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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 the world is dreary, 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.
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!”
3. "Gefrorne 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!
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.
5. "Der Lindenbaum" ("The Linden Tree"): The tree, a reminder of happier days, seems to
call him, 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.”
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.
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.
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.
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,
10."Rast" ("Rest"): Only now that he has stopped to rest does he realize how tired & sore he is.
And in the quiet he feels for the first time the “worm” which stings him inwardly.
11."Frühlingstraum" ("Dreams 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?
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,”
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?"
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.”
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!"
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.
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?”
18."Der stürmische Morgen" ("The Stormy Morning"): The storm is an image of his heart,
wild and cold like the winter.
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.
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."
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.
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!"
23."Die Nebensonnen" ("The Sun Dogs"): He sees 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."
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?"

Cântecul lebedelor

• By Ludwig Rellstab:
• Liebesbotschaft ("Message of love"; the singer invites a stream to convey a message
to his beloved.)
• Kriegers Ahnung ("Warrior's foreboding"; a soldier encamped with his comrades
sings of how he misses his beloved, and how he fears the prospect of dying, or losing
his courage, in battle.)
• Frühlingssehnsucht ("Longing in spring time": the singer is surrounded by natural
beauty but feels melancholy and unsatisfied until his beloved can "free the spring in
my breast".)
• Ständchen ("Serenade"; the singer exhorts his lover to make him happy.)
• Aufenthalt ("Resting place": the singer is consumed by anguish for reasons we aren't
told, and likens his feelings to the river, forest and mountain around him.)
• In der Ferne ("In the distance": the singer has fled his home, broken-hearted, and
complains of having no friends and no home; he asks the breezes and sunbeams to
convey his greetings to the one who broke his heart.)
• Abschied ("Farewell": the singer bids a cheery but determined farewell to a town
where he has been happy but which he must now leave.)
• By Heinrich Heine:
• Der Atlas ("Atlas": the singer, having wished to experience either eternal happiness
or eternal wretchedness, has the latter, and blames himself for the weight of sorrow,
as heavy as the world, that he now bears, like the giant Atlas in classical mythology.)
• Ihr Bild ("Her image": the singer tells his beloved of how he dreamed (daydreamed?)
that a portrait of her favoured him with a smile and a tear; but alas, he has lost her.)
 • Das Fischermädchen ("The fisher-maiden": the singer tries to sweet-talk a fishing
girl into a romantic encounter, drawing parallels between his heart and the sea.)
• Die Stadt ("The city": the singer is in a boat rowing towards the city where he lost
the one he loved; it comes foggily into view.)
• Am Meer ("By the sea": the singer tells of how he and his beloved met in silence
beside the sea, and she wept; since then he has been consumed with longing — she
has poisoned him with her tears.)
• Der Doppelgänger ("The double": the singer looks at the house where his beloved
once lived, and is horrified to see someone standing outside it in torment — it is, or
appears to be, none other than himself, aping his misery of long ago.)
• The last song based on a poem written by Johann Gabriel Seidl:
• Die Taubenpost ("The pigeon post"; the song that is often considered the last Lied that
Schubert ever wrote. The song is included into a cycle by the first editor and is almost
always included in modern performances. In it, the singer declares that he has a carrier
pigeon whose name is "Longing
Frumoasa morăriţă-tenor, soprană sau pentru celelalte voci în variantă transpusă
"Das Wandern" ("Wandering"; B♭ major): "Wandering is the miller's joy" – a journeyman Miller
happily travels through the countryside, singing of the restless water, millstones, and millwheels of
his trade. This is a classic example of strophic song, in which the accompaniment is traditionally
made to imitate the various objects about which the Miller sings. Schubert facilitates this with
characteristically elegant and inventive piano writing; despite its simplicity, the music contains
elements readily receptive to this imitative treatment, with the flowing cyclical broken triads
evocative of both wheels and water, and the bass octaves pounding away. The composer continues
this illustrative style throughout the cycle, with various recurring motifs. By far the most important
of these, the Brook, is a character of its own represented by the piano, and appears next.
1."Wohin?" ("Where to?"; G major): "Is this my path then? Oh tell me, brook, where to?" – the
Miller fatefully comes across a Brook, and is captivated into following it. Through-composed, the
piano imitates the babbling brook with a rippling pattern. This figuration, a first-inversion broken
triad circling back on itself, goes on to represent the Brook almost exclusively throughout the cycle.
2."Halt!" ("Stop!"; C major): "Dear little Brook, is this what you meant?" – the Brook leads the
Miller to an idyllic mill in a forest grove. Through-composed, the piano imitates the vigorous
turning of the mill wheel. Subtle diminished and minor harmonies in the accompaniment hint at
foreboding.
3."Danksagung an den Bach" ("Thanksgiving to the Brook"; G major): "Did she send you? Or
have you enchanted me?" – The grateful Miller thanks the Brook for providing work for his hands
and his heart – the latter in the form of the beautiful maid of the mill, the Müllerin of the title.
Through-composed, with a contemplative broken chord pattern in the accompaniment, and a section
in parallel minor as the Miller questions the nature of the Brook's guidance.
4."Am Feierabend" ("Evening's Rest"; A minor): "If only I could move the millstones alone! Then
the beautiful maiden would know my true purpose!" – the Miller is troubled when the Maiden
wishes a good night to all the men, paying him no particular attention; he aches to distinguish
himself from his peers. The piano channels the millworks in this through-composed song, with the
up-and-down arpeggio from Halt! again representing the wheel and pounding bass evoking the
stones. Highly contrasting static music in the central section captures the restful after-work setting
of the otherwise incongruous title. This is an energetic high point of the first section, and the one
entry in the cycle in which the protagonist actually sings the phrase "die schöne Mullerin".
5."Der Neugierige" ("The Inquirer"; B major): "Tell me, little Brook – does she love me?" – he
asks the enigmatic brook whether the Maiden loves him – Yes or No – between these two words lies
his entire world. An expressive through-composed song opening with a cleverly executed musical
question in the accompaniment – a rising pattern ending on a diminished chord. A slow,
contemplative second section follows as the Miller interrogates the Brook, represented as always by
its flowing broken triads.
6."Ungeduld" ("Impatience"; A major): "My heart is yours, and it will be forever!" – he wishes he
could carve his love into every tree, have every bird sing of it, have the wind tell of it. A strophic
song in which a busy, restless repeated chord pattern in the accompaniment, crowded with
ornaments, reflects the Miller's agitated state.
7."Morgengruß" ("Morning Greeting"; C major): "Does my greeting displease you so?" – the
Miller is troubled by the Maiden's cool reaction to his morning greeting. Nonetheless, his optimism
is intact – he will just wait outside her window. A ballad in strophic form that progressively gathers
expressive energy as the metric subdivision increases over each stanza, the Miller's infatuation
swelling.
8."Des Müllers Blumen" ("The Miller's Flowers"; A major): "The flowers will whisper to her as in
a dream: forget me not!" – the Miller indulges in a poetic metaphor between the blue flowers beside
the brook and the Maiden's blue eyes. The Miller's outpouring is matched with a lyrical arpeggio
pattern and gently rocking 6/8 rhythm in this strophic song. An accepted performance convention
places the third strophe, concerning dreams, an octave higher in the accompaniment. There is no
explicitly indicated outro music, which is unusual in Schubert, but accompanists often choose to
simply repeat the introduction. Regardless of this choice, the ending segues into the next song, in
the same key.
9."Tränenregen" ("Rain of Tears"; A major): "She said: 'A rain is coming – farewell, I'm going
home'" – the Miller and Maiden share a tender moment by the Brook – the three principal characters
in one place. The Miller cannot bring himself to look at her, and stares into the Brook at the moon
and her reflection. As his tears ripple in the water, she abruptly leaves. Augmented harmonies and
lyrical, flowing counterpoint in the accompaniment again imitate the brook and add to the nocturne
atmosphere. The form is primarily strophic, with a shadowy coda in the parallel minor as the
Maiden takes her leave.
10."Mein!" ("Mine!"; D major): "Are these all the flowers you have, spring? Can you not shine
brighter, sun? The beloved Millermaid is mine! Mine!" – the ecstatic Miller is convinced he
possesses the Maiden, despite heretofore dubious encouragement. A brash, heavy-handed, low
register accompaniment in broken chords captures the Miller's manic and effusive machismo, and
the vocal line features athletic melisma in nearly every bar. In a near-comical fortissimo flourish, a
deliberately muddy fully voiced D major chord closes the first half of the work.
11."Pause" ("Interlude"; B♭ major): "Is it the echo of my love's pain? Or the prelude to new
songs?" – the Miller, his heart too full to sing, hangs his lute on the wall with a green ribbon and
reflects on the heavy burden of happiness. He muses anxiously whether the stirrings of his lute are
ominous. Through-composed, a repetitive lute-like motif and static harmony in the accompaniment
create the interlude atmosphere. Dissonant minor harmonies reflect the Miller's misgivings before
they are shrugged off in the outro.
12."Mit dem grünen Lautenbande" ("With the Green Lute-Ribbon"; B♭ major): "Wind the green
ribbon into your locks, since you like green so much!" – the Maiden mentions she likes green, and
the Miller is happy to oblige, giving her the ribbon as a symbol of their evergreen love. He tries to
convince himself that he too likes green, though he is white with flour. Strophic, in short verses with
flourishes idiomatic of the lute, the saccharine melody and accompaniment reflect the Miller's
deluded optimism.
13."Der Jäger" ("The Hunter"; C minor): "There is no game here for you to hunt! Only a doe, a
tame one, for me!" – a rough and dashing Hunter clad in green arrives at the mill; the Miller is
immediately disturbed by this romantic rival and spirals into a jealous diatribe. The vocal line is
extremely dense and the delivery deliberately rushed in the manner of a patter song. In strophic
form, the piano imitates hunting horns with a standard idiomatic chord pattern (see Der
Lindenbaum from Winterreise, etc.) in a brash staccato 6/8 rhythm. The key changes rapidly
between C minor and its relative major E♭ major. This song is a turning point, marking the
beginning of the Miller's descent into tragedy.
14."Eifersucht und Stolz" ("Jealousy and Pride"; G minor): "Where to so fast and wild, dear
brook? Turn back, and scold your maiden!" – the Miller desperately compels the Brook to admonish
the fickle Maiden, who has been flirting with the Hunter. Through-composed, the agitated broken-
chord accompaniment imitates the now-raging Brook, with a central section again imitating hunting
horns.
15."Die liebe Farbe" ("The Beloved Colour"; B minor): "Dig me a grave in the green meadow,
cover me with green turf, my sweetheart likes green so much" – the catatonic Miller obsesses
miserably over green, the color of his love and his pain. An ostinato F♯ in sixteenth notes, repeated
over 500 times in the accompaniment across the strophic verses, reflects the Miller's tortured
fixation and the monotony of the constant refrain. The sparse accompaniment follows the voice
melody in lower harmony as it maintains the ostinato. Ironically, and most likely deliberately, the
strophic verse structure and vocal line rhythm is identical to the cheerful Mit dem grünen
Lautenbande; the lyrics for either song could be readily substituted over one another's
accompaniment, despite their vast contrast in character and content.
16."Die böse Farbe" ("The Hateful Colour"; B major): "Oh green, you hateful color you! So proud,
so mocking, so pleased with my pain!" – the Miller bitterly and defiantly renounces the color green.
He wishes only to take the Maiden's hand one last time to say farewell. In a through-
composed rondo form, with an operatic scale of sound, the bold accompaniment again includes a
hunting horn imitation in the second episode. In the parallel major of the preceding song, the two
are an opposed pair.
17."Trockne Blumen" ("Withered Flowers"; E minor): "And when she passes my grave, she will
think 'He was true to me!'" – in an elaborate death fantasy, the Miller wishes to be buried with now-
withered flowers the Maiden had given him. When she sees this, she will know his heart was
faithful; the flowers will bloom again and thus his winter will have passed. Through-composed, the
accompaniment at first represents the withered flowers with a minimalist series of simple chords –
as the flowers bloom, the music becomes more lyrical, and the harmony and rhythm more intricate.
18."Der Müller und der Bach" ("The Miller and the Brook"; G minor): "Oh dear little brook, you
mean so well – but do you know what love does to you?" The hopeless Miller turns to the Brook in
his heartbreak. The Brook answers with comforting and poetic words of love conquering pain.
Resigned and exhausted, the Miller submits himself to the Brook's 'cool rest'. Through-composed,
the gently rocking barcarolle-like accompaniment gives way to a broken chord pattern similar to
that of Wohin, imitating the Brook and confirming a leitmotif of sorts as this character speaks for
the first time. The notable use of Neapolitan chords in this song is one of many examples of
chromatic substitution used liberally throughout the cycle, aptly illustrating in this case the languid
resignation of the protagonist as the minor second sinks to the tonic. The outro sees the piano
descend peacefully to a final major chord as the Miller meets his fate.
19."Des Baches Wiegenlied" ("Of the Brook's Lullaby"; E major): – "Rest well, rest well, close
your eyes. Wanderer, you weary one, you are at home." the Brook, who has always shown the
Miller the constancy he so desired, sings him to sleep, scolding the Maiden to not disturb him. A
placid and relaxed strophic song, this idiomatic lullaby is by a considerable margin the longest entry
in the cycle. The choice of E major, a tritone removed from the opening song, signifies the vast
narrative distance covered by the cycle. "And heaven above, how vast it is!"