An Appreciation of the Hyperion Complete
Schubert Song Edition
By John Quinn and
Patrick Waller
Introduction
In the autumn of 2005 Hyperion released
their complete Schubert song edition,
some 18 years after they started recording.
The composition of these songs spanned
the same number of years. Between Lebenstraum
… gesang in c", a fragment
dating from 1810 when he was thirteen
and Der Taubenpost written a
few weeks before his death late in 1828,
Schubert set over 700 texts, mostly
solo songs but also part songs and for
ensemble. Almost all were with piano
accompaniment. Everything that has survived
is included. The edition is more than
complete since it also includes a three-disc
anthology of songs by Schubert’s friends
and contemporaries, many of which are
settings of the same texts Schubert
used. In all there are forty discs and
more than sixty solo singers participated
but only one pianist – the indefatigable
Graham Johnson. This project is his
brainchild and he is the artistic mastermind.
In 1985, over dinner,
Johnson was asked by Ted Perry, founder
of Hyperion records what he most wanted
to record. "All Schubert songs"
was the answer and apparently Perry
agreed immediately. He was a visionary
man for whom making worthwhile records
was more important than money. Johnson
devised the programmes and started auspiciously
with a disc sung by Janet Baker. Apparently
contractual difficulties had prevented
her from joining Fischer-Dieskau in
making a complete Schubert song edition
for another label some years earlier.
Although it was late in her career,
she was still in fine voice. It was,
however, too late for Fischer-Dieskau
to sing although in 1995 he narrated
the songs from Die Schöne Müllerin
that Schubert didn’t set. This was
for Ian Bostridge’s recording of that
work.
Many a Schubert lover
will have collected these discs individually
as they have been released over the
last twenty years. One of us (JQ) did
so and the other (PW) acquired the complete
set shortly after it was released. Although
we both have exactly the same recorded
material, there are important differences
in presentation, which will be discussed
in the reflections given below. It is
still possible to acquire the original
discs individually, and therefore to
pick and choose. Some guidance on the
most desirable of them is included.
But anyone who has few or none of these
discs and wants to discover the whole
oeuvre will surely be driven
to acquire the box, the cost of which
is about a third as much as buying the
discs separately. This will not represent
unwarranted completism. Schubert was
surely the greatest songwriter of them
all and the singers, Johnson and Hyperion
here combined to do full justice to
his work.
Reflections of
a collector who acquired the individual
discs (John Quinn)
It all started so innocently!
One Saturday morning I spotted a new
CD from Hyperion on which Dame Janet
Baker was performing a recital of Schubert
lieder accompanied by Graham
Johnson. I’d read about Hyperion’s project
to record all Schubert’s lieder by
1997, the bicentennial of his birth
but, I freely confess I’d not taken
a great deal of notice. However, I was
- and remain – a great admirer of Dame
Janet so I bought the disc, curious
in part to hear her in a number of less
well-known Schubert lieder. Little did
I know what I was letting myself - or
my wallet – in for!
I didn’t immediately
buy the succeeding volume, which featured
Stephen Varcoe. Indeed, I recall being
put off a little by the prospect of
one very long ballad, Der Taucher,
D111 [27:50] in the recital. A few weeks
after it appeared in the shops, however,
I succumbed, again attracted, largely,
by the singer. Three or four more discs
later and I was hooked! Thereafter,
each volume was snapped up eagerly when
it appeared. Eventually I was the proud
possessor of thirty-seven separate CDs
– about £500 worse off, but immeasurably
richer in musical terms!
It’s well nigh impossible
to reappraise such a huge undertaking
in the scope of a brief notice so all
I can do is mention some highlights.
Dame Janet launched the enterprise most
propitiously. A beautifully poised account
of Thelka, D73 awaited us as
just the second track. Later on in the
recital came a wonderfully inward reading
of Meeres Stille, D216
and a typically sensitive traversal
of An den Mond, D296.
If, in the course of
this notice, I don’t make specific mention
of a particular CD that should not be
construed in any way as implying that
the disc in question was of poor quality.
It’s simply a question of the constraints
of time. So I pass by the recital of
Stephen Varcoe (Vol. 2) but I must single
out the rapt reading of Nacht und
Träume, D827 that is a pinnacle
in Ann Murray’s accomplished recital
(Vol. 3).
Graham Johnson displayed
a wonderful knack of matching his chosen
singers not just to songs but also to
themes and most, if not all the recitals
had a theme. Thus Anthony Rolfe Johnson
was perfectly suited to "Schubert
and the Nocturne" (Vol. 6). This
CD was recorded in 1989. Rolfe Johnson
would make a further appearance in the
series to sing part of Schwanengesang
but that recording was made some ten
years later and by then the singer’s
voice was perhaps not quite so fresh
and honeyed. Rolfe Johnson is in lovely,
easy voice, for example, in Die Stern,
D939. This recital also gave us the
chance to hear side-by-side two settings
of the same poem, Abends unter der
Linde. The first setting, catalogued
as D235, was followed the very next
day, 25 July 1815, by a further attempt
on the same text, D237. Rolfe Johnson
is a lovely advocate of both.
The next three volumes
brought us offerings from three distinguished
female singers. The Schubertian credentials
of Elly Ameling (Vol. 7) are too well
known to need restatement here. Suffice
to say her recital is all one could
wish: a gorgeously inflected reading
of An den Mond, D193 shows her
skills at their finest. Sarah Walker’s
excellent recital (Vol. 8) ended with
an utterly electrifying account of Erlkönig,
D328, her searingly dramatic singing
driven on by Johnson’s urgent, dynamic
piano playing. Much later in the series
(Vol. 24) Christine Schäfer (soprano),
John Mark Ainsley (tenor) and Michael
George (bass) sang the song as a mini-drama
with Ainsley as the narrator. That’s
interesting to hear but it doesn’t begin
to approach the hair-raising involvement
of Miss Walker.
Volume 9 brought us
Arleen Augér in a recital entitled
"Schubert and the Theatre".
Listening to it now reminds me what
a grievous loss was the early death
of this lovely singer. She was in particularly
glorious voice for Der Hirt auf dem
Felsen, D965, in which the playing,
by turns mellifluous and agile, of clarinettist
Thea King greatly enhanced the performance.
Another much-missed singer, Lucia Popp,
contributed Volume 17, devoted to songs
from 1816. I love her touching rendition
of Am Grabe Anselmos, D504, while
An den Mond, D468, An die
Nachtigall, D497 and, above all,
her deceptively simple reading of Am
Tage aller Seelen (Litanei), D343
are all pure delight.
In Volume 11 Brigitte
Fassbaender gave us a typically characterful
recital, investing Auf dem Wasser
zu singen, D774 with more intensity
than is often heard. The dramatic account
of Der Tod und das Mädchen,
D631 is just what one would expect from
this committed singer: it’s compelling.
Thomas Hampson (Vol. 14) is superb in
a programme entitled "Schubert
and the Classics." He sets the
tone right at the start in an elevated
performance of Die Götter Griechenlands,
D677 and both he and Johnson are absolutely
commanding in Gruppe aus dem Tartarus,
D583. This is one of the must-have issues
in the series.
There was much to enjoy
in Dame Margaret Price’s recital (Vol.
15) and also in Thomas Allen’s offering
(Vol. 16) and in Vol. 17 Dame Felicity
Lott’s much lighter-voiced version of
Auf dem Wasser zu singen,
D774 offers a pleasing contrast with
the above-mentioned performance by Fassbaender
- this is but one of several occasions
on which two singers essay the same
song. Among other lovely things on that
disc is a charming Nachtviolen,
D752.
Volume 18 brought us
a master of lieder, Peter Schreier,
He gave us a recital of strophic lieder,
many of them relatively unfamiliar.
Not for the first time in this series
I wondered how many of the songs in
question were well known to the singer
concerned before receiving their assignments
from Graham Johnson. Schreier’s artistry
is everywhere evident. Sample, for instance,
what I’d term the restrained intensity
that he brings to Auf den Tod einer
Nachtigall, D399, a song from 1816.
Or hear the expressiveness, never overdone,
that he brings to Um Mitternacht,
D862, where, as so often in this series,
Johnson matches his singer note for
note in terms of expression and insight.
Schreier is in sovereign voice throughout
and this unmissable disc is a 76-minute
long masterclass.
Other notable recitals
included those by Edith Mathis (Vol.
21), Christoph Prégardien (Vol.
23), and Marjana Lipovšek (Vol. 29).
Time does not permit consideration of
the ten discs which contained a variety
of songs by a variety of singers and
which were, either explicitly or implicitly,
Schubertiads. However, all were highly
enjoyable and one of the welcome features
of the series was the opportunity that
these mixed recitals offered Johnson
to include contributions from some younger
singers, several of whom probably hadn’t
begun their careers when the whole enterprise
began. Thus singers such as Gerald Finley,
Simon Keenlyside, Christopher Maltman
and Catherine Wyn-Rogers became involved
in this great project.
There was really only
one relative disappointment, which was
Volume 12. I’m afraid I’ve never taken
greatly to Adrian Thompson’s voice –
that’s a matter of purely personal taste.
Matters aren’t helped by the fact that
he’s allotted songs by "The Young
Schubert", some of which, frankly,
are somewhat limited and naïve.
It’s interesting to hear Schubert’s
setting of Adelaide, D95, which
dates from 1814. Though Beethoven’s
setting of the same text is indisputably
greater, Schubert’s effort should by
no means be eclipsed and Thompson does
it well but elsewhere I find his voice
somewhat strident under pressure and
that diminishes one’s pleasure.
And so, finally, to
the three great cycles. I have read
suggestions that the singers who eventually
recorded these cycles may not all have
been Johnson’s original choices and
that circumstances intervened to necessitate
changes to his plans. Be that as it
may, the end result was that in two
cases we have the fascination of hearing
readings by singers at relatively early
stages in their careers. Ian Bostridge
was entrusted with Die Schöne
Müllerin (Volume 25). Since
making this recording in 1995 he has
gone on to record the work again – a
version I haven’t heard. This CD was
also noteworthy for a non-musical reason.
It had been hoped originally that the
doyen of post-war lieder singers, Dietrich
Fischer-Dieskau, would contribute a
recital to the series but the planned
recording had to be postponed and before
it could be re-scheduled the great singer
had retired. Nothing daunted, Johnson
and Hyperion, determined that he should
be involved in the project, invited
him to read the five poems in the collection
by Müller that Schubert did not
set, plus one other. These spoken interpolations
can be a distraction, there is no doubt,
but they make for an interesting occasional
addition and, of course, it’s easy to
omit them when playing the disc. Emotionally,
it’s right and proper that the man who
did so much to popularise Schubert’s
lieder and, indeed, lieder in general,
should have a place in this project.
Bostridge gives us
a very fine reading indeed. His timbre
seems to me to suit the songs very well
– I much prefer to hear them in Schubert’s
original high keys – and he uses his
vocal resources intelligently. I admire
the ardour that he brings to ‘Am Feierabend’
and to ‘Mein!’; this is definitely the
eager young suitor. But as the mood
of the cycle changes and deepens, so
does Bostridge respond with even finer,
more expressive singing. He spins a
wonderful, wistful line in ‘Trockne
Blumen’ and the final two songs, ‘Der
Müller und der Bach’ and, even
more so, ‘Des Baches Wiegenlied’ are
deeply affecting. This is a most distinguished
account of the cycle, made all the more
satisfying an experience by hearing
it sung by an appropriately youthful
and very gifted singer.
Winterreise (Vol.
30) was allotted to a baritone, Matthias
Goerne, and this is another very successful
performance. Goerne and Johnson take
the listener on a real musical journey,
and a very stimulating and satisfying
one at that. Right from the start, in
‘Gute Nacht’, Goerne lays out his impressive
credentials as a lieder singer: attentiveness
to the words, warm tone, long lines
and sensitive shading of both dynamics
and vocal colour are all much in evidence.
Equally typical in these respects is
‘Der Lindenbaum’. But, as with Bostridge
in Die Schöne Müllerin,
it’s as the cycle progresses and matters
become more and more serious, that Goerne
is at his very best. ‘Das Wirthaus’,
which is taken very slowly, is sung
with impressive inwardness; one can
sense the traveller’s spirit and resolve
ebbing away. I’ll comment on the documentation
in a moment but it’s worth noting at
this point that Johnson covers over
four full pages with his note on this
one song – and not a word is superfluous!
After this you might not believe that
Goerne and Johnson can get better. But
then the profound gravity of ‘Die Nebensonnen’
proves that they can and the withdrawn,
otherworldly way in which they perform
‘Der Leiermann’ proves that even more.
This astonishing, harrowing song, years
before its time, concludes a very fine,
deeply probing Winterreise.
The thirty-seventh
and final volume in the series, "Schubert
– the Final Year" brought us, appropriately
enough, Schwanengesang. The disc
also included six other songs from 1828,
most of which were sung by tenor Michael
Schade, including the wonderful, imposing
Auf der Strom, D943, in which
the glorious horn obbligato is played
– superbly – by David Pyatt. Schwanengesang
itself is divided, most unusually,
between two singers. John Mark
Ainsley performed the Rellstab settings
while Anthony Rolfe Johnson sang the
Heine songs and ‘Der Taubenpost.’ Each
of these singers sang their allotted
songs as a consecutive group. In principle
I’ve no objection to this idea – though
I don’t recall it being done this way
before – since the songs are not a cycle,
but simply a posthumous collection,
gathered together and given an unauthorised
title by the publisher. And once one
has recalled that fact I think the idea
works in practice too. Mind you, it
helps that the songs are divided between
two such fine singers. Ainsley sings
beautifully, his light, easy delivery
being particularly well suited to, say,
‘Ständchen.’ But he’s just as successful
with the deeper sentiments of ‘In der
Ferne’.
The Heine songs benefit
from a somewhat heavier voice and, at
this stage in his career, Ainsley’s
erstwhile teacher, Rolfe Johnson, was
better suited to these songs than Ainsley
would have been. That said, he sounds
to be under quite some strain during
‘Der Atlas.’ Matters improve significantly
with ‘Ihr Bild’, which is much better
suited to Rolfe Johnson’s style of singing.
And the lilting ‘Das Fischermädchen’
is also right up his street. ‘Am Meer’
is splendid and the remarkable ‘Der
Doppelgänger’ is pregnant with
atmosphere, as it should be. Rolfe Johnson
can’t approach the vocal and emotional
intensity that Peter Schreier offers
in this song - and others - in his searing
live account, recently issued on the
Wigmore Hall Live label – and he’s wise
not to try – but Rolfe Johnson’s is
still a very fine and searching account.
After the intensity of ‘Der Doppelgänger’
the grace and charm of ‘Die Taubenpost’,
beautifully delivered here, rings down
the curtain on the whole series, reminding
us pertinently, that Schubert was, first
and foremost, one of the greatest melodists
ever to grace this world of ours.
Finally, mention must
be made of the documentation that accompanied
the individual discs. The German text
of each song is supplied, accompanied
by excellent English translations, all
taken from Richard Wigmore’s Schubert:
The Complete Song Texts (1988).
But it’s the notes by Graham Johnson
that have acquired already an almost
legendary status. He started modestly
enough: the booklet for Volume 1 ran
to a mere 24 pages. By the time that
he’d reached the 37th and
final disc, however, the booklet extended
to 111 pages! Long before this the size
of the booklets had become an issue
and from volume 25 onwards Hyperion
had re-packaged the discs in fatter
cases. It’s just a pity they didn’t
take this step earlier. The notes, including
commentaries on all the poets, are an
absolute mine of information and insight
and throughout Johnson’s enthusiasm
for his subject shines out like a beacon.
It’s said that in due course the notes
will be published separately in book
form. Such a book, I predict, will become
a classic of Schubert commentary but
there’s much to be said for the convenience
of having both the texts and translations
as well as the commentaries for each
song readily accessible and gathered
together as one listens to the discs.
As it unfolded this
series of discs offered riches beyond
measure. Just occasionally aspects of
the performances disappointed but these
were infrequent occasions and the scale
of the disappointment was only relative.
Of course there were times when one
realised that Schubert wasn’t equally
inspired every single day – and that
wasn’t just the case with his juvenilia!
However, as well as the established
and well-loved masterpieces, this series
brought us face to face with a wealth
of songs that, although less familiar
to many listeners, are still splendid
inspirations and worthy of a regular
place in the recital hall. Above all,
the series demonstrated vividly the
sheer scale of Schubert’s achievement.
And how humbling that it should all
have been achieved in such a short span
of years and at a time when such things
as electric light and computers, which
make the drudge of actually writing
down the music so much easier nowadays,
were not available.
For me, this set of
thirty-seven discs represents what would
have been called not so long ago one
of the supreme achievements of the gramophone.
And it’s an achievement that’s unlikely
to be surpassed in the foreseeable future
– certainly not in my lifetime. Over
some forty hours of music-making Graham
Johnson and his gifted, dedicated singers
made us aware, perhaps as never before,
of the genius of Franz Schubert. We
owe a great debt of gratitude to all
the singers. But even more so we should
be grateful to Graham Johnson, whose
consistently superb pianism is a constant
thread and a constant delight throughout.
His contribution as pianist, planner
and guiding spirit would be great enough
but on top of all that he has given
us, in his liner notes, what I suspect
will eventually come to be regarded
as one of the great works of scholarship
in the realm of writings about music.
But though Johnson
was the moving spirit behind this hugely
ambitious project he was not its onlie
begetter. One should pay tribute
also to the late Ted Perry, founder
of Hyperion Records, who had the vision
to back the venture. This series may
well turn out to be his most enduring
and fitting memorial.
Reflections of
a collector who acquired the complete
set (Patrick Waller)
Nuts and bolts first.
If you are considering purchasing this
set I expect you will want to know exactly
what you are getting and you are unlikely
to be able to browse inside the box
in a record shop. The forty discs come
in an attractive box and are housed
in slimline jewel cases. Within each
case there is a card with track listing.
Documentation is in the form of a book,
which fits inside the box although,
for ready access, mine has lived on
top of it for the past six months. The
book contains all the texts in German
and English (translated by Richard Wigmore),
some reflections by Graham Johnson and
a Schubert calendar, which places the
songs in the context of Schubert’s life
and other works. There are also good
indexes. Size constraints mean that
the typeface is on the small side and
there isn’t room for the extensive notes
by Johnson, which come with the individual
discs. Apparently there are plans for
these to be published separately in
a two-volume book.
Apart from the lack
of detailed notes, the other major difference
from the individual discs is that the
songs are given in chronological order.
In the individual discs songs had been
grouped around themes and particular
artists. Here, most discs have several
singers and the voice changes after
almost every song. This is a little
disconcerting initially but, once used
to it, I did not feel that it was a
problem since the sound quality is remarkably
consistent … and excellent. Although
some guesswork is involved in matters
of chronology - they are not given precisely
in Deutsch order since life has moved
on - no concessions are made. For example,
this means that Winterreise is
split over two discs, Schubert having
composed it in two parts some months
apart.
Whilst on the subject
of Winterreise, the cycles would
seem a good place to start considering
the artistic merits of the edition.
For Die Schöne Müllerin
Johnson chose a youthful Ian Bostridge
and this disc, issued in 1995, has received
considerable critical acclaim. It was
the only one of the series that I bought
although I borrowed several others from
a library. If I now prefer Bostridge’s
more recent version with Mitsuko Uchida,
this Hyperion recording remains as fresh
as the day it was recorded. This is
not a criticism of Fischer-Dieskau but
the interspersed narrations are rather
distracting and I usually programme
them out. Winterreise is sung
by the baritone Matthias Goerne, again
a case of Johnson going for youth in
one of the peaks - actually, the Everest.
This is a beautifully sung reading but
not one that for me supersedes Fischer-Dieskau.
Goerne too has since re-recorded the
work - with Brendel - but I haven’t
yet heard that. The two parts of Schwanengesang
– not a true cycle but a posthumously
published collection – are sung by John
Mark Ainsley and Antony Rolfe-Johnson.
This is a superb disc, which, incidentally,
also contains Der Hirt auf dem Felsen
– an extended song which also includes
a part for clarinet. Arleen Augér
sings radiantly and Thea King’s clarinet
is mellifluous in one of the most memorable
songs of the whole series. These versions
of the cycles might not be absolutely
top choices in quite a competitive market
but they would all be well worthy of
a place in anyone’s Schubert collection.
When planning this
article, I intended to mention some
specific songs as highlights at this
point but, coming to the crunch, I find
this almost impossibly difficult - how
can one alight on something lasting
3 or 4 minutes out of more than 40 hours?
It seems more practical to consider
highlights via the singers. The overall
standard of singing is very high and
amazingly consistent so even this is
rather unfair. But there are some voices
that, when you come to them, are like
a shot of adrenaline – Janet Baker is
one, Margaret Price, and Arleen Augér
other females who particularly excel.
Of the men, Thomas Hampson, Christoph
Prégardien and John Mark Ainsley
catch the ear every time. It was also
delightful to hear Lucia Popp and Elly
Ameling in this repertoire. I could
go on naming highly regarded singers
who made important contributions to
the edition – the variety they bring
is surely one of the strengths of the
Hyperion edition.
The final three discs
include eighty-one songs by forty other
composers, all of whom lived during
some part of Schubert’s thirty-one years.
Starting with Haydn’s Der
Gries for a quartet of singers,
the first of these also contains a splendid
version of Beethoven’s cycle An die
ferne Geliebte sung by Mark Padmore.
Other well-known composers represented
include Mendelssohn, Schumann and Liszt
each of whom get only a single item
because the main focus seems to be on
much more obscure composers. Certainly
I had never come across Reichardt and
Zelter before, both of whom have several
offerings, including their settings
of one of Schubert’s most famous songs
– Erlkönig. All three versions
use the same words by Goethe and it
is notable how much broader Schubert’s
view is – about four minutes is normal
– Reichardt here lasts 1’31" and
Zelter 2’20". Back in the Schubert
part of the set, there are two versions
of this song, one of which is unusual
in utilizing three singers – one for
each part.
Aside from Erlkönig,
these three discs make one realize that
many song texts were set by multiple
composers although often only one version
remains well known. About fifty of the
songs presented here were also set by
Schubert and are cross-referenced. Another
of Zelter’s songs has a very familiar
title – Um Mitternacht is one
of Mahler’s Rückert settings. But
this version is by Goethe and its impact
could hardly be more different – this
is midnight on a balmy summer evening
with none of Mahler’s dark undertones.
Some other composers well-represented
here who I had not heard of before are
Zumsteeg, Hüttenbrenner and Lachner.
The songs which are not by Schubert
have been superbly realized with Susan
Gritton, Ann Murray, Mark Padmore and
Gerald Finley bearing the brunt of the
work.
I have so far listened
to this set once, chronologically, breaking
off for the non-Schubert discs about
a quarter of the way through. This took
me six months. It has been an immensely
enriching experience and I intend to
do it again that way in the not too
distant future whilst dipping in often
for specific songs and artists. This
box won’t fit on ordinary CD shelves
– it needs somewhere special. It has
had pride of place in my lounge and
it will be staying right there.
Conclusions
Our mutual enthusiasm
for this marvellous project should be
obvious enough from the above. Getting
to know these songs gradually over about
twenty years is probably the ideal and
the thematic groupings of the individual
discs make for satisfying, self-contained
recitals, which are perfect for domestic
listening. They provide the opportunity
to hear works from different periods
of Schubert’s life side-by-side, generally
presented by a single artist. The chronological
approach of the complete set is a rather
different but very rewarding experience.
In either case it is possible to listen
to the songs in whatever order one wishes
but, in practice, the need for multiple
changes of disc is a disadvantage for
a "make-up-your-own" recital.
We both agree that
the ideal would be to buy the complete
series, whether as individual discs
or in the single-box format. However,
some collectors might wish just to acquire
a few volumes. Though it’s rather invidious
to single out "best buys",
in that event our recommendations of
Key Recordings from the series would
be - in order of Volume number, not
preference:
Dame Janet Baker CDJ33001
Elly Ameling CDJ
33007
Sarah Walker CDJ33008
Arleen Augér
CDJ33009
Brigitte Fassbaender
CDJ33011
Thomas Hampson CDJ
33014
Dame Margaret Price
CDJ 33015
Lucia Popp CDJ 33017
Peter Schreier CDJ
33018
Edith Mathis CDJ33021
Christoph Prégardien
CDJ33023
Ian Bostridge Die
Schöne Müllerin CDJ33025
Matthias Goerne Winterreise
CDJ33030
We hope that Hyperion
will keep both the complete set and
individual discs available indefinitely.
In time, perhaps they might also consider
packaging up some of the individual
discs more economically. Despite the
many merits of this project, the Schubert
song lover will still wish to hear others
in this repertoire – notably Fischer-Dieskau.
Equally well, those who haven’t yet
heard much of this yet will surely be
drawn to explore these discs – one way
or another. Be warned, you’ll probably
end up with them all sooner or later!
A big Bravo to Hyperion!
John Quinn
Patrick Waller
Links
MusicWeb Shop : complete
edition £180
Review of Vol. 9: http://www.musicweb-international.com/classrev/2000/apr00/auger.htm
Review of Vol. 27: http://www.musicweb-international.com/classrev/2000/july00/schubertsongs.htm
Review of Friends and
Contemporaries discs: http://www.musicweb-international.com/classrev/2006/May06/Schubert_Friends_Contemporaries_CDJ33051-3.htm
Track details on Hyperion website:
http://www.hyperion-records.co.uk/details/44201.asp
