CDs 21 - 30

Vol 21 - Edith Mathis (Soprano) CDJ33021, Recorded October 1992; RM Score 9

Schlaflied, D527; Sehnsucht, D516; Die Liebe, D522; Die Forelle, D550; 'Impromptu' D513a (completed by Reinhard van Hoorickx); Der Flug der Zeit, D515; Trost, D523; Die abgebluhte Linde, D514; Das Lied vom Reifen, D532; An eine Quelle, D530; An die Musik, D547; Der Schafer und der Reiter, D517; Hanflings Liebeswerbung, D552; Schweizerlied, D559; Liebhaber in allen Gestalten, D558; Abschied von einem Freunde, D578; Erlafsee, D586; Lied eines Kindes, D596 (completed by Reinhard Van Hoorickx); Evangelium Johannes, D607 (completed by Reinhard van Horrickx); Lob der Tranen, D711; Grablied fur die Mutter, D616; Der Blumenbrief, D622; Blondel zu Marien, D626; Vom Mitleiden Maria, D632

Another disc without a theme, but with a date, this time 1817-18. Schubert's astonishing productivity of the two previous years was over, but there are still many gems in this period, and this disc has several of them. Graham Johnson seems, again, to have perfectly matched the singer's pure voice with the material which includes blockbusters such as Die Forelle and An die Musik, the song which seems to most perfectly describe Schubert's attitude to songwriting. We also have a number of completions by Reinhard Van Hoorickx, and one of my personal favourites, Erlafsee. This was the first Schubert song ever published (as a supplement to an almanac - which is now worth a small fortune). Schubert got no financial benefit from this, but he was in print.

Vol 22 - An 1815 Schubertiad (II) Lorna Anderson (Soprano), Catherine Wyn-Rogers (Alto), Jamie McDougal (tenor), Simon Keenlyside (Baritone), The London Schubert Chorale CDJ33020, Recorded September-October 1993; RM Score 8

Das Lieben ist ein Traum, D269; Das Grab, D330; Trinklied, D148; Punschlied, D277; Vaterlandslied, D287; Selma und Selmar, D286b; Morgenlied, D266; An die Sonne, D272; Hermann und Thusnelda, D322; Cora an die Sonne, D263; Lorma, D237 (completed by Reinhard Van Hoorickx); Genugsamkeit, D143; Der Abend, D221; Das Madchen aus der Fremde, D252; An Rosa (I), D315; An Rosa (II), D316; An Sie, D288; Gebet wahrend der Schlacht, D171; Das Abendroth, D236; Die drei Sanger, D329 (completed by Reinhard Van Hoorickx); Die Sterne, D313; Cronnan, D282; Furcht der Geliebten ('An Cidli'), D285; Die Erscheinung (Erinnerung), D229; Skolie, D306; Das Bild, D155; Lob des Tokayers, D248; Hymne an den Unendlichen, D232

I find it difficult to get too excited about this disc. There's certainly nothing particularly objectionable about the singing, but it is all rather bitty, with 28 tracks, none of them featuring particularly well known songs (which make up the last collection from 1815). Somehow the mixture of performers and song types that works well in the other Schubertiads doesn't seem to be as effective here.

Vol 23 - Christoph Prégardien (Tenor) CDJ33023 Recorded September 1994; RM Score 9½

Der Tod Oscars, D375; Das Grab, D377; Der Entfernten, D350; Pflügerlied, D392; Abschied von der Harfe, D406; Der Jüngling an der Quelle, D300; Abendlied, D382; Stimme der Liebe, D412; Romanze, D144; Geist der Liebe, D414; Klage, D415; Julius an Theone, D419; Der Leidende, D432; Der Leidende, D432B; Die frühe Liebe, D430; Die Knabenzeit, D400; Edone, D445; Die Liebesgötter, D446; An Chloen, D363; Freude der Kinderjahre, D455; Gesange des Harfners aus 'Wilhelm Meister', D478; Der Hirt, D490; Am ersten Malmorgen, D344; Bel dem Grabe meines Vater, D496; Mailied, D503; Zufriedenheit, D362; Skolie, D507

Another winner of a Gramophone Critics Choice. I have to say that I'd never heard of Christoph Prégardien, before getting this CD, but his voice is wonderful, and this selection from Graham Johnson seems to suit it perfectly. Since getting this CD I've seen him twice at the Wigmore Hall, and he has not disappointed, though his recent Winterreise seems to be better technically than it is intellectually.

Vol 24 - Goethe Schubertiad Christine Schäfer (Soprano), John Mark Ainsley (Tenor), Simon Keenlyside (Baritone), Michael George (Bass), The London Schubert Chorale CDJ33024, Recorded November 1993, May & September 1994; RM Score 9

Schafers Klagelied, D121; An Mignon, D161; Geistes-gruss, D142; Rastlose Liebe, D138; Der Gott und die Bajadere, D254; Tischlied, D234; Der Schatzgraber, D256; Der Rattenfanger, D255; Bundeslied, D258; Erlkonig, D328; Jagers Abendlied, D215; Jagers Abendlied, D368; Gesange des Harfners, D480; Sehnsucht, D359; Mignon, D469; Sehnsucht, D481; Sehnsucht, D656; An Schwager Kronos, D369; Hoffnung, D295; Mahomets Gesang, D549; Ganymed, D544; Der Goldschmiedsgesell, D560; Gesang der Geister uber den Wassern, D484; Gesang der Geister uber den Wassern, D705

After the relative disappointment of the Schubertiad in volume 22, this one works better. This one heralds the first appearance of Christine Schäfer who appears on 2 later discs, and has also had such a success with the first edition of Hyperion's complete Schumann songs. Goethe was the poet Schubert set most frequently, and amongst the great successes there are relatively few failures, so a Goethe only disc can hardly fail, and this one doesn't. Amongst Schubert's 'greatest hits', this disc includes Schäfers Klagelied, Rastlose Liebe and Jägers Abendlied, plus a 'fun' version of Erlkönig with the different voices being taken by 3 different singers, which is not the sacrilige it might appear as there is a documented incident of Schubert participating in such a performance.

Vol 25 - Ian Bostridge (Tenor) CDJ33025 Recorded October 1995; RM Score 10

Die schöne Müllerin, D795

Another winner of a Gramophone Award, and great praise from the commentators. This is the area of the repertory where the series is up against huge competition from well established recordings from beloved artists. Why should you buy another copy of the cycle? Well, to my ear, Ian Bostridge is exactly the right sort of voice for this cycle (and exactly the wrong voice for Winterreise). His high youthful lyric tenor fits my vision of the lovelorn youth, still unwordly and immature, that is the subject of the cycle of poems. Certainly you will return to DFD, Pears, et al, but this one is worthy of ranking up there with the very best.

Added to that we have the pleasure of hearing Dietrich Fischer-Dieskau reading the poems that Schubert did not set. The CD notes, over which Ted Perry was waxing lyrical even before the CD was issued, run to 72 pages, and include the snippet of information that FiDi was originally scheduled for one of the early issues of the series! Get it.

Vol 26 - An 1826 Schubertiad, Christine Schäfer (Soprano), John Mark Ainsley (Tenor), Richard Jackson (Baritone), The London Schubert Chorale CDJ33026, Recorded May 1994 - February 1996; RM Score 9½

Der Einsame, D800; Des Sängers Habe, D832; Lied der Delphine, D857/1; Lied des Florio; D857/2, Mondenschein, D875; Nur wer die Sehnsucht kennt, D877/1; Heiss mich nicht reden, D877/2; So lasst mich scheinen, D877/3; Nur wer die Sehnsucht kennt, D877/4; Totengräberweise, D869; Das Echo, D990c; An Silvia, D891; Ständchen (Horch, horch! die Lerch), D889; Trinklied, D888; Wiegenlied, D867; Widerspruch, D865; Der Wanderer an den Mond, D870; Grab und Mond, D893; Nachthelle, D892; Abschied von der Erde, D829

Probably the best of the Schubertiads to date, with excellent singing, and more of Schubert's 'greatest hits' than usual, as this one contains all the Shakespeare settings, Der Wanderer and den Mond, and the last set of Mignon's songs (D877). It also contains a decided oddity, a recording of Abschied, the only stand alone melodrama we have from Schubert. It is perhaps not surprising that a collection of such late songs should be so good, as at this stage, Schubert was a complete master of all song forms.

Vol 27 -Matthias Görne (Baritone), with Christine Schäfer (Soprano), CDJ33027 Recorded March 1995 and Feb 1996; RM Score 9½

Lob der Tränen, D711; Lebensmelodien, D395; Sprache der Liebe, D410; Wiedersehn, D855; Sonett I, D628; Sonett II, D629; Sonett III, D630; Abendröte, D690, Die Berge, D634; Die Vögel, D691; Der Fluss, D693; Der Knabe, D692; Die Rose, D745; Der Schmetterling, D633; Der Wanderer, D649; Das Mädchen, D652; Die Sterne, D684; Die Gebüsche, D646; Blanka, D631; Der Schiffer, D694; Fülle der Liebe, D854; Im Waldse, D708

Matthias is a fast rising star as a Lieder singer, and from this disc one can quite see why. He is the only singer to have 2 discs in the series: his Winterreise, is volume 30. All bar one of the songs are to poems or translations by the brothers August and Friedrich von Schlegel, including several which are unjustly neglected. GJ has attempted to form a song cycle from the Abendröte poems, though it is doubtful how succesfull this has been.

Vol 28 - An 1822 Schubertiad, John Mark Ainsley (Tenor), Maarten Koningsberger (Baritone), The London Schubert Chorale, and other 'friends'. CDJ33028, Recorded May 1994 - February 1996; RM Score 9½

Versunken, D715; Im Gegenwärtigen Vergangenes, D710; Mahomets Gesang, D721; Geheimes, D719; Johanna Sebus, D728; Heiss mich nich reden, D726; Die Nachtigall, D724; Sei mir gegrüsst!, D741; Frühlingsgesang, D740; Der Wachtelschlag, D742; Geist der Liebe, D747; Die Liebe hat gelogen, D751; Du liebst mich nicht, D756; Todesmusik, D758; Selige Welt, D743; Ihr Grab, D736; Schatzgräbers Begehr, D761; Der Musensohn, D764; Am Flusse, D766; An die Entfernte, D765; Willkommen und Abschied, D767; Des Tages Weihe, D763

Another interesting Schubertiad, containing many of the later Goethe settings, as well as a several well known songs, including Geheimes, Sei mir gegrüsst! and Willkommen und Abschied.

Vol 29 - Schubert in 1819 and 1820, Marjana Lopovsek. CDJ33029, ; RM Score 9

Abendbilder, D650; Himmelsfunken, D651; Hoffnung, D637; Hymne I D659; Hymmne II D660; Hymne III, D661; Hymne IV, D662; Nachthymne, D687; Einsamkeit, D520; Blondel zu Marien, D626; Trost, D671; Die Liebende schreibt, D673; Morgen lied, D685; Frühlingsglaube, D686; Der Jüngling auf dem Hügel, D702; Im Walde (Waldesnacht), D708

Songs from 1819 and 1820, including the Novalis Hymns, and Im Walde, one of my very favourite songs. According to the notes in the Complete Songs Texts book that accompanies the box set of this edition, Lopovsek was supposed to sing the long Mayrhofer song Einsamkeit, but she decided that it did not suit her. So it was eventually sung by Nathan Berg, and is, in my view, one of the lowlights on this disc, though that is probably more down to Schubert than Berg.

Vol 30 - Winterreise (D911), Matthias Goerne. CDJ33030, Recorded 4-7 August 1996; RM Score 10

Gute Nacht; Die Wetterfahne; Gefrorne Tränen; Erstarrung; Der Lindenbaum; Wasserflut; Auf dem Flusse; Rückblick; Irrlicht; Rast; Frühlingstraum; Einsamkeit; Die Post; Der greise Kopf; Die Krähe; Letzte Hoffnung; Im Dorfe; Der stürmische Morgen; Täuschung; Der Wegweiser; Das Wirtshaus; Mut!; Die Nebensonnen; Der Leiermann

A blockbuster Winterresise, up there with the best of them, if not quite at the top of the tree. The interpretation seems to me to show great maturity: much greater than we should necessarily expect from an artist of this age. I seem to recall that it received very good, though not quite rave reviews. I have quite a few recordings of Winterresise (30 or so, which isn't really all that many: I do have a colleague with well over 100: see the Winterresise discography), and this is one I come back to more often than most, though not quite as often as DFD (Demus) or Quasthoff.