[Sviatoslav Richter]] in 1985. Two live recordings are available, one at the Semperoper in Dresden (East Germany) on February 17, and one at the Pushkin Museum in Moscow (Soviet Union) on December 10.
* Mezzo-Soprano [[Christa Ludwig]] 1986 recording with [[James Levine]], pianist on Deutsche Grammophon.
* [[Olaf Bär]]'s 1989 recording with [[Geoffrey Parsons (pianist)|Geoffrey Parsons]] on EMI classics.
* Peter Schreier with [[András Schiff]] (1994, London/Decca)
* [[Wolfgang Holzmair]] with [[Imogen Cooper]] (1996, Philips),
* [[Thomas Quasthoff]] with [[Charles Spencer (pianist)|Charles Spencer]] (1998, RCA)
* Mezzo-Soprano [[Brigitte Fassbaender]] with [[Aribert Reimann]]
* [[Christian Gerhaher]] with Gerold Huber (2001, RCA Sony BMG, re-edited in 2008)
* Contralto [[Nathalie Stutzmann]] with [[Inger Södergren]] (2005, Erato)
* Thomas Quasthoff with Daniel Barenboim (2005, DGG, DVD B-0005149-09)
* Tenor [[Ian Bostridge]] with [[Leif Ove Andsnes]] (2006, EMI Classics); also, in 2000, Bostridge and pianist [[Julius Drake]] made a dramatic video recording of the entire cycle.<ref>{{Cite web |url=http://www.juliusdrake.info/index.php/recordings/cd-dvd/bostridge-ian-schubert-franz-winterreise-dvd/ |title=Ian Bostridge (tenor) Julius Drake (piano)|access-date=14 July 2012}}</ref>
* [[Mark Padmore]] with [[Paul Lewis (pianist)|Paul Lewis]] (2009, Harmonia Mundi)
* [[Werner Güra]] with [[Christoph Berner]] playing a [[Karl Rönisch|Rönisch]] [[fortepiano]] of 1872 (2010, [[Harmonia Mundi]])<ref>{{cite web|url=https://www.theguardian.com/music/2010/mar/18/schubert-die-winterreise-review|title=Schubert: ''Die Winterreise'' – CD review|first=Andrew|last=Clements|date=18 March 2010|website=[[The Guardian]]}}</ref>
* [[Mark Padmore]] with [[Kristian Bezuidenhout]] (2018, Harmonia Mundi)
Some videotaped performances are also available, including mezzo-soprano [[Christa Ludwig]] with Charles Spencer (1994, Art Haus Musik), several by Fischer-Dieskau, one by [[Hermann Prey]] with pianist [[Helmut Deutsch]], and a version by Thomas Quasthoff and pianist Daniel Barenboim filmed at the [[Berlin Philharmonie]] in 2005. [[Francisco Araiza]] tenor and Jean Lemaire (2014 Arthaus) coupled with Schumann's ''[[Dichterliebe]]''; studio recording.

== References ==
{{reflist}}

=== Sources ===
* {{cite book|last=Blom|first=Eric|author-link=Eric Blom|title=Schubert's "Winterreise"|chapter=Foreword and analytical notes|publisher=The "Winterreise" Society, Gramophone Company|location=London|year=1933}}
* {{cite book|last=Bostridge|first=Ian|author-link=Ian Bostridge|title=Schubert's Winter Journey: Anatomy of an Obsession|location=London|publisher=Faber & Faber|year=2014}}
* {{cite book|last=Capell|first=Richard|author-link=Richard Capell|title=Schubert's Song|publisher=Ernest Benn|year=1928|location=London}}
* {{cite book|last=Giarusso|first=Richard|editor1=Barbara M. Reul|editor2=Lorraine Byrne Bodley|title=The Unknown Schubert|publisher=Ashgate|chapter=Beyond the Leiermann|year=2008|isbn=978-0-7546-6192-4|chapter-url=https://books.google.com/books?id=GCKfMGpE7xcC&pg=PA26}}
* {{cite news|last=Haywood|first=Ernest|title=Terrifying Songs|newspaper=[[Radio Times]]|date=20 January 1939}}
* {{cite AV media notes|last=Mann|first=William|author-link=William Mann (critic)|title=Schubert Winterreise|type=Sleeve notes [[His Master's Voice (British record label)|His Master's Voice]] ASD 552|publisher=[[Gramophone Company|Gramophone]]|year=1955}}
* {{cite AV media notes|last=Osborne|first=Charles|author-link=Charles Osborne (music writer)|title=Schubert Winterreise|type=Sleeve notes His Master's Voice ALPS 1298/9 (Gramophone)|year=1955}}
* {{cite book|last=Reed|first=John|title=The Schubert Song Companion|publisher=Universe Books|year=1985|location=New York|isbn=0-87663-477-3}}
* {{cite book|last1=Rehberg|first1=Walter|author-link1=Walter Rehberg|last2=Rehberg|first2=Paula|title=Schubert: Sein Leben und Werk|publisher=Artemis-Verlag|year=1946|location=Zurich}}
* {{cite AV media|last=Robertson|first=Alec|title=Schubert, Winterreise|type=Brochure accompanying Decca SET 270-271|publisher=Decca Records|location=London|year=1965}}
* {{cite book|last=Youens|first=Susan|author-link=Susan Youens|title=Retracing a Winter's Journey: Schubert's Winterreise|publisher=Cornell University Press|year=1991|location=Ithaca, New York}}

== Further reading ==
[[File:Ingo Kühl "Der Lindenbaum" Bild 5 aus dem 24-teiligen Bilderzyklus "Winterreise" nach Franz Schubert, Öl auf Leinwand 100 x 100 cm, 1996, Werkverzeichnis 23-96, Privatbesitz Berlin.jpg|thumb|right|[[Ingo Kühl]] "Der Lindenbaum" Oil on canvas 100 x 100&nbsp;cm, 1996]]
* {{cite book|last=À Campo|first=Joep|title= Erotiek, religie, esthetiek. De Winterreise in het strijklicht van de Romantiek.|publisher= ArtScape-ArteVista |location=Rotterdam |year=2021 |isbn= 978-90-77232-200 |ref=none}}
* {{cite book|last=Besack|first=Michael|title=Winterreise: Reflections on a Winter Journey|publisher=Regent Press|series=Esoteric Journeys through Poetry and Song|volume=2|year=1998|location=Berkeley|isbn=978-1-889059-10-5|ref=none}}
* {{cite book|last=Deutsch|first=Otto Erich|author-link=Otto Erich Deutsch|title=Schubert: Die Erinnerungen seiner Freunde|publisher=Breitkopf & Härtel|year=1957|location=Leipzig|ref=none}}
* {{cite book|last=Deutsch|first=Otto Erich|title=Franz Schubert: Zeugnisse seiner Zeitgenossen|publisher=Fischer-Verlag|year=1964|location=Frankfurt|ref=none}}
* Dorschel, Andreas, "Wilhelm Müllers ''Die Winterreise'' und die Erlösungsversprechen der Romantik", in: ''[[The German Quarterly]]'' LXVI (1993), nr. 4, pp.&nbsp;467–476.
* {{cite book|last=Fischer-Dieskau|first=Dietrich|author-link = Dietrich Fischer-Dieskau|title=Schubert's Songs|publisher=Knopf|year=1977|location=New York|ref=none}}
* {{cite book|last=Moore|first=Gerald|author-link=Gerald Moore|title=The Schubert Song Cycles – with thoughts on performance|publisher=Hamish Hamilton|year=1975|location=London|ref=none}}
* Ingo Müller: "Eins in Allem und Alles in Einem": Zur Ästhetik von Gedicht- und Liederzyklus im Lichte romantischer Universalpoesie. In: Günter Schnitzler und Achim Aurnhammer (Hrsg.): Wort und Ton. Freiburg i. Br. 2011 (= Rombach Wissenschaften: Reihe Litterae. Bd. 173), S. 243–274.
* [[Ingo Kühl]], ''Winterreise – 24 Bilder zum gleichnamigen Liederzyklus von Franz Schubert – nach Gedichten von Wilhelm Müller – gemalt nach der Interpretation von [[Barry McDaniel]], Gesang – Jonathan Alder, Klavier (1985).'' Berlin 1996. ([https://portal.dnb.de/opac.htm?method=simpleSearch&cqlMode=true&query=idn%3D994097344 Deutsche Nationalbibliothek])
* Müller, Wilhelm, ''Aus den hinterlassenen Papieren eines reisenden Waldhornisten, II: Lieder des Lebens und der Liebe''.
* [[Andrés Neuman|Neuman, Andrés]], ''El viajero del siglo'' (''Traveller of the Century''). Madrid: Alfaguara, 2009. XII Alfaguara Award of novel.
* Schubert, Franz, ''Sammlung der Lieder kritisch revidirt von Max Friedlaender'', vol. I, preface by Max Müller (Peters, Leipzig).
* Suurpää, Lauri: ''Death in Winterreise: Musico-Poetic Associations in Schubert's Song Cycle.'' Bloomington: Indiana University Press, 2014. {{ISBN|978-0-253-01100-8}}.

== External links ==
{{Commons category|Winterreise}}
{{Wikisourcelang|de|Winterreise|Winterreise}}
* [https://www.themorgan.org/music/manuscript/115668/ ''Winterreise'']: Schubert's autograph manuscript in the Morgan Library & Museum
* {{IMSLP|work=Winterreise, D.911 (Schubert, Franz)|cname=''Winterreise''}}
* [http://www.schubert-online.at/activpage/werke.php?id_werke=440&action=view Manuscript], Schubert Online
* [https://theclassicreview.com/beginners-guides/schubert-winterreise-a-beginners-guide/ Schubert - Winterreise – A Beginners' Guide – Overview, analysis and the best recordings – The Classic Review]
* [https://winterreise.online/ Comprehensive research website], Iain C. Phillips
* [http://www.lieder.net/lieder/assemble_texts.html?SongCycleId=47 German texts] and [http://www.lieder.net/lieder/get_text.html?TextId=11830 English translations]
* Randall Scarlata (baritone) and [[Jeremy Denk]] (piano) [http://traffic.libsyn.com/gardnermuseum/schubert_winterreise1.mp3 part 1] and [http://traffic.libsyn.com/gardnermuseum/schubert_winterreise2.mp3 part 2] from the [[Isabella Stewart Gardner Museum]] in [[MP3]] format
* [http://voxnovamedia.com/lehmann/sings/index.html#winterreise Complete performance] by soprano [[Lotte Lehmann]]
* [http://www.impresario.ch/karaoke/index.php?query=911 ''Winterreise''], [[MIDI]]
* [http://www.gopera.com/winterreise/ A Web site about ''Winterreise''] by Margo Briessinck
* [http://librivox.org/sammlung-deutscher-gedichte-006-by-various/ The complete text, spoken in German, at librivox.org (N. 20)]
* MP3s of [[Hawaii Public Radio]] broadcasts archived at [http://lottelehmannleague.org/singing-sins-archive/ lottelehmannleague.org/singing-sins-archive]:
** [http://lottelehmannleague.org/wp-content/uploads/2014/02/SchubertComparisons2014.mp3 Schubert Comparisons February 2, 2014] (comparing performances of songs from ''Winterreise'')
** [http://lottelehmannleague.org/wp-content/uploads/2015/02/Winterreise2015Audio.mp3 ''Winterreise'' 2015: 1 February 2015] (comparing two ''Winterreise'' recordings of 2014: [[Jonas Kaufmann]] with [[Helmut Deutsch]], and [[Gerald Finley]] with [[Julius Drake]])
* {{IMDb title|0825761|Die Winterreise (1994)}}, with [[Brigitte Fassbaender]] (mezzo-soprano), [[Wolfram Rieger]] (piano), directed by [[Petr Weigl]]
* {{IMDb title|0111729|Winterreise (1994)}}, with [[Ian Bostridge]] (tenor), [[Julius Drake]] (piano), directed by [[David Alden]]

{{Schubert lieder}}
{{Authority control}}

[[Category:Lieder composed by Franz Schubert]]
[[Category:Song cycles by Franz Schubert]]
[[Category:1827 compositions]]
[[Category:Classical song cycles in German]]
[[Category:Musical settings of poems by Wilhelm Müller]]
[[Category:Winter in culture]]