An extraordinary level of refinement is achieved here as Yuri Bashmet and his Moscow Soloists completely strip away the “pop classic” perception of these three enduring pieces, persuading us to view them in a different light. The innate classicism of the Grieg and Tchaikovsky is felt as well as heard in deft articulation and elegant nuancing so that the Mozart, far from being the odd man out, is very much a kindred spirit.

Grieg’s Romantic homage to Baroque sensibilities is tenderly felt in the Sarabande and Air. In the former, the tentative flowering of the melody in the reprise is most sensitively addressed; and the exquisitely veiled start to the latter brings an air of archaic mystery with preciously turned arabesques. In Mozart, the Moscow Soloists bring a touch of luxury to their spry and upbeat reading: their lightness on the string enables the elegant shaping and dovetailing of phrases.

But it’s the Tchaikovsky Serenade that brings the biggest revelations here – not least a timely reminder that its title implies a personal communication. How often this piece is made to sound sumptuously imperialistic, with sickly, overblown string sonorities. The word “Sonatina” should provide some indication as to the nature of the first movement, and Bashmet clearly takes it as his cue for bows to be fleet and airborne in the central development. The Waltz spins through the imagination – not so much a dance, more a fantasy. And as the Elegie steals in, so fragile at first, the potency is in the restraint, with emotions the stronger for being contained. This is gorgeous.