REGER. LIEDER. Dietrich Fischer-Dies- kau (baritone), Giinther Weissenborn (piano). DGG Q SLPM139127 (12 in., 32s. 3d. plus 5s. 9d. PT).

Aeolsharple, Op. 75 No. U. Winteralinung, Op. 4 No, 3. Traum durch die Danuneruttg, Op. 35 No. 3. Nelken, Op. 15 No, 3. Flieder Op. 35 No. 4. Minnelied, Op. 76 No, 21. Der Himmel hat eine Trâne geweint, Op. 35 No. 2. Waldeinsamkeit, Op. 76 No. 3. Schlecht' Wetter Op. 76 No. 7. Glilekes genug Op. 37 No. 3. Einsamkeit Op. 75 No. 18, Gottes Segen, Op. 76 No, 31. Das sterbende Kind, Op. DI No. 3. EM Drangen, Op. 97 No. 3. Trost, Op. 15 No. 10. Heimat, Op. 76 No. 37. Ihr, ihr Herrlichen! Op. 75 No, 6. Der zerrissne Grabkanz, Op. 4 No. 5. Dan Blatt im Buche, Op. 15 No. 2. lin April, Op. 4 No. 4. Grabbed, Op. 137 No. 7.

Reger composed nearly 300 songs, only one of which attained wide popularity. This was Maria Wiegenlied, which is the 52nd of the 60 songs of his Op. 76 published under the general title Schlichte Weisen ("Simple tunes"). This beautiful cradle-song of the Blessed Virgin was extensively recorded but now has vanished from both our Classical Record Catalogue and the American Schwann Catalogue. There is no doubt that Lieder composers other than those of the great line from Schubert to Strauss have difficulty in establishing themselves in the repertoire. How often do we hear the songs of Joseph Marx, Ottmar Shocck and Reger in the concert hall, and yet these three composed at least a number well worthy of attention.

Reger's setting of Traum durch die Diimmerung, so well known in the setting by Strauss, points the moral in one matter. Strauss at once establishes the dream-like atmosphere in both voice and piano parts. Reger does not do so until the end of the second verse when his music is so like Strauss's that I wondered which of them copied the other, as it seemed unlikely they could both arrive at almost the same conclusion. Grove, in its exasperating way, does not give the dates of composition for Reger so I cannot solve the problem. Reger is at his best, in this selection, in the utterly charming and simple Gottes Segen ("God's blessing"), the 31st song of Op. 76. It describes a child going to bed at nightfall, watched over until morning by his guardian angel, who kisses him before he departs. Two other beautiful songs are Trost ("Comfort") and the folk-song-like Waldeinsamkeit ("Woodland Solitude")-the latter again from Op. 76 (No. 3,) and there are others.

Fischer-Dieskau is a most persuasive advocate for Reger and easily holds one's attention throughout the recital, but when it is over not much remains in the memory. Reger hasn't any special feeling for words, his piano parts are rarely individualised, his vocal parts are not those of a born melodic lyricist. In a word there is, in most of the songs, little sense of inevitability. Fischer-Dieskau's voice is recorded rather close-his singing is very fine-but the balance is quite good and Gunther Weissenborn is a sympathetic and able accompanist.

I understand that no English translation of the poems printed on the sleeve are to be supplied and so this disc will make little appeal to those who do not understand German. It is a regrettable decision and no help to the appreciation of Reger's songs.

A.R.