Songs - Deutsch Numbers 801 and up

D	Key	Title	Text	Composed
801	A	Dithyrambe	Schiller	1824
805	F	Der Sieg	Mayrhofer	Mar 1824
806	a	Abendstern	Mayrhofer	Mar 1824
807	G	Auflösung	Mayrhofer	Mar 1824
	Recording of Auflösung by BRIGITTE FASSBAENDER mezzo soprano and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33011, Track 11. 2:30.
808	C	Gondelfahrer (1)	Mayrhofer	Mar 1824
827	B	Nacht und Träum (2 versions)	M. von Collin	1822 to 1823
828	f	Die junge Nonne	J. N. Craigher de Jachelutta	early 1825
829	F	Abschied, melodrama	A. von Pratobevera	Feb 1826
830	c	Lied der Anne Lyle	A McDonald, trans S. May	early 1825
831	f	Gesang der Norna	Scott, trans S. H. Spiker	early 1825
832	Bflat	Des Sängers Habe	F. von Schlechta	Feb 1825
833	Bflat	Der blinde Knabe (2 versions)	C. Cibber, trans J. N. Craigher de Jachelutta	Apr 1825
834	g	Im Walde	E. Schulze	Mar 1825
837	Dflat	Ellens Gesang I (Raste Krieger)	Scott, trans D. A. Storck	Apr-Jul 1825
838	Eflat	Ellens Gesang II (Jäger, ruhe)	Scott, trans D. A. Storck	Apr-Jul 1825
839	Bflat	Ellens Gesang III (Ave Maria)	Scott, trans D. A. Storck	Apr 1825
842	f	Totengräbers Heimwehe	J. N. Craigher de Jachelutta	Apr 1825
843	d	Lied des gefangenen Jägers	Scott, trans D. A. Storck	Apr 1825
	Recording of Lied des gefangenen Jägers by THOMAS HAMPSON baritone and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33035, Track 17. 3:31.
846	c	Normans Gesang	Scott, trans D. A. Storck	Apr 1825
851	a	Das Heimweh (2 versions)	J. L. Pyrker von Felsö-Eör	Aug 1825
852	C	Die Allmacht (1) (2 versions)	J. L. Pyrker von Felsö-Eör	Aug 1825
	Recording of Die Allmacht by ELIZABETH CONNELL soprano and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33005, Track 9. 4:59.
853	G	Auf der Bruck	E. Schulze	Mar or Aug 1825
854	Aflat	Fülle der Liebe	F. von Schlegel	Aug 1825
855	G	Wiedersehn	A. W. von Schlegel	Sep 1825
856	F	Abendlied für die Entfernte	A. W. von Schlegel	Sep 1825
857a	A	Lied der Delphine	C. W. von Schütz	Sep 1825
857b	E	Lied der Florio	C. W. von Schütz	Sep 1825
860	a	An mein Herz	E. Schulze	Dec 1825
861	G	Der liebliche stern	E. Schulze	Dec 1825
	Recording of Der liebliche stern by PETER SCHREIER tenor, and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33018, Track 16. 2:48.
862	Bflat	Um Mitternacht (2 versions)	E. Schulze	Dec 1825 - Mar 1826
863	?	An Gott, lost	C. C. Hohlfeld	1827
864	?	Das Totenhemdchen, lost	E. von Bauernfeld	after 1824
865	D	Widerspruch [see male voices]	J. G. Seidl	1826
866a	G	Die Unterscheidung	J. G. Seidl	? summer 1828
	Recording of Die Unterscheidung by MARIE McLAUGHLIN soprano and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33013, Track 2. 4:03.
866b	Aflat	Bei dir allein	J. G. Seidl	? summer 1828
866c	a	Die Männer sind mechant	J. G. Seidl	? summer 1828
866d	d	Irdisches Glück	J. G. Seidl	? summer 1828
867	Aflat	Wiegenlied	J. G. Seidl	? 1826
868	Bflat	Das Echo [see D990c]	Castelli	?
869	f#	Totengräber - Weise	F. von Schlechta	1826
870	g	Der Wanderer an den Mond	J. G. Seidl	Mar 1826
871	Aflat	Das Zügenglocklein (2 versions)	J. G. Seidl	Mar 1826
874	G	O Quell, was strömst du rasch und wild	E. Schulze	Mar 1826
876	e	Im Janner 1817	E. Schulze	Jan 1826
877a	b	Mignon und der Harfner (5) - Nur wer die Sehnsucht kennt	Goethe	Jan 1826
877b	e	Lied der Mignon (2) - Heiss mich nicht reden	Goethe	Jan 1826
877c	B	Lied der Mignon (3) - So lasst mich scheinen	Goethe	Jan 1826
	Recording of Lied der Mignon - So lasst mich scheinen by CHRISTINE SCHÄFER soprano and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33026, Track 8. 3:12.
877d	a	Lied der Mignon (6) - Nur wer die Sehnsucht kennt	Goethe	Jan 1826
878	F	Am Fenster	J. G. Seidl	Mar 1826
879	d	Sehnsucht	J. G. Seidl	Mar 1826
880	Eflat	Im Freien	J. G. Seidl	Mar 1826
881	D	Fischerwiese (2 versions)	F. von Schlechta	Mar 1826
882	G	Im Frühling	E. Schulze	Mar 1826
883	Bflat	Lebensmut	E. Schulze	Mar 1826
884	d	Über Wildemann	E. Schulze	Mar 1826
888	C	Trinklied	W. Shakespeare	Jul 1826
889	C	Ständchen	W. Shakespeare	Jul 1826
890	a	Hippolits Lied	F. von Gerstenberg	Jul 1826
891	A	Gesang - An Sylvia	W. Shakespeare, trans Bauernfeld	Jul 1826
	Recording of An Sylvia by JOHN MARK AINSLEY tenor and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33026, Track 12. 3:00.
896	F	Fröhliches Scheiden, sketch	Leitner	autumn 1827 - early 1828
896a	Bflat	Sie im jedem Liede, sketch	Leitner	autumn 1827 - early 1828
896b	C	Wolke und Quelle, sketch	Leitner	autumn 1827 - early 1828
902a	C	L'incanto degli occhi (2)	Metastasio	1827
902b	e	Il traditor deluso (2)	Metastasio	1827
902c	C	Il modo di prender moglie	Metastasio	1827
904	a	Alinde	Rochlitz	Jan 1827
	Recording of Alinde by ANTHONY ROLFE JOHNSON tenor and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33006, Track 14. 4:48.
905	D	An die Laute	Rochlitz	Jan 1827
906	D	Der vater mit dem Kind	E von Bauernfeld	Jan 1827
907	b	Romanze des Richard Lowenherz (2 versions)	Scott, trans Müller	Mar 1826
	Recording of Romanze des Richard Lowenherz by GERALD FINLEY baritone and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33036, Track 1. 4:40.
909	D	Jägers Liebeslied	F. von Schober	Feb 1827
910	e	Schiffers Scheidelied	F. von Schober	Feb 1827
911	Vars	Winterreise	Müller	1827
911a	d	Gute Nacht	Müller	Spring 1827
911b	a	Die Wetterfahne	Müller	Spring 1827
911c	f	Gefrorne Tränen	Müller	Spring 1827
911d	c	Erstarrung	Müller	Spring 1827
911e	E	Der Lindenbaum	Müller	Spring 1827
911f	f#	Wasserflut (2 versions)	Müller	Spring 1827
911g	e	Auf dem Flusse	Müller	Spring 1827
911h	a	Rückbild	Müller	Spring 1827
911i	b	Irrlicht	Müller	Spring 1827
911j	c	Rast (2 versions)	Müller	Spring 1827
911k	A	Frühlingstraum	Müller	Spring 1827
911l	b	Einsamkeit (2 versions)	Müller	Spring 1827
911m	Eflat	Die Post	Müller	Oct 1827
911n	c	Der greise Kopf	Müller	Oct 1827
911o	c	Die Krähe	Müller	Oct 1827
911p	Eflat	Letze Hoffnung	Müller	Oct 1827
911q	D	Im Dorfe	Müller	Oct 1827
911r	d	Der stürmische Morgen	Müller	Oct 1827
911s	A	Täuschung	Müller	Oct 1827
	Recording of Täuschung by MATTHIAS GOERNE baritone and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33030, Track 19. 1:18.
911t	g	Der Wegweiser	Müller	Oct 1827
911u	F	Das Wirthaus	Müller	Oct 1827
911v	a	Mut (2 versions)	Müller	Oct 1827
911w	A	Die Nebensonnen (2 versions)	Müller	Oct 1827
911x	a	Der Leiermann (2 versions)	Müller	Oct 1827
A 1933 recording of Winterreise by Gerhard Hüsch and Hanns Udo Müller can be downloaded from:
916a	?	Song sketch	Anonymous	May 1827
917	A	Das lied im Grünen	J. A. F. Reil	Jun 1827
919	Aflat	Frühlingslied	A. Pollak	1827
922	Bflat	Heimliches Lieben (2 versions)	K. L. von Klenke	Sep 1827
923	g	Eine altschottische Ballade (3 versions)	Anon, trans Herder	Sep 1827
926	D	Das Weinen	Leitner	autumn 1827 - early 1828
927	b	Vor meiner Wiege	Leitner	autumn 1827 - early 1828
931	a	Der Wallensteiner Lanzknecht beim Trunk	Leitner	Nov 1827
932	D	Der Krezzug	Leitner	Nov 1827
933	a	Des Fischers Liebesglück	Leitner	Nov 1827
937	Bflat	Lebensmut, frag	L. Rellstab	? summer 1828
938	Bflat	Der Winterabend	Leitner	Jan 1828
939	Eflat	Die Sterne	Leitner	Jan 1828
943	E	Auf dem Strom	L. Rellstab	Mar 1828
945	c	Herbst	L. Rellstab	Apr 1828
949	Bflat	Widerschein [see D639b]	Schlechta	1820
955	Eflat	Glaube, Hoffnung und Liebe	C. Kuffner	Aug 1828
957	Vars	Schwanengesang	See Below	Aug-Oct 1828
957a	G	Liebesbotschaft	L. Rellstab	Aug 1828
957b	c	Kriegers Ahnung	L. Rellstab	.
957c	Bflat	Frühlingssehnsucht	L. Rellstab	.
957d	d	Ständchen	L. Rellstab	.
957e	e	Aufenthalt	L. Rellstab	.
	Recording of Aufenthalt by JOHN MARK AINSLEY tenor and GRAHAM JOHNSON piano, from the The Hyperion Schubert Edition CDJ33037, Track 10. 3.38.
957f	b	In der Ferne	L. Rellstab	.
957g	Eflat	Abscheid	L. Rellstab	.
957h	a	Der Atlas	Heine	.
957i	Bflat	Ihr Bild	Heine	.
957j	Aflat	Das Fischermädchen	Heine	.
957k	c	Die Stadt	Heine	.
957l	C	Am Meer	Heine	.
957m	b	Der Doppelgänger	Heine	.
965	Bflat	Der Hirt auf dem Felsen	Müller / H. von Chézy	Oct 1828
965a	G	Die Taubenpost	Seidl	Oct 1828
989	A	Vollendung [see D579a]	Matthisson	Sep-Oct 1817
989a	E	Die Erde [see D579b]	Matthisson	Sep-Oct 1817
990	G	Der Graf von Hapsburg, frag	Schiller	?1815
990a	Bflat	Kaiser Maximilian auf der Martinswand	H. von Collin	?1815
990b	?	Augenblicke in Elysium, lost [was D582]	Schober	?
990c	Bflat	Das Echo [was D868]	I. Castelli	?
990d	?	Die Schiffende, lost	Hölty	?
990e	Bflat	L'incanto degli occhi (1), frag	Metastasio	?
990f	?	Il traditor deluso	Metastasio	?

Details of (some) Works

Ellens Gesang III (Ave Maria), D839

I regularly get confused requests from people for details about Schubert's Ave Maria. The subject is complicated by the fact that what is often presented as "Schubert's Ave Maria", and sung by the likes of Perry Como or Val Doonigan, or fat overpaid Tenors with hankies in their top pockets, is an arrangement, usually sentimentalised and miles over the top with weeping strings and harps, etc. The singer tries to make the tune fit the Ave Maria Latin words (which, co-incidentally, it nearly does). I don't have a recording, I'm pleased to say, and I don't have the words, as they bear no resemblance to the words Schubert set. Who first forced this 'setting' I can't say, and to be honest, I really don't care.

What Schubert actually wrote, he called Ellens dritter Gesang ("Ellen's third song"). The words are from a German translation of a work by Sir Walter Scott, who was very popular all over Europe at the time. The work is "The Lady of the Lake", and Schubert set 6 or 7 songs from this work, and others by Scott. In this particular scene Ellen Douglas, in hiding, prays to the Virgin Mary. Schubert's setting was a simple Lied, voice with just piano accompaniment. It's much better than the over-the-top arrangements, but then I'm biased. Nevertheless, it does annoy me that the radio shows and record companies happily present a distorted view of Schubert's output - how many bother to play the real Schubert, or even tell their audience that what they are listening to isn't echt Schubert?

The real words (and this is true for most Lieder) can be found on Emily Ezust's Lieder Texts web site, which, as it happens, I posted: Ellens Gesang III (Ellen's Song III [Ave Maria]) Sir Walter Scott (1771-1832) translated by Adam Storck D839 (Spring 1825) First Published in 1826 as Op 52 no 6.

Storck's translation as set by Schubert	Walter Scott's Original from "The Lady of the Lake"
Ave Maria! Jungfrau mild, Erhöre einer Jungfrau Flehen, Aus diesem Felsen starr und wild Soll mein Gebet zu dir hinwehen. Wir schlafen sicher bis zum Morgen, Ob Menschen noch so grausam sind. O Jungfrau, sieh der Jungfrau Sorgen, O Mutter, hör ein bittend Kind! Ave Maria!	Ave Maria! maiden mild! Listen to a maiden's prayer! Thou canst hear though from the wild, Thou canst save amid despair. Safe may we sleep beneath thy care, Though banish'd, outcast and reviled - Maiden! hear a maiden's prayer; Mother, hear a suppliant child! Ave Maria!
Ave Maria! Unbefleckt! Wenn wir auf diesen Fels hinsinken Zum Schlaf, und uns dein Schutz bedeckt Wird weich der harte Fels uns dünken. Du lächelst, Rosendüfte wehen In dieser dumpfen Felsenkluft, O Mutter, höre Kindes Flehen, O Jungfrau, eine Jungfrau ruft! Ave Maria!	Ave Maria! undefiled! The flinty couch we now must share Shall seem this down of eider piled, If thy protection hover there. The murky cavern's heavy air Shall breathe of balm if thou hast smiled; Then, Maiden! hear a maiden's prayer; Mother, list a suppliant child! Ave Maria!
Ave Maria! Reine Magd! Der Erde und der Luft Dämonen, Von deines Auges Huld verjagt, Sie können hier nicht bei uns wohnen, Wir woll'n uns still dem Schicksal beugen, Da uns dein heil'ger Trost anweht; Der Jungfrau wolle hold dich neigen, Dem Kind, das für den Vater fleht. Ave Maria!	Ave Maria! stainless styled! Foul demons of the earth and air, From this their wonted haunt exiled, Shall flee before thy presence fair. We bow us to our lot of care, Beneath thy guidence reconciled; Hear for a maid a maiden's prayer, And for a father hear a child! Ave Maria!

The German Schubert set isn't a perfect translation, but it's fairly close. Schubert composed the setting whilst on holiday in Upper Austria with Vogl (or perhaps just before), and it made a huge impression everywhere. They performed it at the home of Sophie Weissenwolff, who made it clear that she would like the dedication - which followed. Countess Weissenwolff subsequently became known as 'the lady of the lake'. Not many letters from Franz have survived, but he wrote a fairly long (for him) letter to his father and step-mother about this, which includes the often repeated quote:

My new songs from Scott's Lady of the Lake especially had much success. They also wondered greatly at my piety, which I expressed in a hymn to the Holy Virgin and which, it appears, grips every soul and turns it to devotion. I think this is due to the fact that I never forced devotion in myself and never compose hymns or prayers of that kind unless it overcomes me unawares; but then it is usually the right and true devotion.

There are many CDs which have the Ellens 3 songs, which would let you hear the original. Usually it will be named something like Ellens Gesang III (Ave Maria). I've got several recordings, including what was probably the very first, from 1898, with lumps cut out (no introduction, just the first verse) to fit onto a cylinder. It's very crackly and idiosyncratic, but still probably better than Perry Como... Most of the Scott songs are on no 13 from the Hyperion Schubert Edition.

Schwanengesang, D957

Schwanengesang ('Swan song'), is a collection of songs, not truly a song cycle, published by Tobias Haslinger shortly after Schubert's death. There is no evidence that Schubert saw them as a cycle, indeed 6 weeks before he died he offered the Heine songs alone to Probst. In the hype of the day, Haslinger described them as 'the final fruits of his noble genius'. This is not quite so, although many experts do believe that Die Taubenpost was the last song he wrote. The other songs in the work were written somewhat earlier, probably during his last summer in 1828, though Karl von Schönstein placed the Heine songs earlier still.

The Rellstab poems were originally given to Beethoven to set by the poet. There is conflicting evidence of how they ultimately came into Schubert's hands. Amongst them is the Ständchen (Serenade), Liese flehen meine Lieder, for many years his most popular piece.

The Heine songs are all accepted as masterpieces, and their power sits somewhat uncomfortably in a performance with the Rellstab songs, particularly if they are followed by the gentle, and apparently much simpler Die Taubenpost. In the modern age performers frequently perform the cycle out of the published sequence, and often interpose other songs, particularly by Seidl or Rellstab.