Unlike the three concertos on the first volume of Eschenbach’s survey (7/20), those on its successor, Nos 4-7, tend to be issued mostly in complete sets of the Kammermusiken. As a consequence, they focus on the chamber-musical qualities of the music, albeit that the ensembles tend to be larger than earlier concertos. The exception to the rule is No 5, Op 36 No 4, which does appear in a number of ‘complete viola concertos’ issues. The best of these are Lawrence Power’s and Tabea Zimmermann’s; but Timothy Ridout – recently announced as the UK Critics’ Circle’s Young Instrumentalist of the Year for 2019 – provides a beautifully smooth-toned performance.

As in Vol 1, Eschenbach relishes the music’s wild iconoclasm. Tempos are again lively and throughout he draws marvellous playing from the Kronberg Academy strings and Schleswig-Holstein Festival Orchestra’s winds (the trumpet not least!) and percussion. True, the start of the violin concerto, Kammermusik No 4, lacks the bite that both Chailly and Abbado achieved, but that is a minor blip and Stephen Waarts proves a most winning soloist. Astonishingly, the only rival version not in a complete survey is Michael Guttman’s with José Serebrier. I first encountered the work in a vibrant account by Oistrakh, long deleted. Curiously, the viola d’amore concerto has more accounts listed by Presto Classical.

I have not encountered Ziyu Shen before as a viola player – or viola d’amore player – this may even be her first recording. She gives a fine account of this rarest of concertos, bringing a freshness to the sound that is just as beguiling as her rivals Blume and Christ, helped immeasurably by Ondine’s crystal-clear recording. The organ concerto fares well, too, nimbly played by Christian Schmitt. This really is the Kammermusiken for the 2020s.