How ironic that Schubert’s best-loved stage music should be associated with such an absurd farrago as Wilhelmina von ChÈzy’s ìgrand romantic dramaî Rosamunde, F¸rstin von Zypern. Already ridiculed for her libretto to Weber’s Euryanthe, ChÈzy was duly lambasted by the Viennese critics, though a complete fiasco was averted by Schubert’s incidental music, with the choruses of huntsmen and shepherds attracting special praise. For later generations the outstanding number is the powerful B minor Entr’acte, which some scholars have posited as the ìmissingî finale of the Unfinished Symphony. With this sole exception, the Rosamunde music is Schubert at his most guilelessly charming, epitomising the gem¸tlich, quintessentially Viennese composer of popular myth.

Of the few available recordings to include all 10 numbers, Abbado and the Chamber Orchestra of Europe (DG) and M¸nchinger with the Vienna Philharmonic (Decca, 3/76R) stand out. Without necessarily displacing them, this new version has much in its favour. Douglas Boyd gets crisp and responsive playing from his Winterthur orchestra, founded on lean-toned strings, with violins properly divided left and right; and after a slightly dour opening to the overture (originally written for another play, Die Zauberharfe), he paces the music with a sure, light touch and a keen ear for balance. Rhythms – say in the huntsmen’s chorus, where M¸nchinger is rather ponderous – are supple and buoyant, while first flute, oboe and especially clarinet frolic gracefully in their many bucolic solos. The fresh-toned Swiss Chamber Choir are at least a match for their rivals; and Serena Malfi brings a flavoursome, Latin timbre, if no special feeling for the words, to the wistful Romance. Abbado’s Anne Sofie von Otter is ideal here. If his version has the edge in piquant detail, no one who buys this finely recorded new performance need feel short-changed.