Gone are the days when Schwanengesang could be cheerfully numbered among Schubert's great song cycles. Nowadays, in proper scholarly fashion, it has to be acknowledged as the postmortem fabrication of the composer's publisher, who cobbled together groups of Rellstab and Heine settings and threw in Schubert's final song to round things off.

The quest for historical authenticity is all very well, but to separate the sets of songs and present them as two halves of a full-length recital - as Ian Bostridge did in this concert - seems ridiculous. The seven songs of the Rellstab set last barely 30 minutes even when limped through, as was the case here. The six Heine songs are even shorter, though for some mysterious reason these were prefaced by Schubert's seldom-heard ballad Cronnan. It is actually supposed to be a duet, not that one would necessarily have known from Bostridge's monochromatic delivery.

Some singers could make such paucity of material seem a fully fleshed-out recital - Bostridge was not one of them. His performance achieved neither the depths of all-pervading gloom, nor the many shades of despair that these songs can convey. It takes more than staring at the floor and clutching the piano to convey introverted Romantic angst. Cast in his occasional role as Bostridge's recital partner, Antonio Pappano offered a vision of the songs concerned more with overall shape than minutiae of detail.

Even with a half hour interval and a couple of encores, including Die Taubenpost (the song that rounded off Schwanengesang before it was ditched on the grounds of authenticity), the recital took 90 minutes. The Glasgow audience had a right to feel short-changed.