Personal projection at the highest level predominates in Op 70 No 1. From the fortissimo up-rush, Allegro vivace e con brio as directed, to the succeeding song-like theme on cello marked dolce, passion and emotional intensity are communicated within a framework of assured technical address. For the Trio Ex Aequo, content and expression are inextricably tied, structure respected. Both repeats are observed, the latter important for its first- and second-time bars. No let up of fervour and commitment in the other movements either, the Largo assai ed espressivo breathing an air of depth and mystery, disquiet conjured in a beginning played not only softly but sotto voce as well. Violent transitory outbursts are meticulously graded, pianist Olga Gollej balancing herself astutely with her partners.

Trio Ex Aequo take on the responsibility of interpreting this work as they feel it within themselves, and mostly do the same for Op 2 No 1. Mostly, because a slow tempo for the Scherzo masks its quirky humour; their choice errs instead towards a stately minuet, a shortcoming the Florestan Trio avoid (Hyperion, 6/04). For the rest Gollej, Matthias Wollong and Matthias Moosdorf repeat the penetrating insights that make Op 70 No 1 so memorable an experience. And if they don’t quite pick Beethoven’s sly jests in the Kakadu Variations, it is still a performance of stature.