When AP reviewed the Schumann offerings 30 years ago, he commented that it was a pleasure to have another interpreter of Lieder to complement Fischer-Dieskau and Souzay. Today we have an abundance of singers in the genre to appreciate, to compare and contrast. AP also mentioned that Schumann's Der Spielmann was a welcome addition then to the catalogue. That, as most of the songs here, are almost commonplace on disc today. So times change—in this case for the better. Before reading AP's critique, I considered that there was a certain sameness about Prey's singing and that, for all the artistry on display in terms of beauty of timbre, legato, smooth phrasing and firm characterization as, for instance, in Schafers Klagelied and Erlkonig, the effect is of a big voice held uncomfortably on a rein, which I then noted was AP's view, that and a tendency to indulge in sentimental gestures as in the matchless Meine Rose of Schumann. That said, since 1963, the baritone has consistently pleased audience after audience with his thoroughly studied, serious-minded interpretations of which all these are admirable examples. His many admirers will welcome the return to the catalogue of these performances from the dawn of his career in Lieder, long out of the catalogue.
Karl Engel is a partner of similar stature to the singer, superbly articulate in Erlkonig and light-footed in Schumann's charming Hidalgo (though Prey is too overwhelming here for such a charming piece—Schlusnus used to sing it to perfection) which immediately follows the hair-raising ballad, and the recordings show no sign of their age: indeed they are often superior to what we hear in many new releases. In this series, Decca are to be commended for providing full texts and translations at mid-price, a good example to some of their rivals.'