The very opening of Schubert’s Second Trio is a good litmus test of what’s in store. For the pianist it’s a test of effect versus subtlety: it’s very easy to acquire an aggressive glint in those bare octaves, especially on a modern instrument. The Vienna Mozart Trio’s pianist, Irina Auner, uses a Bösendorfer, which is slightly gentler in effect than some, the Beaux Arts (1984 vintage) included.

Another telling point is the tempo set for the second movement. Too generous and you can end up with a Winterreise-inflected tread, which only works in a reading of the utmost refinement. The Vienna Trio take an animated approach along the lines of the Florestan and the Capuçon/Braley trios but that’s where the similarity ends, for the latter find much more nuance and both are lighter on their feet in the accompanying figures, breathing vital air into the textures.

In the notes much is made of the ensemble’s familial relationships in their bid for true “musical affinity” – husband Diethard and wife Irina being joined by their violinist son Daniel – but I can’t honestly say that special bond is audible on disc; ensemble is crisp and well-defined but no more so than from other experienced trios.

After the song-infused Andante con moto, Schubert offers us a more carefree third movement, the outer sections contrasting with the galumphing trio. This new version is not short of galumph but charm isn’t really the Vienna’s strong suit, and it’s a touch po-faced compared to the ebullience of the period-instrument Gaia Scienza. Similarly, it’s possible to find a more relaxed demeanour in the finale, and the dynamic range seems a little constricted. The Vienna perform this movement in its more extended original incarnation. If completeness is a priority, the Florestan disc helpfully offers both options, to be programmed at the flick of a switch. If it’s not, the Capuçon/Braley Trio is, among modern-day ensembles, hard to better.