hiː pɚfˈɔːɹmd ˌɔn dˈɪsk ðə fˈɜːst mˈoːɹɔːɹlˈɛsʌŋkˈʌt vˈɜːʒənz ʌv ʃˈuːbɚts wˈɪntɪɹˌaɪz ænd dˈaɪ ʃˈɜːn mˈuːlɚɹˌɪn sˈɔŋsˈaɪkəlz, ænd bˈeɪtoʊvənz æn dˈaɪ fˈɜːn dʒˈɛlɪbt; hɪz dˈɪsks ʌv sˈɔŋz baɪ hjˈuːɡoʊ wˈʊlf, mˌeɪd ˌʌndɚ wˈɔltɚ lˈɛɡᵻz ˈɔːspɪsᵻz, hˈɛlpt ˌɪntɹədˈuːs ðæt kəmpˈoʊzɚ tə θˈaʊzəndz ʌv mjˈuːzɪklˈʌvɚz pɹˈiːviəsli ʌnfəmˈɪlɪɹ wɪð wˈʊlfs ˈaʊtpʊt; ænd hiː ɹᵻlˈiːst ɐ dʒˈɛnɚɹəs sᵻlˈɛkʃən ʌv sˈɔŋz baɪ hˈænz fˈɪtsnɚ, ðiːz ɹᵻkˈoːɹdɪŋz bˈɛɹɪŋ ðɪ ɪmpɹˈɪmətʃˌʊɹ ʌv fˈɪtsnɚ hɪmsˈɛlf æt ðə piˈænoʊ.
He performed on disc the first more-or-less-uncut versions of Schubert's Winterreise and Die Schöne Müllerin song-cycles, and Beethoven's An die ferne Geliebte; his discs of songs by Hugo Wolf, made under Walter Legge's auspices, helped introduce that composer to thousands of music-lovers previously unfamiliar with Wolf's output; and he released a generous selection of songs by Hans Pfitzner, these recordings bearing the imprimatur of Pfitzner himself at the piano.