By now we know well what to expect from each new album from Carolyn Sampson and Joseph Middleton: intelligent, impeccably prepared and presented performances allied to thoughtful, imaginative programming. This release is no different, with soprano and pianist on fine form in a selection grouping Schubert songs – some well known, some less so – into four seasons.

Unlike familiar seasonal works by Vivaldi and Haydn, we start here with winter, with the grim longing of ‘Sehnsucht’. Spring is heralded by the easy melodiousness of ‘Frühlingsglaube’ as well as the fresh mountain air of ‘Der Hirt auf dem Felsen’ – with Michael Collins an eloquent, understated clarinet partner, very consciously, it seems, acting as echo. ‘Im Frühling’, meanwhile, can’t help but bring a smile to the face, especially as performed with such unaffected honesty as here.

Summer includes a darting ‘Die Forelle’, as well as a ‘Heidenröslein’ of exquisite loveliness – Sampson’s voice has lost none of its clarity and sparkle. She sings gorgeously, too, in ‘Die Sommernacht’, where Middleton’s introduction is gauged to perfection. And there’s much to enjoy in the autumn songs, including an urgent, disquieting ‘Herbst’ and the beautiful ‘Im Freien’.

Throughout, one marvels at the consistent quality of the execution, and BIS’s engineering is exceptional. But though there’s little to fault – especially in the more thoughtful, lyrical songs – as the album progressed, I asked myself if Sampson could be doing more to enliven the words, to draw the listener in, to add colour, especially in the strophic songs. Listen to what Anne Sofie von Otter does with ‘Erntelied’ to see what I mean (DG, 5/98).

That said, fans of this excellent duo needn’t hesitate. This counts as another distinguished addition to their discography.