CDs 11 - 20

Vol 11 - Brigitte Fassbaender (Mezzo Soprano) CDJ33011, Recorded June 1990; RM Score 10

Der Tod und das Mädchen , D531; Schwanengesang, D744; Nachtstuck, D672; Auf dem Wasser zu singen, D774; An den Tod, D518; Der Konig in Thule, D367; So lasst mich scheinen (Mignons Gesang), D727; Der Geistertanz, D116; Thekla, D595; Das Zugenglocklein, D871; Auflosung, D807; Lied des Orpheus, D474; Verklarung, D59; Aus 'Heliopolis' I, D753; Aus 'Heliopolis' II, D754; Vollendung, D989; Elysium, D584; Dithyrambe, D801; Seligkeit, D433

This disc is the one which really turned me on to Schubert Lieder, with a stunning performance of Der Tod und das Mädchen which haunted me for weeks. However, her performances are very idiosyncratic (and there will be no more, as she has now retired from singing), and you will either love it, or hate it. I love it, so much so that I've bought several other lieder disks by her, including the Schubert song cycles and Schwanengesang, although to my mind, only Schwanengesang is successful. The theme of the disc is Schubert and Death, with an essay which runs to 7 pages. Buy it, though you may want to listen to it first.

Vol 12 - Adrian Thompson (Tenor) CDJ33012, Recorded February 1991; RM Score 7

Der Vaternmorder, D10; Der Geistertanz, D15/15a; Die Advokaten D37; Die Schatten D50; Ein jugendlicher Maienschwung, D61; Verschwunden sind die Schmerzen, D88; Don Gayseros, D93; Adelaide, D95; An Elisa, D97; Andenken, D99; Lied aus der Ferne, D107; Die Betende, D102; Lied der Liebe, D109; An Laura, als sie Klopstocks Auferstehen sang, D115; Sehnsucht, D123; Trost im Thranen, D120; Nachtgesang, D119; Ballade, D134

This is the only CD in the edition which in my view doesn't really make the grade. Partly this is because I just don't like Thompson's voice (too 'strident' for me on the top notes, though he does sing beautifully when singing quietly), and partly because of the material. The theme is the Young Schubert, and it includes a number of pieces (including the Don Gayseros cycle, the authenticity of which has been questioned) written when, to put it kindly, he was still learning his trade. Not that they are all disasters, but they lack the subtlety of later works (and a few of the accompaniments sound like the background music for a silent film of the keystone cops!). It contains one of the many curiosities of Schubert's oevre; the trio Die Advokaten. This was originally written by Anton Fischer, and Schubert rewrote the accompaniment and reshaped the vocal line - possibly for performance at school. In one of his Essays, Maurice Brown finds the subsequent publishing of this piece in 1827 very strange, theorising that Schubert was not personally involved. In his notes GJ claims it was published 'by popular demand'.

Vol 13 - Marie McLaughlin (Soprano) with Thomas Hampson (Baritone) CDJ33013, Recorded in December 1990 & August 1991; RM Score 8

Das Marienbild, D623; Die Unterscheidung, D866/1; Die Manner sind mechant, D866/3; Gretchen am Spinnrade, D118; Szene aus Faust, D126; Gretchens Bitte, D564; Shilrik und Vinvela, D293; Ein altschottische Ballade, D923; Lied der Anna Lyle, D830; Gesang der Norna, D831; Normans Gesang, D846; Ellens Gesang I, D837; Ellens Gesang II, D838; Ellens Gesang III (Ave Maria), D839; Marie, D658

This really should be amongst my favourite discs in the collection, but somehow it doesn't quite make it. The subject is 'Lieder Sacred and Profane', with a secondary theme of 'Scotland' (amongst others, one Ossian song, and 5 by Scott; which, as I'm a Scot, explains one of the reasons why I should like this disc). It also contains two of Schubert's most famous songs, Gretchen am Spinnrade, an incredibly mature work for a 17 year old boy, and Ellen's Gesang III (aka Ave Maria). Marie McLaughlin's voice and performance is pleasant enough, but it doesn't quite gell, though the guest performance by Thomas Hampson works very well.

Vol 14 - Thomas Hampson (Baritone) with Marie McLaughlin (Soprano) CDJ33014, Recorded in October 1991; RM Score 9

Die Gotter Griechenlands, D677; Amphiaraos, D166; Gruppe aus dem Tartarus, D396/D583; Hippolits Lied, D890; Hektors Abschied, D312; Memnon, D541; Fragment aus dem Aeschylus, D450; Philoktet, D540; Uraniens Flucht, D554; Antigone und Oedip, D542; Lied eines Schiffers an die Dioskuren, D360; Orest auf Tauris, D548; Der entsuhnte Orest, D699; Der Zurnenden Diana, D707; Freiwilliges Versinken, D700; An die Leier, D737

These songs are on the theme of Schubert and the Classics, and includes a number of very well known works. They are sung by Thomas Hampson, the American baritone, with a return guest appearance from Marie McLaughlin. Another voice I like, this disc just exudes quality. Memnon seems to be universally accepted as the greatest result of Schubert's work with the poet Johann Mayrhofer, one of Schubert's immediate circle.

Vol 15 - Margaret Price (Soprano) CDJ33015, Recorded in October 1991; RM Score 8½

An die untergehende Sonne, D457; Der Mondabend, D141; Die Mainacht, D194; Klage an den Mond, D436; Der Ungluckliche, D713; Der Morgenkuss, D264; An die Sonne, D270; Der blinde Knabe, D833; Die junge Nonne, D828; Gondelfahrer,D808; Ins stille Land, D403; Der Winterabend, D938; Der Wanderer an den Mond, D870; Im Freien, D880; Am Fenster, D878; Sehnsucht, D879; Kolmas Klage, D217

Margaret Price has, to my ear, a very ethereal voice, which is rather unusual, but very pleasing. This is the third, and last, disc in the edition to be devoted to night songs, including 4 by Johann Gabriel Seidl. Seidl is well known, of course, as the poet of Die Taubenpost, very possibly the last song Schubert wrote. One of his sons married a daughter of Ferdinand Schubert, and I am always amused by the fact that a subsequent descendent was called O. Deutsch, but not, however, our friend Otto Erich. This disc includes the first Ossian setting, Kolmas Klage, and Seidl's Der Wanderer an den Mond, one of those songs who's greatness is in it's apparent simplicity. The final song, Die junge Nonne is one of Schubert's masterpieces, later orchestrated by Liszt.

Vol 16 - Thomas Allen (Baritone) CDJ33016, Recorded May 1992; RM Score 9½

Leichenfantasie, D7; Sehnsucht, D52; Emma, D113; Das Madchen aus der Fremde, D117; Der Jungling am Bache, D638; An die Freude, D189; Die Burgschaft, D246; Laura am Klavier, D388; Die Entzuckung an Laura, D390, D577; Die vier Weltalter, D391; Das Geheimnis, D793; Der Pilgrim, D794

For some reason I seem to prefer Baritones to tenors (and generally don't seem to like basses at all), and with a singer of the quality of Thomas Allen, I could be sure I would like this one before I even heard it! The theme is Schiller, with all the songs coming from the 44 Schiller settings. The notes include a 5 page essay on Schiller, and a list of all Schiller songs, cross referenced to the other Hyperion edition CDs. Songs on the disc include the Ode to Joy, in a version slightly less well known that the one in Beethoven's 9th, and the famous ballad Die Bürgshaft. Thomas has recently produced a book on his life as a globe trotting singer entitled Foreign parts, which has a few pages on preparing for, and recording this disc.

Vol 17 - Lucia Popp (Soprano) CDJ33017, Recorded April 1992; RM Score 9

Am Grabe Anselmos, D504; An den Mond, D468; An die Nachtigall, D497; An mein Klavier, D342; Aus Diego Manzanares, Ilmerine, D458; Der Herbstabend, D405; Die Einsiedlei, D393; Die Herbstnacht, D404; Geheimnis, D491; Klage um Ali Bey, D496a; Lebenslied, D508; Leiden der Trennung, D509; Lied in der Abwesenheit, D416; Litanei, D343; Minnelied, D429; Pflicht und Liebe, D467; Phidile, D500; Winterlied, D401; Lodas Gespenst, D150; Fruhlingslied, D398; Lied, D373; Klage, D371; Lorma, D376; Herbstlied, D502

A beautifully sung disk by a famed Schubertian who, I believe, died soon after this recording, which provides a fitting memorial. There are no really famous songs, (the Litanei is probably the best known) and those that are included tend to be rather gentle. All the songs date from 1816, and are played in approximately chronological sequence, often contradicting the original Deutsch numbers.

Vol 18 - Peter Schreier (Tenor) CDJ33018, Recorded August 1992; RM Score 9½

Das Finden, D219; Die Nacht, D358; An den Schlaf, D447; Blumenlied, D431; Auf den Tod eine Nachtigall, D399; Erntelied, D434; Das Heimweh, D456; Abendlied, D499; An die Harmonie, D394; An die Entfernte, D765; Drang in die Ferne, D770; Das Heimweh, D851; 'Die Blume und der Quell', D874 (fragment); Der Liebliche Stern, D861; Im Walde, D834; Um Mitternacht, D862; Im Fruhling, D882; Lebensmut, D883; Auf der Brucke, D853; Am mein Herz, D860; Uber Wildemann, D884; Tiefes Leid, D876

Peter Schreier is generally accepted as one of the leading Lieder singers of today (though the Opera-l list doesn't rate him as an opera singer), and this disc shows why. The theme is the Strophic song (where every verse has the same tune), with an essay which discusses the various forms of modified strophic songs (which GJ classifies into 6 types).

Vol 19 - Felicity Lott (Soprano) CDJ33019, Recorded June & July 1992; RM Score 8

Abendlied, D276; Im See, D746, Auf dem See, D543; Auf dem Wasser zu singen, D774; Beim Winde, D669; Der Blumen Schmerz, D731; Der liebliche Stern, D861; Die Blumensprache, D519; Die Rose, D745; Die Sterne, D176; Die Sternennacht, D670; Gott im Fruhling, D448; Im Haine, D738; Nach einem Gewitter, D561; Nachtviolen, D752; Suleika I, D720; Suleika II, D717; Vergissmeinnicht, D792

Graham Johnson and Felicity Lott have worked together since their student days, and this disc shows a mutual understanding. The disc is very agreable, and excellently performed, though against some of the highlights of the series, it is unexceptional - but that is by no means a damning statement. It has a number of themes (Flowers, Stars and Breezes & Winds), each with cross references to the oeuvre.

Vol 20 - An 1815 Schubertiad; Patricia Rozario (Soprano), John Mark Ainsley, Ian Bostridge (Tenors), Michael George (Bass), The London Schubert Chorale CDJ33020, Recorded September-November 1993; RM Score 9

Winterlied, D242a (completed by Reinhard Van Hoorickx); Ossians Lied nach dem Falle Nathos, D278; Das Madchen von Inistore, D281; Als ich sie erroten sah, D153; Schwangesang, D318; Totenkranz fur ein Kind, D275; Die Frohlichkeit, D262; Der Zufriedene, D320; Alles um Liebe, D241; Geist der Liebe, D233; Die erste Liebe, D182; Die Tauschung, D230; Liebesrausch, D164 (completed by Reinhard Van Hoorickx); Huldigung, D240; Heidenroslein, D257; Nachtgesang, D314; Der Morgenstern, D172 (completed by Reinhard Van Hoorickx); Bergknappenlied, D268; Trinklied vor der Schlacht, D169; Schwerlied, D170; Nun lasst uns den Leib begraben (Begrabnislied), D168; Grablied, D218; Jesus Christus unser Heiland ('Osterlied'), D168a; Hoffnung, D251 (Schiller); Punschlied, D253 (Schiller); Klage um Ali Bey, D140; An Lina, D265; Tischlerlied, D274; Wiegenlied, D304; Die Macht der Liebe, D308; Trinklied, D183; Trinklied, D267

The first edition of the series to feature a 'Schubertiad', though the second half of the edition features Schubertiads very heavily. A sensible way to parcel together a collection of songs which really require different voices. Several of the works on this disc are part songs, including some jolly drinking songs, but it does feature one of Schubert's 'greatest hits' in Heidenröslein. All the songs come from Schubert's great year of song, 1815.