Martin Mitterrutzner, Martin Wesely - Franz Schubert: Die schöne Müllerin, Op. 25, D.795 (2022) [Hi-Res]

Tracklist

01. Die schöne Müllerin, Op. 25, D.795: Das Wandern
02. Die schöne Müllerin, Op. 25, D.795: Wohin?
03. Die schöne Müllerin, Op. 25, D.795: Halt!
04. Die schöne Müllerin, Op. 25, D.795: Danksagung an den Bach
05. Die schöne Müllerin, Op. 25, D.795: Am Feierabend
06. Die schöne Müllerin, Op. 25, D.795: Der Neugierige
07. Die schöne Müllerin, Op. 25, D.795: Ungeduld
08. Die schöne Müllerin, Op. 25, D.795: Morgengruß
09. Die schöne Müllerin, Op. 25, D.795: Des Müllers Blumen
10. Die schöne Müllerin, Op. 25, D.795: Tränenregen
11. Die schöne Müllerin, Op. 25, D.795: Mein!
12. Die schöne Müllerin, Op. 25, D.795: Pause
13. Die schöne Müllerin, Op. 25, D.795: Mit dem grünen Lautenbande
14. Die schöne Müllerin, Op. 25, D.795: Der Jäger
15. Die schöne Müllerin, Op. 25, D.795: Eifersucht und Stolz
16. Die schöne Müllerin, Op. 25, D.795: Die liebe Farbe
17. Die schöne Müllerin, Op. 25, D.795: Die böse Farbe
18. Die schöne Müllerin, Op. 25, D.795: Trockne Blumen
19. Die schöne Müllerin, Op. 25, D.795: Der Müller und der Bach
20. Die schöne Müllerin, Op. 25, D.795: Des Baches Wiegenlied

There are 4 characters in this piece. The narrator of the story is the miller’s journeyman, represented by the colour white, symbolizing light and the freedom he enjoys as a journeyman. He is accompanied by ‘his friend’ the brook. The blue of the stream naturally evokes the element of water as well as the little blue flower, symbolizing romantic longing for what is unattainable and infinite. The hunter, who emerges gradually in the story, is the journeyman’s adversary. His colour is green – initially the symbol of hope and nature, but eventually it reveals itself to be ‘the colour of evil’.
The journeyman’s thoughts revolve around the miller’s daughter but
she turns her affection to the hunter. As the journeyman’s love is unrequited, he has no choice but to go to ‘his friend’ and drown himself in the brook.
Wilhelm Müller wrote 25 poems about the beautiful miller’s daughter, 20 of which Schubert set to music. At the beginning of the 19th century, when Franz Schubert was still a child and Beethoven was already a successful and well-known composer, the guitar became increasingly significant.
The practice of performing select songs from the Viennese Classical period with guitar accompaniment is as old as the songs themselves. The intimate sound of the guitar was perfectly suited for making music at home, as was usual at that time. Schubert himself, for instance, owned a guitar and was quite familiar with it.

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