Annette Kruisbrink
Schubert's Winter Journey
for 2 Guitars
Annette Kruisbrink
Schubert's Winter Journey
for 2 Guitars
- Instrumentation 2 Classical Guitars
- Composer Annette Kruisbrink
-
Difficulty Level
- Edition Sheet Music
- Publisher Les Productions d'Oz
- Order no. DOZ4556
ships within 2-4 weeks
Description:
The edition before you is a free, creative adaptation of Franz Schubert’s Winterreise (Op. 89, D 911), a cycle of 24 songs composed for voice and piano. For this work, Schubert made use of poems by Wilhelm Müller.
In this shortened version for two guitars and spoken voice, the poems have been freely translated into English. The music and the placement of the spoken text are carefully aligned. The result is an arrangement that is both technically accessible and musically inviting, while keeping Schubert’s original melodies and accompaniments clearly recognizable throughout all 24 movements.
The balance between spoken voice and two guitars differs fundamentally from Schubert’s original scoring for voice and piano. For this reason, the dynamic and articulation markings used by Schubert have been intentionally omitted. Only occasional ritenuto and fermata signs have been added. Schubert’s tempo indications have been replaced by metronome markings chosen by the arranger to suit this version.
The guitar-specific performance indications—such as étouffé, pizzicato, dedillo, rasgueado, arpeggio, harmonics, and percussion—are intended as expressive devices and serve to reinforce the corresponding spoken text.
The two guitar parts alternate between melody and accompaniment, and the players may, of course, exchange parts freely.
When the text is placed close to the staff, it is spoken during the guitar playing. When the text is placed further from the staff, it is spoken without musical accompaniment.
Annette Kruisbrink, Zwolle The Netherlands 2025
In this shortened version for two guitars and spoken voice, the poems have been freely translated into English. The music and the placement of the spoken text are carefully aligned. The result is an arrangement that is both technically accessible and musically inviting, while keeping Schubert’s original melodies and accompaniments clearly recognizable throughout all 24 movements.
The balance between spoken voice and two guitars differs fundamentally from Schubert’s original scoring for voice and piano. For this reason, the dynamic and articulation markings used by Schubert have been intentionally omitted. Only occasional ritenuto and fermata signs have been added. Schubert’s tempo indications have been replaced by metronome markings chosen by the arranger to suit this version.
The guitar-specific performance indications—such as étouffé, pizzicato, dedillo, rasgueado, arpeggio, harmonics, and percussion—are intended as expressive devices and serve to reinforce the corresponding spoken text.
The two guitar parts alternate between melody and accompaniment, and the players may, of course, exchange parts freely.
When the text is placed close to the staff, it is spoken during the guitar playing. When the text is placed further from the staff, it is spoken without musical accompaniment.
Annette Kruisbrink, Zwolle The Netherlands 2025