The song titles:
    I. Wie auf treuer Wacht (As on carefull watch) [1' 55"]
   II. Adler (Eagle) [3' 45"]
  III. Frühlingsgruß (Spring greeting) [4']
  IV. Mittagsruh (Midday peace) [4']
   V. Jäger und Jägerin (Hunter and Huntress) [4']
  VI. Zwielicht (Twilight) [4']
 VII. Waldeinsamkeit (Forest solitude) [4']
VIII. Wir ziehen treulich auf die Wacht (We'll go for carefull watch) [4']

Lyrics

This first three lieds composed in his early creative period were assembled in 1935 by Wilhelm Mohr in memory of his sister Anita, who sang this songs for the first time.

The song titles:

1. Der Gärtner (The Gardener) [2' 10"]
2. Abendlied (Evensong) [3' 10"]
3. Gewissheit (Certainty) [1' 50"]

• Lyrics
• Recording (Download)

The song titles:

1. Strampelchen
2. Mitten auf der Wiese
3. Schneeglöckchen
4. Ich war mal in ‘nem Dorfe
5. Bruder Ärgerlich
6. Schwesterchen
7. Die ersten Hosen
8. Aufforderung
9. Lütt Ursel
10. Wiegenlied
11. Der Nimmersatt
12. Koseliedchen
13. Aus dem grünen Walde
14. Hinter dem Müllersteg (Tanzliedchen)
15. Spatz
16. Hemdenmatz
17. Das kranke Kätzchen
18. Das dumme Kätzchen
19. Schneeglöckchen
20. Herbst

The song titles:
    I. Wie auf treuer Wacht (As on carefull watch) [4' 45"]
   II. Adler (Eagle) [3' 45"]
  III. Frühlingsgruß (Spring greeting) [4']
  IV. Mittagsruh (Midday peace) [4']
   V. Jäger und Jägerin (Hunter and Huntress) [4']
  VI. Zwielicht (Twilight) [4']
 VII. Waldeinsamkeit (Forest solitude) [4']
VIII. Wir ziehen treulich auf die Wacht (We'll go for carefull watch) [4']

Lyrics

The song titles:
    I. Wie auf treuer Wacht (As on carefull watch) [4' 45"]
   II. Adler (Eagle) [3' 45"]
  III. Frühlingsgruß (Spring greeting) [4']
  IV. Mittagsruh (Midday peace) [4']
   V. Jäger und Jägerin (Hunter and Huntress) [4']
  VI. Zwielicht (Twilight) [4']
 VII. Waldeinsamkeit (Forest solitude) [4']
VIII. Wir ziehen treulich auf die Wacht (We'll go for carefull watch) [4']

Lyrics

Around 1700, the cantata genre reached Italy during a cultural exchange. Composers began to combine the "Italian style" with the "French gout". The resulting French cantatas are characterized by these style mixtures, on which ancient love stories sound expressively in a wide spectrum of emotions. Today, the versatile pieces have largely been forgotten. Here is the cantata "Philomèle" by Jean-Baptiste Stuck.

Around 1700, the cantata genre reached Italy during a cultural exchange. Composers began to combine the "Italian style" with the "French gout". The resulting French cantatas are characterized by these style mixtures, on which ancient love stories sound expressively in a wide spectrum of emotions. Today, the versatile pieces have largely been forgotten. Here is a selection from the cantatas by Jean-Baptiste Morin.

Content:

1. Troisième Cantate «La Rose» [12' 45"]
2. Cinquième Cantate «Bacchus» [24' 10"]

Around 1700, the cantata genre reached Italy during a cultural exchange. Composers began to combine the "Italian style" with the "French gout". The resulting French cantatas are characterized by these style mixtures, on which ancient love stories sound expressively in a wide spectrum of emotions. Today, the versatile pieces have largely been forgotten. Here is a selection from the cantatas by Nicolas Bernier.

Content:

1.      Les Forges de Lemnos (The Forge of Lemnos) [17 '40 "]
2.      Jupiter et Europe [27 '45 "]

The song “Das Märchenland” (The Fairyland) for soprano solo and piano, composed as a dedication at Christmas 1948, sets a poem by Agnes Marteau von Ernst, wife of the well-known Franco-German violin virtuoso and composer Henri Marteau.

Three songs for baritone and piano based on poems by Wilhelm C. Hambach.