Not always Haydn of good cheer. There was an arcane side; and, from his letters to Marianne von Genzinger, a depressive one too. So no quick-stepping Allegro first movement in No 27. The leaping piano clusters that spearhead the work don’t suggest romping spirits. Instead Trio Chausson’s interpretation, at a tempo about 10 points below the Beaux Arts, Florestan and András Schiff, abounds in harmonic pointing and expressive detail, the brighter lights of the exposition running into a sombre development with a dark-hued fugato. Pianist Boris de Larochelambert leads and supports, be it in the depths of the Andante or in steely resolve for the Presto finale.

Never trivial, de Larochelambert weights both individual notes and chords with care, his colleagues matching his rhythmic patterns in the Allegro moderato of No 12, easing and tightening tempo, accenting and shading phrases according to how they choose to characterise the music’s shifting tonality. Yet harking back to the Baroque rectitude of No 1 poses no problems. These musicians offer their own dynamics and elucidation, smilingly recreating the second movement’s Trio in the relative major.

Hummel, the pianist in Haydn’s Trio No 14 for Salomon’s concert at the Hanover Square Rooms in April 1792, is no mean composer of the genre either, giving the cello greater due, notably in the first variation of the Andante con variazione. Trio Chausson don’t relax their probing vigilance; and Hummel benefits. An outstanding disc.