이는 우리가 잘 아는 슈베르트의 겨울나그네 Side One Band 1 GUTE NACHT 즉 굿나이트이다. 다음 설명을 LP paper에서 베끼어 여기에 싣는다.

Franz Schubert Portrait


Early in 1827 Schubert went to live with his friend Schober near the Graben of Vienna, on the second floor of the “Blue Hedgehog” tavern; he had more room space ever before in his life, but only two years in which to enjoy it.

  In the February of this year he set the first twelve of Wilhelm Mueller’s “Winter Journey” poems, and completed the cycle during the following October. Already he had used verses by Mueller (“the most noble of poets,” according to the Wiener Zeitschrift - posterity thinks differently) for his song-cycle Die Schoene Muellerin. The winter poems caught the admiration of Schubert and his friends when they were published in an almanack. We are told that the composition of Winterreise caught Schubert much emotional suffering; his unwillingness to visit friends during these two months of February and October (“ I am utterly unfit for any society” lends color to the testimony. On the other hand it is recorded that contemporary piano trio in B flat major shows that he cannot have been dedicated wholly to gloom.

  His friends were moved to consternation when Schubert sang the whole cycle to them in October; only der Lindenbaum was appreciated (and it is interesting to note that this song has almost achieved folk status in Germany, though many healthy Teutons would doubtless be shocked to imagine that it deals with an invitation to suicide unwillingly refused). Schubert was so distressed by his own music that 15 months later his friends began to wonder whether the composition of Winterreise might have precipitated his death. The cycle was published in two parts, the first twelve songs in January 1828, the remainder in the end of the year, after Schubert’s death; his last task in life was the correction of the proofs of part two. But he had heard the cycle sung by his friend Vogl and warmly applauded, before he turned down
"the path from which no one ever travelled back."

  Upon their publication the songs were generally recognized at their proper value; the opinion of the Viennese Theaterzeitung might be repeated today: “Mueller is naive, sentimental, and sets against outward nature a parallel of some passionate soul-state which takes its color and significance from the former. Schubert’s music is as naive as the poet’s expression; the emotions contained in the poem 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 in the heart.”

  Posterity might add as Schubert’s contemporaries could not, that Winterreise enshrines the most heart-rending, pathetically inspired songs known to the music.  Schubert knew the wretched places of the human heart, and his genius enabled him to express them in terms of apparently simple melody and dummy accompaniment with a force and profundity denied most passionate late romantics or to the most penetrating modern musical psychologists. He draws us with his traveller ( a rejected lover, as in die schoene Muellerin, but here one rejected before the cycle begins) away from his dear one’s town, out into the snowy hills and frosty paths. Time passes and he travels far, but his mood, instead of lightening, grows more desolate: here and there a sprig of comfort seems to promise relief, but it brings greater heartache in its train; sometimes kindly death seems near, but the bitter force of life is stronger. At last in Die Nebensonnen, his mind gives way, and in the last song we leave him begging a penniless organ-grinder for companionship.

  Schubert set Mueller’s poems for high voice and piano but transposed five of the songs into lower keys. By indicating that he did not respect the sacrosanctity of “original keys", he opened the door to baritones and basses, many of whom have excelled in the singing of Winterreise.