The set of songs that constitute Des Knaben Wunderhorn (1892-1901) were inspired by an anthology of old German poetry published in three volumes in 1808 as "Des Knaben Wunderhorn: Alte Deutsche Lieder" (The Boy's Magic Horn: Old German Songs). They preoccupied Gustav Mahler over a long period of time and were gradually set to music within the same creative period that produced his first four symphonies. To know and understand the creative urge that spawned these songs is to know and understand Gustav Mahler. Conflicting fundamental themes of death, life, joy, sorrow, humour, ranging from epic to mundane (which formed the backbone of his symphonies) can all be found here in their original setting for voice and piano.

High points include 'Des Antonius von Padua Fischpredigt' (St. Anthony of Padua's Sermon to the Fish) which laid the groundwork for the Sherzo movement of his Symphony No. 2. The 'Ablösung im Sommer' (Changing of the Guard in Summer) which provided the musical material for the Scherzo movement of the Symphony No. 3. And of course, 'Urlicht' (Primeval Light) which was later inserted at the core of the "Resurrection" Symphony.

Both mezzo-soprano Katharina Kammerloher and baritone Arttu Kataja invoke the required expressive methods to evoke the appropriate sentiment of each song, be it death, life, joy, or sorrow, and inject the proper level of vocal inflections needed to bring out the moments of humour and irony. And all throughout, pianist Eric Schneider evinces quasi-orchestral textures from the keyboard which always not only support, but enhance the expressive character of each and every number.