
Matthew Melendez
Joe Sartori
1. Gute Nacht
2. Die Wetterfahne
3. Gefrorne Tranen
4. Erstarrung
5. Der Lindenbaum
6. Wasserflut
7. Auf dem Flusse
8. Ruckblick
9. Irrlicht
10. Rast
11. Fruhlingstraum
12. Einsamkeit
13. Die Post
14. Der greise Kopf
15. Die Krähe
16. Letzte Hoffnung
17. Im Dorfe
18. Der sturmische Morgen
19. Tauschung
20. Der Wegweiser
21. Das Wirtshaus
22. Mut
23. Die Nebensonnen
24. Der Leiermann
Program Note
Franz Schubert’s Winterreise (Winter Journey), completed in 1827, stands as one of the most profound and intense song cycles of the Romantic era. Based on 24 poems by Wilhelm Müller, this work transcends mere narrative to explore the inner landscape of isolation, despair, and the search for meaning. The cycle follows a young wanderer on a solitary journey through a winter landscape, his inner turmoil mirroring the cold, stark world around him. It’s a journey that brings singer and listener alike to the edge of self-understanding and into the depths of existential reflection.
More than simply conveying emotions, Winterreise is a psychological journey. The protagonist’s struggles with unrequited love and isolation grow into universal themes, representing the Romantic fascination with nature and the individual’s place within it. Schubert uses nature as a mirror for the wanderer’s emotions, drawing on images of frozen rivers, wilting flowers, and distant stars to evoke a world that seems indifferent to human suffering yet is rich with symbolic resonance.
The piano in Winterreise serves as much more than accompaniment; it becomes a second voice. Schubert’s writing transforms it into an echo of the protagonist’s mind, often leading the singer into new thoughts or emotions. From ghostly echoes to dramatic swells, the piano paints a landscape as vivid as any described in words, adding to the cycle’s profound psychological depth. Its eerie motifs, particularly in songs like Der Leiermann (The Hurdy-Gurdy Man), create a soundscape that is both beautiful and haunting, suggesting the isolation and despair of the wanderer with chilling precision.
For the singer, Winterreise is as much a test of endurance as it is an artistic endeavor. The vocal demands are intense, requiring both stamina and emotional sensitivity. Each song presents a new challenge, demanding the singer to convey complex layers of feeling and to embody the wanderer’s gradual transformation from hope to resignation. It’s a journey that asks everything of the artist—technically, mentally, and emotionally.
This evening, baritone Matthew Melendez invites you to experience Winterreise not just as a musical performance, but as a profound journey into the self. His interpretation will attempt to bring Schubert’s masterwork into vivid life, offering an experience as reflective as it is deeply moving. We invite you to join us on this winter journey, where the landscape of the mind and heart is laid bare, and where each listener may find a piece of themselves in the wanderer’s story.
What are Lieder?
A Lied (plural: Lieder) is a German song that sets poetry to music, performed by a single vocalist and piano. Though songs generally place the spotlight on their vocalists, Lieder are more equal affairs: responsibility for expressing the song’s poetic nature is shared evenly between both musicians, creating a polyphonic interaction. Musically, Lieder are recognised for their rich, dark harmonies, poetic imagery and frequent modulations.
Who was Schubert?
The son of a schoolmaster who had settled in Vienna, Franz Schubert was educated as a chorister of the imperial court chapel. He later qualified as a schoolteacher, briefly and thereafter intermittently joining his father in the classroom. He spent his life largely in Vienna, enjoying the company of friends, but never holding any position in the musical establishment or attracting the kind of patronage that Beethoven had 20 years earlier. His final years were clouded by illness as the result of a syphilitic infection, and he died aged 31, leaving much unfinished. His gifts had been most notably expressed in song, his talent for melody always evident in his other compositions. Schubert’s compositions are generally numbered according to the Deutsch catalogue, with the letter D.
Stage Works
Schubert wrote operas, Singspiel, and incidental music for the theatre. His best-known compositions of this kind include the music for the unsuccessful play Rosamunde, Fürstin von Zypern (‘Rosamunde, Princess of Cyprus’), mounted at the Theater an der Wien in December 1823. The ballet music and entracte from Rosamunde are particularly well known.
Church Music
Among the various works Schubert wrote for church use, particular mention may be made of the second of his six complete settings of the Mass. He completed his final setting of the Mass in the last year of his life, and it was first performed the following year.
Choral and Vocal Music
Schubert wrote for mixed voices, male voices, and female voices, but by far, the most famous of his vocal compositions are the 500 or so songs—settings of verses ranging from Shakespeare to his friends and contemporaries. His song cycles published in his lifetime are Die schöne Müllerin (‘The Fair Maid of the Mill’) and Die Winterreise (‘The Winter Journey’), while Schwanengesang (‘Swan-Song’) was compiled by a publisher after the composer’s early death. Many songs by Schubert are very familiar, including Der Erlkönig (‘The Erlking’), the Mignon songs from Goethe, and the Songs of Norma from Sir Walter Scott.
Orchestral Music
The ‘Unfinished’ Symphony of Schubert was written in 1822, but no complete addition was made to the two movements of the work. Other symphonies of the eight more or less completed include the ‘Great’ C major Symphony and the Classical and charming Fifth Symphony. His various overtures include two ‘in the Italian style’.
Chamber Music
Of Schubert’s various string quartets, the Quartet in A minor, with its variations on the well-known Rosamunde theme, and the Quartet in D minor ‘Death and the Maiden’, with variations on the song of that name, are the most familiar. The Piano Quintet ‘Die Forelle’ (‘The Trout’) includes a movement of variations on that song, while the great C major String Quintet of 1828 is of unsurpassable beauty. The two piano trios and the single-movement Notturno date from the same year. Schubert’s Octet for clarinet, horn, bassoon, two violins, viola, cello, and double bass was written early in 1824. To the violin sonatas (sonatinas) of 1816 may be added the more ambitious Duo for violin and piano, D. 574 of the following year and the Fantasy D. 934, published in 1828, the year of Schubert’s death. The ‘Arpeggione’ Sonata was written for a newly devised and soon obsolete stringed instrument, the arpeggione. It now provides additional repertoire for the cello or viola.
Piano Music
Schubert’s compositions for piano include a number of sonatas, some left unfinished, as well as the Wanderer Fantasy and two sets of impromptus, D. 899 and D. 935. He also wrote a number of dances for piano—waltzes, Ländler, and German dances. His music for piano duet includes a Divertissement à l’hongroise, marches, and polonaises, largely written for daughters of a member of the Esterházy family, for whom he was for a time employed as a private teacher.

