There seems to be only one actual serenade here (Gounod's), and that sounds more like a lullaby, which it partly is. But then, several of the songs are in nocturnal mood or have something of sunset-and- evening-star about them. Anyway, what matters is that they are all delightful, that they have sufficient variety and that the performances are at least as good as the programme. This is, of course, in a special class of rarity, as even now these are not for the most part songs in which we expect to hear a countertenor or alto. (What exactly is David Daniels, by the way? His voice hardly fits either of these categories. A male mezzo-soprano more nearly.) Rarer still, he sounds at home in the repertory, whether German, French, Italian or British. Some of the more robust items, perhaps, are less well suited to him: La belle jeunesse and I'll sail upon the dog-star justify their place in the programme because it needs something lively in pace and expression, but in another sense they are not among the happiest items. Mostly, the gems are those that shine with a gentle light and have the smoothest surface.
As in last year's recital at the Edinburgh Festival, one of the most treasurable performances is that of Nacht und Traume, pure in tone and faultlessly sustained. In Der Tod und das Madchen he finds an apt urgency for the girl's voice and is a natural for Death - women who sing this nearly always' think themselves' into a male alto's voice for 'Gib deine Hand'. Caldara's Selve amiche spreads delicious balm over the troubled spirit, and most beautiful of all perhaps is the simple Hands, eyes and heart of Vaughan Williams. In all of these, Martin Katz plays with skill and a feeling for style. The balance is well judged, the sound vivid and natural.'