¹ Thanks are in order to my colleague, collaborative pianist Robert Byrens, whose observations on the scores from the point of view of a seasoned performer are interwoven into the review.

² B/H was planned as a 17-volume series, but only 11 of the volumes were released. At this point, the publishers do not plan to continue this series, which they consider to be replaced by the new practical edition. Remaining stocks of the volumes are being sold, and they will not be printed again. (I owe this information to a personal communication with a Henle employee in the St Louis office.)

³ Wigmore, Richard, trans., Schubert: The Complete Song Texts – Texts of the Lieder and Italian Songs with English Translations (London: Gollancz, 1988).Google Scholar

⁴ I thank my colleague, singer Kathryn Stieler, for drawing my attention to the importance of these points about the texts and translations.

⁵ The editor of the NSA, Walther Dürr, has written about this material, asserting its value as source material on performance practice in Schubert's time. See his ‘Schubert and Johann Michael Vogl: A Reappraisal’, 19th-Century Music 3/2 (Nov. 1979): 126–40Google Scholar , and ‘Virtuosität und Interpretation: Schubert-Lieder ausgeziert?’ in Internationales Symposium Musikerautographe (Tutzing: H. Schneider, 1990): 145–53Google Scholar . Perhaps Vogl's changes are simply too extensive to include in the practical edition; however, it would be worthwhile to mention the Vogl versions, when they exist, in the discussion of sources for each song.

⁶ The sole exception I noticed was on pp. 136–41, where a few songs are more crowded. This is also the only place where the high-, medium- and low-voice versions are paginated differently; for no evident reason, ‘Schatzgräbers Begehr’ op. 23, no. 4, begins on p. 139 in the low-voice version rather than p. 140, as in the others. This pagination difference is not reflected in the table of contents.