Here is proof, if proof were needed, of the growth and variety of Lieder singers in this country. Of course, Ian Partridge has long been known as a fine exponent of Schubert and Schumann (and one unduly neglected by record companies). Lynne Dawson, a comparative newcomer to the genre of Lieder, is revealed as a natural interpreter, as fluent in German as one would expect. And how rewarding it is to have a pair of singers, rather than just one, thus avoiding any hint of monotony.
Dawson's singing of her contribution to Myrthen is quite captivating. Her pure tone and slight, attractive vibrato call to mind Seefried, than which there can be no higher praise, and she has that soprano's ability to sing with a spontaneous sincerity that is innate, and cannot be learnt. It is there in ''Der Nussbaum'', where she also manages subtle changes of colouring in sympathy with the words. Her versions of those favourites, ''Die Lotusblume'' and ''Du bist wie eine Blume'', are just as apt, and she catches to perfection the soft Innigkeit of the first ''Lied der Braut''. Then try the second line of the second verse of ''Jemand'' (track 4), ''O lacheln freundlich auf jemand'': the ''sweet smile'' is there in Dawson's lovely singing and she even makes something rather charming out of the tame Burns setting, ''Welt, Welt'' while bringing appropriate intensity to ''Im Westen''.
Most of the other Burns settings are assigned to Partridge, who sings them simply and truly: ''Niemand'' is forthright and sprightly in his and Julius Drake's hands. Partridge also brings his special kind of sensitivity to a typically plangent Heine setting, ''Was will die einsame Trane?''. Even better is the gentle ''Aus den ostlichen Rosen'', not as outgoing or positive as Schreier makes it, but just as satisfying in its more reticent way. If at times we are aware of some drying out at the very top of Partridge's register, we are consoled by an even deeper artistry and understanding.
Partridge is just as welcome in the Op. 27 songs contemporaneous with Myrthen, of which the hushed, inward ''Was soll ich sagen?'' is the most affecting, and makes what he can of the even more rarely heard Chamisso ballad, Die Lowenbraut, a curiously feeble piece. Here, as throughout, Drake plays with Schumannesque fantasy. The recording is reasonably good but might have had the artists a shade more forward. RW's well-informed notes are an asset.'