This is a curious compilation in the sense that there is no consistency as regards the accompaniments preferred: piano for all but the Ruckert settings, where an orchestra is used. Surely the excerpts from Des Knaben Wunderhorn benefit just as much from orchestral support. Then the songs Ruckert songs, rather than being given as a group, are interspersed inconsequently throughout the collection. A further downside is the relatively short measure.
Shirai is, as expected, an intelligent, outgoing interpreter. Especially in the piano-accompanied pieces, where Holl is an exemplary partner, she fulfils the verbal and musical demands of these varied songs, but as the years roll by her vibrato becomes increasingly intrusive, now to the extent of her voice becoming something of an acquired taste. The close recording emphasizes this drawback and also imparts a somewhat clangy sound to the piano. In the Ruckert settings, Marriner and his players are neutral accompanists, seemingly not that familiar with the music in hand. Mahler is served better in this field by numerous other versions of these songs.'