Capuçon provides the best of both worlds, creating a profound sense of a lone figure lost in his thoughts during the first two movements, before suggesting an emotional rejuvenation in the finale…Bernard Haitink and the Chamber Orchestra of Europe follow him every inch of the way, creating mere whispers of sound on occasion, yet ensuring the more forthright tuttis are kept perfectly in scale…It is difficult to imagine the Fantasiestücke played more sensitively.

An illuminating pairing, this – there’s a chamber-music-like intimacy and introversion to the account of the Cello Concerto (with some especially lovely, ethereal interplay between the soloist and the COE woodwinds in the slow movement), whilst the force of nature that is Martha Argerich draws big-boned, impassioned playing from Capuçon in a muscular account of the Adagio and Allegro that’s well-nigh symphonic in scale.

Capuçon’s impetuosity and thoughtfulness are complemented by Haitink’s lifelong engagement with this music...Each of the [chamber] works is played with collective grace and elan by these crème de la crème chamber musicians.