The name of the German baritone Thomas Laske is new to me, as indeed is that of his superb partner here, Verena Louis. This unusually satisfying Strauss album, however, shows them as a song duo of rare refinement and taste.

As Klanglogo’s (somewhat erratically translated) booklet note tells us, Laske’s engagement with the composer goes back to his winning the Richard Strauss Gesellschaft’s competition in Munich in 1997. And that decades-long experience tells throughout this fascinating – and demanding – programme. Somewhat unusually, it begins with three complete opuses: the Rückert settings of Op 46, the Uhland settings of Op 47 and the three Bierbaum songs of Op 29. The latter are well known – and are beautifully done – but Opp 46 and 47 take us into more treacherous territory, through which Laske and Louis prove outstanding guides.

Technically we’re in safe hands – and Laske’s lyric baritone is a fine instrument, even if it lacks a little bloom at louder volumes – but the duo are also musically persuasive: Louis rattles off Strauss’s many notes without ever risking overpowering her partner, and there’s never a hint of strain. The cascades of ‘Morgenrot’ from Op 46 are expertly reined in. Other songs are gorgeously done, too, making a case for hearing the groups together.

Highlights include a beautiful performance, following ‘Morgenrot’, of ‘Ich sehe wie einem Spiegel’ (listen here to the final stanza, preceded by the extended piano interlude, from 3'43"), or a deeply reflective ‘Rückleben’ from Op 47. Even the lengthy ‘Von den Sieben Zechbrüdern’ is an enjoyable listen here.

Some might find Laske and Louis a little lacking in grand passion in some of the better-known songs from Opp 27 and 10 that conclude the album – others are more fired up in ‘Heimliche Aufforderung’, for example, or more effectively make time stand still in ‘Morgen!’ – but here as throughout I find the thoughtfulness and eloquence of their approach deeply rewarding. Excellent recorded sound: warmly recommended.