Robert Schumann:
Von fremden Ländern und Menschen, Op. 15/1
Mond, meiner Seele Liebling, Op. 104/1
Seit ich ihn gesehen, Op. 42/1
Du nennst mich armes Mädchen, Op. 104/3
Ich kann’s nicht fassen, nicht glauben, Op. 42/3
Glückes genug, Op. 15/5
Süßer Freund, du blickest, Op. 42/6
An meinem Herzen, an meiner Brust, Op. 42/7
Der Zeisig, Op. 104/4
Kinderwacht, Op. 79/22
Warum?, Op. 12/3
Die letzten Blumen starben!, Op. 104/6
Nun hast du mir den ersten Schmerz getan, Op. 42/8
Reich mir die Hand, Op. 104/5
Nachtlied, Op. 96/1
Mondnacht, Op. 39/5
Im wunderschönen Monat Mai, Op. 48/1

Franz Schubert:
Dithyrambe, D 801
Die Sterne, D 684
Romanze aus Rosamunde, D 797/3b
Wehmut, D 772
Am Tage Aller Seelen (Litanei), D 343
Dithyrambe, D 801 (2. Strophe)
Klage, D 415
Schweizerlied, D 559
Dithyrambe, D 801 (3. Strophe)

Herwig Reiter:
Sachliche Romanze
Alte Frau auf dem Friedhof
Misstrauensvotum
Für die Katz
Ankündigung einer Chansonette No. 8;

Elisabeth Kulman and Eduard Kutrowatz have for many years now been working together, as they share an ar tistic passion for the unusual and unconventional which has manifested itself in pushing the traditional boundaries between various eras and genres. They aim, in their Lieder programmes, to recount new, interrelated stories, and to this end, they combine song and pieces for piano in unusual sequences, sometimes plucking verses from one song and placing them individually in a programme; carefully and deliberately choosing keys that connect a number of Lieder in order to provide a dramatic link that results in exciting, flowing and sometimes imperceptible combinations.

Meditation and reflection about love and death – the central themes of almost any artistic statement – therefore form a link right f rom the opening piece from Schumann’s Kinderszenen through to Mondnacht, perhaps the most poignant allegory on transience and leave-taking.

For Elisabeth Kulman and Eduard Kutrowatz the key focus when choosing songs is always on the lyr ics, the message, and what may lie behind it. It is therefore hardly surprising that they also chose poems by Erich Kästner set by the Aust rian composer Herwig Reiter. Despite his acclaimed reputation in Germanlanguage literature, Erich Kästner’s works were seldom set to music. His witty, ironic lyrics full of cryptic humour abound with worldly wisdom and hold up a mirror to their readers without merely moralising or preaching.

(Excerpts from the booklet)

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Live recording: 26. August 2017, Schubertiade Schwarzenberg, Angelika-Kauffmann-Saal,