Oh, and while much of Schubert's Lieder sound beautiful with a tenor, I do prefer Fischer-Dieskau's baritone.
I absolutely love Fischer-Dieskau... to the point that I am seriously contemplating this rather pricey 21 disc boxed set:
But I most certainly could not go without this performance by the inimitable Fritz Wunderlich:
Schubert is... to my mind... the unquestionable god of song... but I'd be hard pressed to come up with a clear second... let alone third, etc... While I love Schumann, Strauss' Last
Four Songs and any number of Mahler's songs might rank equally. And then there's any number of others: Wolfe, Mussorgsky, Zemlinsky, Szymanowski, Tchaikovsky, Dvorak, Grieg, etc... At present I am going through an obsession with French melodies: Faure, Hahn, Debussy, Chausson, Duparc, Ravel, Delage, etc... and i wouldn't underestimate their achievements.
As for the obsolescence of the lieder or "art song"... what absolute nonsense! Song is virtually the root of all music. The art song is far from dead. The 20th century saw great examples of the art song and such continue to be produced into the 21st century. One need only look at major examples from Ravel, Delage, Jaubert, Zemlinsky, Richard Strauss, Schoenberg, Martinu, Janacek, Hindemith, Franz Waxman, Kurt Weill, Ilse Weber, Delius, Bantock, Benjamin Britten, Samuel Barber, John Corigliano, Ned Rorem, Philip Glass, John Adams, Luciano Berio, Osvaldo Golijov, Sibelius, Rachmaninoff, Manuel de Falla, Stravinsky, Earl Kim, Poulenc, Michael Nyman, Charles Koechlin, William Bolcom, Anders Hillborg, Laci Boldemann, Hans Gefors, peter Lieberson, Charles Griffes, Lorenzo Paloma, etc... to name but a few... and this wholly ignores the composers who straddle the line between "serious" and popular music... such as Rodgers and Hart, Gerschwin, Ellington, etc...
...lieder? Do people (not professional musicians) still perform lieders in home? Age of recorded music brough us completely diffrent kind of cameral, simple song and classical one, scored for piano and classical vocal is very, very obscured form which completely lost it's original purpose.
What does it matter that the initial purpose of the lieder has changed? The initial purpose of Bach's Well Tempered Clavier (among other works) was largely pedagogical... the fact that it is now listened to purely for enjoyment in no way undermines its validity.