Max Reger’s orchestral arrangements of 15 Schubert Lieder, made in 1913-14, are essentially period pieces. The big dramatic songs are effective enough; but in the more lyrical and introspective pieces Reger’s Kapellmeisterish doublings of the vocal line and glib countermelodies add an incongruous layer of upholstery. Both singers have their moments, though Ina Stachelhaus is stretched in Gretchen am Spinnrade, and Dietrich Henschel’s bluff baritone is more at home in the declamatory songs than in, say, An die Musik.'