¹ Hyperion Records Limited, Franz Schubert: The Complete Songs, soloists, Graham Johnson piano, 40 Compact Discs CDS44201/40. CDs 1–37 of the boxed set had been recorded and released separately and non-chronologically by Hyperion, beginning in 1987, as CDJ33001 through to CDJ33037. For more on the recording project, see the collection’s handbook, Schubert: The Complete Song Texts: English Translations by Richard Wigmore, Introduction and Schubert calendar by Graham Johnson (London: Hyperion Records Ltd, 2005): iv–x, and the publication under review here, Franz Schubert: The Complete Songs, Volume One, pp. x–xi, and Volume Three, pp. 866–82. Dietrich Fischer-Dieskau, accompanied by Gerald Moore, recorded Schubert’s complete lieder for male voice in the 1960s and 1970s (a 21-CD set, Schubert Lieder [CD ADD 0289 477 5765 8 GB 21], corresponding to the original vinyl LPs, was released by Deutsche Gramophone in 2005). However, the Hyperion endeavour – which features solo lieder for both male and female voices plus part-songs – otherwise is unprecedented.

² A comprehensive review of Hyperion’s Franz Schubert: The Complete Songs, composed of contributions by James Parsons, Susan Wollenberg, Suzannah Clark, David Gramit, Susan Youens, Lorraine Byrne Bodley and Richard Kramer appeared in Nineteenth-Century Music Review 5/2 (2008): pp. 123–64.

³ Gerald Moore may be best remembered today for recordings of Schubert’s lieder made with Dietrich Fischer-Dieskau, and for his many books, which include The Unashamed Accompanist (London: Ascherberg, Hopwood & Crew, 1943), Am I too Loud?: A Musical Autobiography (London: Macmillan, 1962) and The Schubert Song Cycles: With Thoughts on Performance (London: Hamish Hamilton, 1975). Graham Johnson relates: ‘With Gerald’s encouragement, and in his heartening company, I began to feel at last like a member of his profession, albeit a junior one. In due course I gratefully inherited his music library, including the “Mandyczewski” – the Schubert edition used by the great accompanist during his recordings with Fischer-Dieskau’ (I, p. ix).

⁴ In this review, abbreviated references like (I, pp. 168–9) specify the volume and pages cited.

⁵ Deutsch, Otto Erich, Schubert: A Documentary Biography, trans. Eric Blom (London: J.M. Dent & Sons, 1946; unabridged reprint published by Da Capo Press, New York, 1977)Google Scholar. Originally published as Schubert: Die Dokumente seines Lebens und Schaffens (Munich: G. Müller, 1914), Deutsch’s (1883–1967) work was revised and released a half-century later by the Neue Schubert-Ausgabe (Kassel: Bärenreiter, 1964).

⁶ The handbook included with Hyperion Record’s boxed-set, Franz Schubert: The Complete Songs Schubert: The Complete Song Texts: English Translations by Richard Wigmore, Introduction and Schubert calendar by Graham Johnson, may be accessed online or obtained in hard copy from its website; see http://www.hyperion-records.co.uk/al.asp?al=BKS44201/40 (accessed 15 July 2015).

⁷ Reed, John, The Schubert Song Companion, new ed. (Manchester: Manchester University Press, [1985] 1997)Google Scholar.

⁸ A recent source on Schubert’s songs, Schubert Liedlexikon, ed. Walther Dürr, Michael Kube, Uwe Schweikert and Stefanie Steiner, with Michael Kohlhaüfl (Kassel: Bärenreiter-Verlag, 2012), which extends to nearly 900 pages, offers opportunities for comparison with the work under review here.

⁹ ‘Der Musensohn’, ‘Der Sänger’ and ‘Don Gayseros (I)’ all are discussed by Suzannah Clark elsewhere in this issue.

¹⁰ The Scott songs appear in Franz Schubert: The Complete Songs under the heading Sieben Gesänge aus Walter Scott’s Fräulein vom See (III, pp. 149–74), and among them is ‘Ellens Gesang III’, popularly known as Schubert’s ‘Ave Maria’. A full list of these song-sets appears in the first volume on p. xxiv.

¹¹ An ‘H number’ corresponds to a song’s location within the Hyperion’s chronologically ordered CD collection Franz Schubert: The Complete Songs. Johnson admits that ‘H numbers are not an infallible guide to the chronological order in which Schubert composed his songs, but they provide an adequate if necessarily speculative guide’ (I, p. xxviii). Johnson adds that they are particularly helpful referents to discussions within the extensive ‘Schubert Song Calendar’ (III, pp. 811–62), which surveys the composer’s creative production year by year: ‘The usefulness of the H numbers goes beyond their link with the Hyperion Edition in terms of orientation. Armed with this number to be found at the head of each commentary within the book (after the Deutsch catalogue number), the reader or listener will be able to refer back to the Schubert Song Calendar at the end of Volume 3 and quickly place any title (otherwise adrift in the alphabetical sequence of an encyclopedia) in the context of the composer’s life and his song output as a whole’ (I, pp. xxix–xxx).

¹² For instance, Schubert’s ‘Auf der Donau’ (D. 553; 1817) begins in E-flat major, moves to F-sharp minor a little less than halfway through, and ends in that key without returning to E-flat; see Youens, Susan, Schubert’s Poets and the Making of Lieder (Cambridge: Cambridge University Press, 1996): 190–194 Google Scholar, for a valuable discussion. This phenomenon has been termed ‘directional tonality’; for more, see Denny, Thomas, ‘Directional Tonality in Schubert’s Lieder’, in Franz Schubert – Der Fortschrittliche? Analysen – Perspectiven – Fakten, ed. Erich Wolfgang Partsch (Tutzing: Hans Schneider, 1989): 37–53 Google Scholar.

¹³ H59 corresponds to the third of Schubert’s six versions of ‘Geistes-Gruss’, which begins in D major, moves to F major, and extends just 25 bars; H59A corresponds to Schubert’s sixth version, which begins in E major, moves to G major, and extends 33 bars (I, p. 675). In a similar manner, Hyperion’s Franz Schubert: The Complete Songs illuminates the composer’s creativity by including two versions of ‘Erlkönig’ (see I, p. 527).

¹⁴ See the discussion of ‘Geistes-Gruss’ by Suzannah Clark elsewhere in this volume.

¹⁵ These translations originally appeared in Wigmore, Richard, Schubert: The Complete Song Texts (London: Victor Gollancz, 1988)Google Scholar.

¹⁶ Robert Hatten discusses Schubert’s ‘appropriation’ of his poets’ texts in ‘A Surfeit of Musics: What Goethe’s Lyrics Concede When Set to Schubert’s Music’, Nineteenth-Century Music Review 5/2 (2008): 7–18.

¹⁷ See Lorraine Byrne Bodley’s discussion of ‘Erster Verlust’ in her article elsewhere in this issue.

¹⁸ A modern critical edition of the poem ‘Erster Verlust’ appears in Goethe, Johann Wolfgang, Sämtliche nach Epochen seines Schaffens (Münchner Ausgabe), 21 vols (Munich: Carl Hanser, 1987)Google Scholar: vol. 2.1, ed. Karl Richter, p. 100. I thank Lorraine Byrne Bodley for her help with this reference.

¹⁹ One feature of Franz Schubert: The Complete Songs sure to be appreciated by writers of programme notes and musicologists is its quotability. Virtually every commentary on a well-known lied, and certainly many others as well, features one or more pithy descriptions or eloquent assertions that captures the essence of the work in a manner suitable for supportive citation in other contexts.

²⁰ See Capell, Richard, Schubert’s Songs (London: Ernest Benn, 1928): 114–115 Google Scholar, Fischer-Dieskau, Dietrich, Schubert’s Songs: A Biographical Study, trans. Kenneth Whitton (New York: Alfred Knopf, 1977): 80–82 Google Scholar, and Reed, John, The Schubert Song Companion, pp. 137–138 Google Scholar. Johnson’s bibliography at the end of ‘Der Wanderer’s entry (III, p. 543) mentions only the first two of these helpful sources.

²¹ For instance, see the text of ‘Nachtviolen’, D. 742, on pp. 439–40 of the second volume, where separated omissions of one and two lines appear. Unfortunately, the missing lines are not given, and those interested will need to find the poet’s original full text.

²² Schubert’s setting of ‘Die Forelle’ (D. 550) omits poet Christian Friedrich Schubart’s original last verse, and Johnson explains why it did not suit the composer’s purposes (see I, p. 580).

²³ See Lorraine Byrne Bodley’s discussion of ‘Wandrers Nachtlied (II)’ elsewhere in this issue.

²⁴ Johnson expects no less of the accompanist: ‘A pianist must always be familiar with the poetic text before they can accompany a song with any confidence. They must truly be aware of every detail of the third stave, both musical and verbal … A pianist has to be able to sing with the singer, and by this I mean more than simply play the instrument in a singing manner … It follows – and this is one of the great secrets of the profession – that a pianist must fool his or her brain into believing that it is himself or herself who is singing the text. This is achieved by mentally singing every word with the singer (albeit silently and without mouth movements, and yes, if not every word of the German is understood)’ (I, p. 49).

²⁵ Schubert’s friend Josef von Spaun expressed this notion about Schubert’s creativity most elegantly: ‘Every one of his song compositions is in reality a poem on the poem he set to music’; see Deutsch, , Schubert: A Documentary Biography, p. 875 Google Scholar. See also Graham Johnson’s elaboration of this idea (I, p. xvi).

²⁶ Eighteen of Schubert’s lieder bear links to Goethe’s novel Wilhelm Meisters Lehrjahr (Wilhelm Meister’s Apprenticeship), which was published in two volumes between 1795 and 1796 (III, p. 601).

²⁷ See Newbould, Brian, Schubert: The Music and the Man (Berkeley and Los Angeles: University of California Press, 1997): 47 Google Scholar.

²⁸ See Newbould, , Schubert: The Music and the Man, p. 184 Google Scholar.

²⁹ Given the integral role of the bass line in Schubert’s songs, and, having been reminded in the ‘Accompanying’ essay that ‘Schubert tended to sketch his vocal lines in conjunction with the bass before writing out the accompaniments in full’ (I, p. 49), more such discussion of counterpoint and the shaping of the lowest strand might have been anticipated in the song commentaries of Franz Schubert: The Complete Songs. However, perhaps such technical matters demand more formal examination in a manual on the art of accompaniment.

³⁰ Schubert’s affinity for expressive duality receives a fine introduction at the start of Graham Johnson’s song commentary to ‘Lachen und Weinen’; see Franz Schubert: The Complete Songs, Volume II, pp. 109–10.

³¹ See the article, ‘A New Source for Schubert’s Hebrew Psalm’, by David Rees and Alon Schab, elsewhere in this issue, which discusses the composer’s setting of Psalm 92.

³² Graham Johnson characterizes the broader significance of ‘Gretchen am Spinnrade’ thusly: ‘From that moment in October 1814 when Schubert decided to imitate the sound of Gretchen’s spinning wheel with a whirring, pianistic clatter, the lied was altered for ever. He had already written admirably effective and imaginative accompaniments (as this book points out) but it was with Gretchen am Spinnrade D118 that the public, and eventually the musicologists, sat up and took notice … The boldness of the accompaniment played a crucial part in matching Goethe’s peerless text in both general terms and in detail, and it marked the beginning of a new era in musical history’ (I, p. 49). For more, see the lied’s article (I, pp. 792–9).

³³ Brahms’s statement to his student Gustav Jenner, ‘Es gibt kein Lied von Schubert aus dem man nicht etwas lernen kann’, appears in Jenner, Gustav, Johannes Brahms als Mensch, Lehrer, und Künstler: Studien und Erlebnisse (Marburg: Wollenweber, [1905] 1930): 31 Google Scholar. I thank Nicole Grimes for her help with this source. Schubert’s influence may be observed most readily in the lieder of Robert Schumann, Hugo Wolf and Johannes Brahms, yet his harmonic innovations extend much further in the nineteenth century, resonating within the music of Franz Liszt, Antonin Dvorak and Gustav Mahler, among many others. Indeed, Schubert’s inventive presence extends well into the twentieth and twenty-first centuries through the extensive references to his songs within music theory pedagogy.