Within months of the acclaimed new recording from Julia Fischer and Daniel Muller-Schott, here’s a very fine reading of Brahms’s Double Concerto from the stellar young Capucon brothers. They seem incapable of setting a foot wrong on disc and they put their considerable chamber-music experience to great use in Brahms’s final orchestral work, with Gautier Capucon proving an eloquent lead in the vehement first movement.

The other striking aspect about this performance is the sheer range of colour, not only from the soloists but also from the Mahler Youth Orchestra, who play their hearts out for Myung-Whun Chung in this most symphonic of concertos. If I still find Oistrakh and Fournier irresistible in the slow movement, offering a perfect balance of melodic lines that are lovingly cherished but never saccharine, the Capucons are still very impressive, and their finale is full of vitality, making much of the folk-tinged inflections and achieving a seemingly telepathic unanimity in their shared passages.

For a change from the usual concerto companion we get Brahms’s Clarinet Quintet, written in 1891, four years after the Double. In this coupling it’s easy to hear the Quintet’s famous autumnal quality prefigured in the outer sections of the concerto’s Andante. Paul Meyer is an ideal protagonist, producing a wide array of mellow shadings in the opening movement, yet never underplaying the more agitated passages within the piece, notably the Presto of the third movement. The quartet are minutely responsive to Meyer’s every move and even seasoned Brahms aficionados will find new detail to relish in both the performances here.