The atmosphere of Brahms’s settings of these charming texts of Georg Daumer (free adaptations of Russian, Polish, and Hungarian originals) is Viennese, with frequent rhythmic hints of the Ländler and waltz. This group of singers is German-trained and they sing sensitively together, blending well, although at times the soprano, Marlis Peterson, stands out. They have the advantage of a wonderfully sympathetic four-handed piano accompaniment from Christoph Berner and Camillo Radicke. The recording, too, is real and present, although perhaps a little too present when they sing vigorously and vehemently – immediately noticeable in the opening numbers.

But these are consistently delightful songs and much of the singing is attractively intimate, as in the charming bird songs, “Vöglein durchrauscht die Luft” and “Ein kleiner hübscher Vogel”, which the tenor leads engagingly, even if in a beguiling number like “Wenn so lind dein Auge mir” the lilt, though seductive, is not quite subtly Viennese. There have been many previous versions, of course, notably a superb BBC recording wth Harper, Baker, Pears and Hemsley, with Britten and Arrau at the keyboard (BBC Legends, 6/99 – nla), which finds a magical atmosphere throughout that the present performers do not quite match.

In 1875 Brahms wrote a second set of Liebeslieder, again using texts by Daumer, but these settings are darker, less optimistic and their often bold drama suits the present group much more strikingly. There is plenty of passion, and the gentler numbers (“Weich Gräser im Revier” for instance) are often very beautiful, while the solos (for soprano and tenor respectively) “Nagen am Herzen” and “Alles, alles in den Wind” are very well characterised (again with splendid accompaniments). The chaconne “Zum Schluss” – a setting of Goethe – is beautifully sung and makes a satisfying close.

However, finest of all are the three quartets from Op 64, which come as a central interlude. The deeply felt “An die Heimat”, the lovely, peaceful “Der Abend” and the sparklingly vivacious “Fragen” make a highlight of the programme. Altogether there is much to enjoy here but I am not sure I can place this set, for all its freshness, alongside the finest from the past.