Glenn Gould might have argued passionately in favour of the original 1923 version of Hindemith’s Marienleben but it’s the heavily revised – and in the case of some songs, completely newly composed – 1948 version that continues to prove more popular on disc. One can perhaps understand why: it’s less raw, less unwieldy in its vocal demands and strictly speaking represents the final intentions of the composer, albeit of a very different composer from that who had originally created the work over two decades earlier.

As such, this new recording of the 1948 version faces stiffer competition than Juliane Banse and Martin Helmchen’s fine recent recording of the original (Alpha, A/18). It’s an admirable achievement and a rewarding performance. On a purely vocal level, Swiss soprano Yvonne Friedli shows herself equal to Hindemith’s demands – considerable, even in the revision.

There’s a focus and concentration to her reading that is rewarding, and Constantin Alex is a fine, sensitive partner who makes the most of the postludes, introductions and mini-interludes Hindemith sends his way. Between them they offer a reading of patient conviction and resolve, with the final three songs, describing Maria’s death, achieving tragic intensity as they should and must.

Friedli’s voice itself, though, might prove an acquired taste. There’s a shimmer to the top that is appealing – and often appropriate – but the slight whiteness to the basic colour, though also sometimes apt, makes for a lack of tonal variety and polish when, say, compared to Rachel Harnisch on her excellent Naxos recording. Harnisch also makes more of the Rilke texts.

This is an admirable account, then, and one that’s certainly a welcome addition to the catalogue, if not a top choice. Coviello provides a booklet with (poetic) translations of the texts but an essay in German only.