After some indications about phrasing in the accompaniment, Hartmut Holl makes some comments on dynamics and German pronunciation.
Then he focuses on the historical context of the songs cycle Sieben fruhe Lieder by Alban Berg, pointing out the contrast between the different versions (with piano or orchestra).
Finally, Holl adds some corrections about articulation and phrasing, tempo and agogics, character of the song, dramatic expression and color in the voice.