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Three Lieder after Goethe: Schubert's op. 1, 2, 3

Schubert, Franz, composer (1797-1828). Collection of three engraved cores: Op. 1 (Erlkönig), 2 (Gretchen am Spinnrade), 3 (Schäfers Klagelied, Heidenröslein, Jägers Abendlied, Meeres Stille).

Vienna, Diabelli, 1821-1827.

Oblong folios, thread-stitched. Stored in blue cloth portfolio with giltstamped cover title (280 x 356 mm).

A beautifully preserved set of first editions comprising Schubert's opuses 1, 2 and 3: a series of Lieder after poems by Goethe, op. 2 and 3 bearing Schubert's autograph checkmark ("Sch[ubert] m[anu] p[ropria] 407" and "306", respectively) on the verso of the last page. Comprises individually:

Erlkönig. Ballade von Goethe. In Musik gesetzt für eine Singstimme mit Piano-Forte Begleitung [...]. 1tes Werk [D 328]. D. et C. No. 766. Wien, bei Ant. Diabelli und Comp., [1826-27]. 11 pp. With engraved title vignette. Oblong folio (335 x 265 mm). Some brownstaining; edges a little frayed.

Gretchen am Spinnrade aus Göthe's "Faust" [...] 2tes Werk [D 118]. No. 767. Wien, in Comission bey Cappi und Diabelli, [1821?]). 11 pp. Oblong folio (335 x 235 mm). First edition, second issue; watermark "1821". Some light brownstaining. Control number initialled at the bottom of the last page: "Sch. mp 407".

Schäfers Klagelied. Heidenröslein. Jägers Abendlied. Meeres Stille von Goethe. Für eine Singstimme mit Begleitung des Piano-Forte in Musik gesetzt [...]. 3tes Werk [D 121, 257, 368, 216]. No. 768. Wien, in Comission bey Cappi und Diabelli, [1821]. 11 pp. Oblong folio (327 x 240 mm). First edition. Light spotting to outer leaves; occasional light ink stains. Control number initialled at the bottom of the last page: "Sch. mp 306".

As is usual for Schubert's autograph checkmarks on his early works, the descenders are somewhat trimmed by the binder's knife. The fact that these checkmarks are indeed in Schubert's own hand has been called into question (cf. E. Hilmar, "Anmerkungen zu Schuberts Erstdrucken", in: Florilegium Musicologicum 1988, pp. 145-154); however, Ulrich Drüner has made a strong case for their authenticity: "The problem is indeed more complicated for opuses 1-7 and 96, and in these cases Hilmar's refusal is too categorical. His main arguments are not correct [...] It is almost certain that on the occasion of the publication of his opus 1-7, Schubert proudly followed the examples given to him by Johann Nepomuk Hummel, who signed his opuses [...] Hummel and Schubert were pupils of Salieri who taught both of them the highest editorial precision. Therefore, the idea of signing definitely came from Schubert [...]" (Otto Haas, cat. 40 [2003], p. 16). For a comparison of handwriting cf. the paraphs pictured by Drüner on p. 16 (Schubert's hand, identical with ours) and 17 (by another hand). Also cf. the included illustration of Schubert's identical paraph on his Opus 4 ("Brahms himself identifies Schubert's hand on his copy of 'Der Wanderer' [...]", Sotheby's, 17 May 2002, lot 169).

Provenance: from the library of the jeweller and art collector Louis Koch (1862-1930).


Georg Kinsky, Manuskripte, Briefe, Dokumente von Scarlatti bis Stravinsky. Kat. der Musikautographen-Sammlung Louis Koch (Stuttgart, 1953), nos. 173 (1a), 174, 175.

I: Hoboken 6; Deutsch 1c.

II: Cf. Hoboken 10.

III: Hoboken 16; Deutsch 3a.