Classic Schubertiads are modelled on the kind of Viennese soirees that Schubert himself enjoyed, long evenings of singing and informal chamber music around the drawing room piano. Schubert would have tried out much of his own music at these gatherings, certainly, but also that of other composers – a mix that's often forgotten by the keenest all-Schubert Schubertiads. So this year's instalment of the annual Perth event was right to focus on the composer in the context of his contemporaries, predecessors and successors. With the young Lieder collective The Prince Consort in residence, the lineup was mainly voice and piano orientated, though the Elias Quartet stepped in with Haydn and Mozart when the Eschers had to withdraw at the last minute.

A remix programme took the theme one step further, alternating Schubert songs with piano transcriptions of them by Liszt, Godowsky and Rachmaninov. These transcriptions say more about the transcribers than about Schubert himself, whose detailed settings are turned into vehicles for flamboyant pianistic coups: dense inner voices, extravagantly spread chords, melodies doubled in octaves, florid accompaniment patterns, and, especially in the Godowsky settings, some outlandish Romantic harmonisations. Pianist Alisdair Hogarth was an attentive and technically accomplished interpreter, but fell between two stools slightly by trying to retain the chamber character of the originals. The grand gestures of these versions were written for a larger stage.

Tenor Nicholas Mulroy and soprano Anna Leese shared vocal duties, neither voice entirely suited to the repertoire. Leese's was too large, harsh-edged and sluggish, Mulroy's a little uneven through his range. That said, his closing performance of Morgengrüss from Die schöne Müllerin found a real sense of calm and some beautifully tender high notes. That Mulroy slipped some Romanticisms from the piano transcriptions into his vocal lines was a nice touch.