In Das heisse Herz you feel the presence of Schumann, the popular dance hall, folk tunes, and the torment of Wozzeck as filtered through Widmann’s sensibility. The piano part parallels the voice but has its own distinct identity, strongly brought out by Frese, who somewhat exaggerates the emotion in the Schumann Lieder, in keeping with Immler.

The baritone offers steady, handsome tone and pinpoint intonation as well as plenty of interpretative flair, while the pianist rises impressively to the varied challenges Widmann throws at him.

The selections from Schumann's Harper and Lenau cycles here are beautifully done, with Immler's pleasingly dry timbre and sincerity of delivery proving especially moving in the more introspective songs - but the chief attraction is the title-work by Jörg Widmann, inventive and accessible in equal measure and harking back to works like Dichterliebe whilst throwing Sprechstimme, jazz and cabaret into the mix. It's hard to disagree with Immler's assessment of it as 'among the very greatest song cycles, and not just among those of this century'.