The Septet is one of Beethoven’s sunniest works, and Ensemble 360 promote the happy mood with playing that emphasises bright, clear tone and springy rhythms, while occasionally introducing a touch of impetuosity. There’s a pleasing air of flexibility, giving a distinctive character to many phrases, for example to the start of the Andante’s first variation. The Presto finale intensifies the performance’s vivacious impression as Sara Bitlloch attacks the G-string melody with gleeful panache, and later on her virtuoso passages light up the texture. The very swift Scherzo also sparkles but, at a dramatically reduced tempo, the solo cello in the Trio sounds relaxed and comfortable rather than elated. Now and then the Septet introduces darker, more mysterious aspects; these, I feel, need to be given greater weight. Players of an older generation (even as recently as the Berlin Soloists in 1991) used a heavier style, with more sustained expression; alternatively, period instruments can provide a range of darker colours. Anyone who has heard Beethoven’s inspired writing in the finale’s slow introduction well played on a natural horn is bound to find the modern instrument somewhat bland. But if Ensemble 360 doesn’t quite give us the Septet’s full range of colour and emotion, it’s still an admirable account – engaging, witty, and vital.

The Serenade is another happy piece, but surprisingly neglected. It’s one of Beethoven’s lightest chamber works, lacking any movement in sonata form, yet masterful in its resourceful instrumental writing and continual inventiveness. Guy Eshed’s pure, agile flute-playing leads a lively performance, by turns delicate and more robust.