Der Wanderer D489 D493 [5'23]
Der Wanderer D649 [2'24]
Der Wanderer an den Mond D870 [2'25]
Aus ‘Heliopolis’ I D753 [3'09]
Aus ‘Heliopolis’ II D754 [2'14]
Auf der Donau D553 [2'56]
Auf der Bruck D853 [3'32]
Der Schiffer D536 [2'03]
Das Heimweh D456 [2'55]
Der Kreuzzug D932 [2'45]
Abschied D475 [5'07]
Wandrers Nachtlied I D224 [1'43]
Wandrers Nachtlied II D768 [2'02]
Herbst D945 [3'46]
Meeres Stille D216 [2'23]
Der Pilgrim D794 [4'38]
Die Götter Griechenlands D677 [4'24]
Im Walde ‘Waldesnacht’ D708 [6'53]
Lied ‘Die Mutter Erde’ D788 [4'03]

Florian Boesch and Roger Vignoles were shortlisted for a BBC Music Magazine award for their ?rst Hyperion album (Loewe Songs and Ballads). Boesch’s warm, sensuously attractive baritone voice, ?rst-rate diction and remarkable acting ability were enthusiastically praised. Now the duo turn to a selection of Schubert’s Lieder from the dark heart of the repertoire.

‘Dort, wo du nicht bist, dort ist das Glück!’ (‘There, where you are not, is happiness!’) ‘Und das Dort ist niemals hier!’ (‘and the There is never here!’). The ?nal lines of Der Wanderer(track 1) and Der Pilgrim (track 16) encapsulate a recurrent theme of German Romantic art: that of the rootless outsider. It is the world of Goethe’s mysterious Harper and Mignon, and of the solitary, silhouetted ?gures in the darker landscapes of Caspar David Friedrich. In music it found its supreme expression, not only in Schubert’s Winterreise but in these many individual ‘wandering’ songs: some grimly resigned, some serenely contemplative, others imbued with a sense of physical and spiritual isolation and longing for an ultimately unattainable ‘otherness’.