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1. Komm, Liebe Zither, Komm, K. 351

2. 8 Gedichte Aus "Letzte Blätter", Op. 10: No. 3, Die Nacht

3. Das Kinderspiel, K. 598

4. 8 Gedichte Aus "Letzte Blätter", Op. 10: No. 2, Nichts

5. 6 Lieder, Op. 17: No. 2, Ständchen

6. 8 Lieder, Op. 49: No. 1, Waldseligkeit

7. 6 Lieder, Op. 37: No. 3, Meinem Kinde

8. 4 Lieder, Op. 27: No. 4, Morgen (Version with Violin)

9. An Die Einsamkeit, K. 391

10. Oiseaux, Si Tous Les Ans, K. 307

11. 3 Lieder, Op. 29: No. 2, Schlagende Herzen

12. Brentano Lieder, Op. 68: No. 5, Amor

13. Mädchenblumen, Op. 22: No. 1, Kornblumen

14. Mädchenblumen, Op. 22: No. 2, Mohnblumen

15. Mädchenblumen, Op. 22: No. 3, Epheu

16. Mädchenblumen, Op. 22: No. 4, Wasserrose

17. Das Veilchen, K. 476

18. An Chloe, K. 524

19. 8 Gedichte Aus "Letzte Blätter", Op. 10: No. 8, Allerseelen

20. 5 Lieder, Op. 48: No. 4, Winterweihe

21. 5 Lieder, Op. 48: No. 2, in Schwebe

22. 5 Lieder, Op. 48: No. 3, Kling

23. Das Traumbild, K. 530

24. Abendempfindung, K. 523

More Info:

Richard Strauss considered Mozart to be "the most sublime of all composers". Both Mozart and Strauss wrote exquisitely for the soprano voice and Sabine Devieilhe, with pianist Mathieu Pordoy, has assembled a beautifully balanced programme of their songs. Among them is Strauss's sublime 'Morgen', which brings a guest appearance by violinist Vilde Frang. When Devieilhe and Pordoy performed Mozart and Strauss at London's Wigmore Hall, The Spectator wrote of a "heart-stopping soprano" who made the songs "sound dewy-fresh. Her voice picked up and outlined each word; long lines sounded spontaneous but wholly considered. The clarity and the lightly worn self-awareness of Devieilhe's singing made for a seductive combination."

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