Here is another invaluable addition to the series of live performances by Fischer-Dieskau from the Salzburg Festival, and one that proves again that an indefinable frisson of spontaneity can be achieved on the recital platform that can't be simulated in the studio. Admittedly there is a downside: in the first few songs the baritone seems vocally a shade out of sorts with the consequence that his tone sounds dry and he resorts to his old, somewhat aggressive form. But even hereabouts there is a range of characterization, in ''Der Tambourg'sell'' for instance, that makes Hampson on his recent recording of the complete Knaben Wunderhorn with piano accompaniment (Teldec, 2/94) seem dull, and once Fischer-Dieskau is in his stride, say by St Antony's Sermon, there's nobody to match him in verbal acuity, range of accent and colour and sheer understanding of his repertory. Every song thereafter is a delight long to be savoured as we imagine that magnetic presence before us at home.
The success of the recital is immeasurably enhanced by the playing of Sawallisch. Long renowned as an accompanist in Lieder he here surpasses himself so that in ''Wo die schonen Trompeten blasen'' we hardly miss the orchestra as he mesmerically sets the mood for this great song and then Fischer-Dieskau responds with his most beautiful singing, his subtlest interpretation, the two artists instinctively at one with each other. In the very different world of ''Revelge'', the pair are equally revelatory, and here the baritone quite avoids the touch of over-emphasis shown in his recording with Szell (EMI, 11/88).
When it comes to the simpler, more folksong-like pleasures of the Lieder und Gesange, the pair are no less praiseworthy. There is charm and spirit in ''Zu Strassburg auf der Schanz'', gentle caressing in ''Selbstgefuhl'' and, one of four encores, joy in ''Fruhlingsmorgen''. The two Ruckert-Lieder are also encores: it would be hard to imagine a more ethereal account of ''Ich atmet' einem linden Duft'', a pure distillation of this singer's art, magically accompanied. Even now I haven't mentioned Sawallisch's detailed, rhythmically pointed playing in ''Der Schildwache Nachtlied'' or the ebullience, never exaggerated, of ''Wer hat dies Liedlein erdacht?''. Even if you have other favourite versions of these songs, this particular selection shouldn't be missed. What a pity texts and translations haven't been included.'