Occasionally a historically informed performance comes along that alters your perception of a work not just on modern instruments but on early ones, too. Staier and Dieltiens do exactly this in a recording that showcases Beethoven at his most radical as he moves into his ‘late’ period. The two last cello sonatas are here interspersed with the last two sets of Bagatelles, in performances of consummate subtlety and naturalness, exquisite blend and balance.

If you have enjoyed Isserlis and Levin in these sonatas – also on period instruments – you may be in for a shock, one akin to moving from a double espresso to a cup of the finest green tea. Take the first movement of the opening C major, where Staier and Dieltiens allow the music to intrigue the listener, whereas Isserlis and Levin more overtly dramatise the shifts of gear and tonality. In fact there is drama and explosiveness aplenty in the new recording – in both sonatas – but never any suspicion of gratuitous appassionato or over-played romanticism. This is a celebration of the advantages of the instruments rather than an over-compensation for their supposed shortcomings. The recording plays its part in enabling a partnership of equals, true to the original publication for piano and cello (in that order).

Under Staier’s fingers the Bagatelles are imbued with wit, charm and surprise – spoiler alert for the hugely entertaining use of the bell stop at the end of Op 119 No 10. Pedal effects are much to the fore here, and time and again the fortepiano proves to be the ideal medium. As for the interpretations, they are beautifully flexible throughout, with a pleasant improvisatory lilt where called for and a constant feeling of discovery and wonder. How thrilling are the buzzing effects and the witty added acciaccaturas in the B minor, Op 126 No 4, for instance. Devotees of Beethoven on period instruments will need no further encouragement. But sceptics, too, could do a lot worse than start here.