As this issue of these delightful works has no other rival, apart from an unsuitable choral version ih the CD catalogue, it will be eagerly snapped up by lovers of these seemingly simple but, in fact, quite complex settings for one, two or four voices. The performances are thoroughly idiomatic, both as regards the singers and pianists with full value given to the words and their meaning. It is only if comparisons are made, as regards the first set of Liebeslieder, with two LP versions, one still available, that adverse criticisms have to be made. I feel that the somewhat less emphatic approach of the vocal quartet on the 1952 Edinburgh Festival LP on Decca (reviewed last February) is more appropriate here, and in both that set and the old Columbia version, Seefried's ineffably beautiful soprano is much more ingratiating to the ear than Mathis's harder tone. In general there is less evidence there, too, of intrusive vibrato. But of course those are old mono recordings and the modern, immediate sound is here a great advantage, even more so on Compact Disc.'