The last time I heard the Great C major (numbered 8 or 9 depending on where you are) in concert was at the 2015 Proms, with Bernard Haitink and the Chamber Orchestra of Europe. That performance glowed with wonder as Schubert’s unique alchemy took hold and even some hard-bitten critics over post-concert beers were unable to suppress broad, satisfied smiles at the wonder that had just unfolded before us.

Perhaps it’s unfair to compare a provincial German orchestra (based in Brandenburg an der Havel, 70 or so kilometres west of Berlin) with the crack troops of the COE. And there are many wonderful things here. Peter Gülke, the orchestra’s chief since 2015, has a firm grip on the architecture of the outer movements; only in the Scherzo is there a niggling feeling of sprawl. The woodwind, too, delight in perky solos, balanced judiciously with the ticking string accompaniment figures that power the music.

In fact very little disappoints. Perhaps the rhythm of the oboe solo in the slow movement might have exhibited a more incisive snap; in the Trio sections, others reveal a more authentically Viennese lilt. The timpani, too, are rather boomy in what sounds like a fairly big, empty hall. Nevertheless, this is a performance that commands the attention almost throughout (with a generous quota of repeats), even if it doesn’t quite distil the alchemy in quite the same way as certain favourites: Furtwängler (3/55), Beecham in 1955 (Somm, 4/11), Abbado (DG, 2/89 or 7/15), Iván Fischer (8/11) and Marc Minkowski (Naïve, 1/13) among them.