These trios are played in the grand style – not in the sense of a barnstorming approach to Beethoven, rather that the evident command and self-confidence of these young virtuosi allows them to realise their impressions of the music with great force and clarity. Often, indeed, the playing is exceptionally delicate and refined, as when Freddy Kempf’s scales and arpeggios in Op 1’s Minuet sparkle and shine, or when, in Op 97’s first movement, his triplets gently ascend towards the second subject.

Throughout the great opening Allegro of the Archduke we’re made aware that, amid all its mysterious and quirky moments, there’s a powerful emotional pull. I did feel, however, that although each detail was being convincingly realised, the players hadn’t always absorbed the music at a deeper level, one at which even the most eccentric of Beethoven’s off-beat accents or unexpected harmonic shifts falls naturally into place. The Archduke’s finale illustrates this well – all the accents and phrasings are in place, and I wouldn’t want to miss the coda’s extraordinary brilliance, but other groups (the Florestan, for example) project a stronger overall idea of the movement’s manic character. The Kempf Andante is something special, however – broad and hymn-like, and with an intense climax near the end.

Even in stereo, the sound on this SACD is still impressively spacious, but a touch more intimacy would have been welcome, especially in Op 1 No 3. And I’ve one major grumble: the Scherzo of Op 97 should have the form ABABA; we have to be content with ABA. Beethoven’s high spirits really need the broader canvas indicated by his repeat mark.