It may take some listeners a few minutes to acclimatise to the fortepiano in this period-instrument performance, but Trio Goya’s sound world has a satisfyingly natural balance. And it’s good to hear Kati Debretzeni – more often to be found leading period-instrument ensembles – in a chamber context…Maggie Cole grounds the music with wit and authority.

When the Goya make less of a fuss, their music-making is often marvellous. I the two scherzos, for instance, they revel in the composer’s playful brilliance…Debretzeni’s playing is admirably articulate and sensitive…Sebastian Comberti is a reliable team player although somewhat too reticent.

The players fully convey the intense sadness of the opening movement, employing gentle, exquisitely subtle pastel shadings. The recording is as lucid and immaculately balances as the playing itself.

The performance of the first trio is full of life, especially in the Presto finale; the crown is the expansiveness of the Adagio cantabile, wherein Maggie Cole’s touch is miraculous. The Trio in G major is probably the least known of the three yet the work breathes serenity, reaching its apogee in the slow movement. The Trio Goya captures the heart of this work; this is one of the finest performances anywhere, while the dynamism of the C minor offers excellent contrast.