Ambitiously entitled ‘Dvorák and his Age’, this set offers more than half of a marathon Lieder recital of almost four hours at the Salzburg Festival. It was the brainchild of Thomas Hampson, who contributes some of the key sections in this fascinating survey of Dvorák as song-composer and the influences both on him and from him. That may sound exhausting, but it is certainly not – not least to the festival audience – when the well contrasted singers make such stylish contributions.

The young mezzo Michelle Breedt opens Dvorák’s Op 2, four early settings in Czech, direct in idiom, that already demonstrate his lyrical gift. Bass George Zeppenfeld then sings Op 3 Lieder, with German texts, which are again lyrical and direct. Barbara Bonney continues the German settings with two from Dvorák’s Op 83 set and two by Grieg, and crowned by Brahms’s sublime Die Mainacht and Von ewige Liebe.

Hampson’s four Gypsy Songs include the most famous of all, usually translated as ‘Songs my mother taught me’, before a half-hour devoted to 13 of Dvorák’s Moravian Duets, enchantingly sung by Bonney and Breedt (memories here of a classic mono recording by Elisabeth Schwarzkopf, Irmgard Seefried and Gerald Moore).

The second disc, also generously filled, is structured with similar thoughtfulness. Dvorák’s relationship with American music is covered – including spirituals and so-called Indian songs which open with mystic cries in indigenous languages – by Hampson, who adds a fascinating rarity in Charles Ives’s setting of ‘Songs my mother taught me’. Dvorák’s attractive English ballads are sung by Michelle Breedt.

The final ‘World of Faith’ section, provides a satisfying climax: Brahms’s Four Serious Songs are beautifully sung by George Zeppenfeld, with velvet tone, Mahler’s Knaben Wunderhorn setting ‘Urlicht’, later used in the Resurrection Symphony, is sung by Breedt, and five of Dvorák’s Biblical Songs are powerfully and sensitively delivered by Hampson. A special mention, too, for accompanist Wolfram Rieger, running the full marathon from beginning to end.

Well balanced recording and a minimum of intrusive applause. Full texts are provided, with English translations for songs with German texts, but German translations only for those with Czech texts. Altogether an illuminating package.