Not so many months ago the Capuçon brothers gave us a vibrant new reading of Brahms’s Double Concerto (2/08). Now they turn their attention to the piano quartets and, like Hamelin and the Leopold Trio, they breathe a distinctly un-Germanic air, bringing an abundance of light and space to their readings.

The Nash take a more traditional approach, emphasising the dark hues of the opening of the First Quartet, pianist Ian Brown making much of the bell-like sonorities of the bass. They are particularly effective in the richly coloured slow movements and bring out the earthiness of Brahms’s textures to good effect. But in the faster writing, particularly the furioso finale of No 1, I missed Hamelin, whose prodigious fingerwork and subtle colourings bring the music alive like no other. Angelich is also very good here but not quite in the same league.

That said, there is much to admire in this latest chamber set from the Capuçons et al. As ever, they don’t rely on received interpretative wisdom, and often shed new light where others follow more predictable paths. They evoke so well the otherworldliness in the Intermezzo of No 1, whirling it into a gentle, ghostly dance. And in the Third Quartet they understand when to leave well alone, as in the chorale-like theme of the first movement, which they present simply, and more effectively than the more interventionist Nash.

In the huge Second Quartet, which opens so unassumingly, choice will depend on your taste in Brahms. Those who glory in his rich colourings may well find the Capuçons et al a tempting proposition. Personally I find the greater tautness of the Leopold and Hamelin in the Poco adagio, and their quicker tempo for the finale – its Hungarian seasoning perfectly blended – helps to confirm their set as my top recommendation in this repertoire.