Why – one might be tempted to add: why again – the Heine-Lieder? And why psychoanalysis? Like most of Schubert's music and especially the late works, yet with a distinctive nuance, Schubert's set of six songs to texts from Heine's Buch der Lieder has been regularly discussed in the musicological literature of the last decades. Among those writings, the articles by Harry Goldschmidt and Richard Kramer, the collection of essays on Schwanengesang edited by Martin Chusid, and the latter's publication of the facsimile of the autograph and first edition of the cycle are of particular interest to us here. The reason for it has to do with the nuance referred to at the beginning of this paragraph. While some authors are inclined to discuss Schubert's understanding of the poetry (notably in terms of the celebrated Heinesque ‘irony’), others choose to address the set from another perspective, namely that of the order of the songs. Indeed, the following questions inevitably arise in considering the Heine songs: Why did Schubert alter the order of the poems from that in which they appear in Heine's original collection, therefore (seemingly) destroying the logic of the sequence? Did Schubert actually conceive the text as a sequence – that is to say, a cycle? In dealing with those issues, Goldschmidt and Kramer have suggested a provocative and radical solution, which consists in reordering the songs to match the succession in Heine. This, of course, has occasioned much eyebrow-raising in the musicological community, and has led to successive refutation and counter-refutation.