Here we are at Volume 15 of this survey of Loewe’s songs and‚ despite often using the potentially repetitive form of the strophic ballad‚ he’s still capable of springing surprises. Even in Der alte König‚ where the tune is rather squarely plain‚ his varyings of that tune and his contradictions of expectation are very skilful‚ keeping you interested not only in the simple tune but the touching narrative of a withered and ancient king who sees a flawlessly beautiful young girl and silently gives her his crown. Loewe cannot quite maintain that interest in one or two of the less eventful ballads‚ nor throughout the 38 (!) stanzas of ‘Das Switesmädchen’‚ which lasts 15 minutes‚ but here he comes astonishingly close‚ dramatising the story excitingly and building to a fine conclusion. That song‚ by the way‚ about a water­nymph who brings about the death of her faithless human lover‚ should be called ‘Switezianka’. It is one of a group of settings (seven included here) of folk­like ballads by the Polish poet Adam Mickiewicz. Loewe set them in German translation but took care that they fitted the Polish text also‚ and they are sung in that language (though only German and English texts are provided). If it comes to that‚ the five Byron settings that follow could easily be sung using the English originals‚ and the stark declamation over boldly bare accompaniment of ‘Saul und Samuel’ (‘Thou whose spell can raise the dead’) would respond to it; so would the very striking‚ chorale­prelude­like setting of ‘Eliphas’ Gesicht’ (‘A spirit passed before me’). Both singers are admirable. Urszula Kryger has an attractive simplicity of manner very suitable to the Polish ballads (from the artless prettiness of ‘Die Schlüsselblume’ – ‘The primrose’ – to the smooth cantabile of ‘Wilia und das Mädchen’‚ about another fateful water­nymph)‚ while Thomas Mohr’s grainy baritone has an appropriately lapel­gripping quality. Cord Garben is a resourceful partner and the recordings are excellent.