The Dvo∑ák comes first, and what an inspired match the phenomenally articulate Quatuor Ebène prove to be for the veteran Pressler’s subtly accommodating pianism. In the opening Allegro, ma non tanto the range of characterisation, unbridled spontaneity and tumbling fantasy are entrancing; indeed, the coda positively explodes with joy, so much so that the packed auditorium can’t contain its enthusiasm. (‘Get over it!’ exhorts my better half when she sees me wince a little – and she’s right.) Barely have the cheers subsided than Pressler launches the sublime ‘Dumka’ slow movement, which enjoys intensely concentrated, memorably pliable advocacy. The Scherzo fairly skips along, its contrastingly long-breathed Trio negotiated with graceful poise. How ineffably touching, too, is that oasis of calm before the work’s exuberant final flourish (try from 6'36" through to the end).

The Schubert Trout (featuring the admirable Benjamin Berlioz on double bass) operates at a slightly lower level of tension but radiates such communicative spirit and pure delight in making music together that one readily forgives the very occasional rough edge or slip of the finger. Above all, of course, this cherishable pairing is a celebration of how one remarkable survivor has immeasurably enriched the lives of so many.