The grand manner is implicit in Kent Nagano’s opening of the Triple Concerto. Cellos and basses are deep yet pianissimo, as specified; yet the first tutti reveals a large orchestra, powerful but dense in texture. Wind instruments tend to blend in and the two horns, also important partners of the piano trio, shine even less in this capacity than they do in other modern-orchestra performances. True, Beethoven often marked down their dynamics, but Nagano doesn’t always factor that in. The soloists, a trifle more closely placed in the first movement than the other two, are individually and collectively very good. Johannes Moser is particularly fine in his exacting role while Mari Kodama’s unobtrusive virtuosity pays dividends in the keyboard traceries of the slow movement. The finale is too swift but this is nevertheless an accomplished performance.

So is that of the Third Piano Concerto, recorded in a drier acoustic. Orchestral lines register more clearly but the piano is rather forward of the ensemble. Tastelessly and inartistically, it’s brought further forward for the first-movement cadenza. Kodama’s technique is unassailable but she is only partially inside an emotionally knotty work. Flanking a brooding Largo (oboes and clarinets omitted) are two movements of sombre potency, all requiring an uninhibited interpretative commitment that Kodama is either unable or unwilling to give. She stands back, depriving the music of a full weight of insight – which Nagano appears to endorse. Good overall; but in each case the options are much finer.