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It is impossible to resist the musical energy and genial high spirits of this music which is never raucous in mood but nevertheless suggests the earthiness of country life. Mention of birds singing with 'silberhell' voices brings forth delicately ringing semiquaver repetitions in the piano, first on F sharps and later on higher and more silvery Bs when we have modulated to the dominant and the words are repeated. The postlude, as simple as it is ingenious, brings yet another little-known page of Schubert to a close, a flawless miracle within its own modestly defined terms. The introduction of a lady into the picture in the second verse is inevitable in a flower song of this type (cf. the even more sexually charged use of this imagery in Im Walde). The springtime jauntiness of the music suggests that the sap is rising; the young man's attentions, somewhat distant and courtly if the poem is read on its own, take on a rather cheeky immediacy thanks to Schubert's music.
from notes by Graham Johnson © 1993
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