Wolf’s masterly settings of Mörike are unique in two respects. They were written in a period of extraordinary inspiration in the spring of 1888, and they surely represent the most comprehen- sive understanding of a poet’s work by any composer. The 53 pieces, taking in songs of fantasy, happy and unhappy love, religion and philosophy, box the compass of moods.

The set is an anthology calling for a variety of voices, an aim admirably achieved in the incomplete but legendary offerings in the pre-war HMV Hugo Wolf Society. Fischer-Dieskau trumped that ace with his typically perceptive, beautifully sung 1958 EMI set, including all the songs for a male artist. Now Frauke May, controversially, tackles the whole lot, paying no attention to the gender of the protagonist.

May’s achievement, with her thoroughgoing partner, is considerable. Her rich mezzo, expressively used, and her keen intellect match the challenge that she has set herself. She takes the weight of her tone for the lighter pieces, catches the wit of the ‘funnies’, and gives suitable import to the love songs. All-round she does very well, but a rather too insistent vibrato, a penchant for slowish speeds and within them for a rather too histrionic approach do not make her quite the ideal Wolfian. (And certain love-songs, such as ‘An die Geliebte’ really cry out for a male voice.)

Three years ago, Hyperion recorded the songs, sharing them between the estimable Joan Rodgers and the superb Stephan Genz, with Roger Vignoles the fine pianist. There, the English soprano’s lighter voice scores over May’s full-toned timbre in such bright-eyed pieces as ‘Elfenlied’, while May is preferable in such earth-mother songs as ‘Gesang Weyla’s’. A sincere, thoughtful interpreter, Rodgers’ tone spreads uncomfortably under pressure just once or twice.

Hyperion’s real hero, besides Vignoles, is Genz, a Wolfian fit to be compared with any of his not- able predecessors. Good as his ‘Feuerreiter’ is, however, he yields in this gory melodrama to the unsurpassable tenor version by the slightly inebriated (so legend has it) Helge Rosvaenge on the Hugo Wolf Society set (6/94R) and perhaps to two other tenors, Peter Schreier, in his Editor’s Choice Orfeo issue (12/98), and to Julius Patzak in the sardonic ‘Abschied’. Schreier’s single disc is perhaps still the best introduction. If you prefer a baritone, the recent selection from Roman Trekel (Oehms, A/03) is excellent.

If you want the whole set, you will find much to enjoy in Hyperion’s scrupulously prepared discs. Arte Nova offers five extra songs not in the published set: it is a real bargain, 160 minutes of accomplished if not wholly convincing interpretation.