Robert Schumann is enjoying a fine summer, his 200th birthday having fallen on June 8.

So Ryedale Festival was quite justified in devoting a whole day – five events – to his songs and chamber music.

The last of these was anchored by the versatile pianism of Christopher Glynn, the festival’s excellent new artistic director.

There is something oddly nocturnal about the clarinet, and in the hands of Lesley Schatzberger you know its tone will be warm and ripe.

So Schumann’s three Soiréestücke of 1849 made an ideal opener, the first freely flowing, the second delicate, the last showing the composer in Don Quixote mode.

She was smoothly partnered by Glynn.

The pair were joined by Alan George’s viola for two more pieces, equally engaging.

Though originally written for horn (with piano), Schumann’s Adagio and Allegro Op 70 works equally well with cello.

Heather Tuach brought a romantic ardour to the slow movement and made every note count in her finely phrased Allegro.

Whereas she proved a natural communicator, there was something of a communications gap in John McMunn’s intrepretation of the great Dichterliebe song-cycle.

His light but well-focused tenor needed more chest tone at the bottom of his range, though he clearly knew his way around Heine’s poetry.

But one longed for him to abandon his straitlaced delivery, throw off his tie and live a little. Changing facial expressions might have helped too.

Eleanor Laugharne’s charming soprano, all too briefly heard, pointed the way for him.