Mahler’s own piano version of his Das Lied von der Erde has struggled to establish itself in the repertory since its rediscovery and publication in the late 1980s. The possible reasons are laid out a booklet note by the pianist on this new recording, Justin Brown, who also goes on to outline the reasons why it should be performed, including the greater intimacy it offers – the great ‘Der Abschied’, especially, gains a special potency that it’s difficult to resist.

Brown criticises existing recordings for ‘treating it as something of a curiosity’ – not a description, I have to say, that matches my experience of the superb premiere recording, with Brigitte Fassbaender and Thomas Moser, and Cyprien Katsaris at the piano (Apex, 6/90) – and describes how he set out, taking his own occasional Mahlerian liberties with the score, to ‘present the piece as Mahler might conceivably have performed it himself’. The text has also been adjusted to reflect what one finds in the later orchestral version, although Champs Hill’s booklet retains the earlier titles for the songs.

Certainly, there’s plenty to admire in the performance, beginning with Nicky Spence’s ardent and sturdy performances of the tenor songs, distinguished by his usual highly engaged and engaging delivery. The project, though, originated with contralto Claudia Huckle – a response to lockdown and the chance it gave her to contemplate nature anew and finally take the score for Das Lied off the shelf.

Her voice is a superbly rich and seductive instrument with true contralto colour. Her ‘Der Abschied’ is, as it should be, a moving culmination of the album. Across her songs, though, the phrasing is occasionally a little soupy, and words can get lost among so much vocal richness. There are also moments – such as in the faster section of ‘Am Ufer’ (aka ‘Von der Schönheit’), from 3'00" – where she doesn’t sound fully at home in the work yet.

Though Brown has the notes impressively under control – and there are lots of them – he can’t quite match Katsaris for sheer virtuoso Schwung and élan or colouristic range, a fact not helped by Champs Hill’s slightly two-dimensional piano sound. Ultimately, the greater experience of Fassbaender and Moser on the earlier recording tells, too. Nevertheless, this is a welcome recording that will, one hopes, bring a new audience to this rewarding version of this wonderful work.