…worthy to stand with the best. Gilchrist's light tenor, with its springing rhythmic life, makes us feel that the young lad is living very much in a wide-eyed emotional present, as elusive and ever-shifting as the delightful chiaroscuro of Anna Tilbrook's piano accompaniment.

…in place of the youthful impetuosity of Werner Güra is the anxiety of a man to seize what he can while he can. His jealousy - "Eifersucht and Stolz" - gains thereby a specially manic edge, and leaves him almost shouting at the end of "Die Böse Farbe" before he takes his leave of love and life in both sorrow and anger over the ever-more-painful course of the last triptych. How aptly Anna Tilbrook's pedalling poses the question to the brook at the beginning of "Die Neugierige", and how graciously Gilchrist waits until the last verse before slowing down to ask himself.

There’s a touching simplicity to Gilchrist’s delivery...“Eifersucht und Stolz” and the “liebe/böse Farbe” songs are riveting…