Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Gute Nacht
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Die Wetterfanhe
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Gefror'ne Tr?nen
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Erstarrung
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Der Lindenbaum
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Wasserflut
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Auf dem Flusse
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): R?ckblick
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Irrlicht
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Rast
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Fr?hlingstraum
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Einsamkeit
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Die Post
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Der greise Kopf
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Die Kr?he
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Letzte Hoffnung
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Im Dorfe
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Der st?rmische Morgen
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): T?uschung
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Der Wegweiser
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Das Wirtshaus
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Mut
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Die Nebensonnen
Winterreise, song cycle for voice & piano, D. 911 (Op. 89): Der Leiermann
This is, by general consent, the greatest of all Lieder cycles, and the second that Schubert based on Müller's poems. Max van Egmond and Penelope Crawford here present a profoundly moving performance, enhanced by the ... more »use of an original 1835 fortepiano by the great Viennese maker, Conrad Graf.« less
This is, by general consent, the greatest of all Lieder cycles, and the second that Schubert based on Müller's poems. Max van Egmond and Penelope Crawford here present a profoundly moving performance, enhanced by the use of an original 1835 fortepiano by the great Viennese maker, Conrad Graf.