The seemingly strange juxtaposition of Yun and Schumann must make a lot of sense to Isang Enders, with his mixed German/Korean parentage. Though the musical languages are so different, parallels do emerge; the Schumann performances are enhanced by Enders and Hering’s keen awareness of the importance of expressive nuance – and subtle changes of colour, microtonal inflections and dynamic contrasts are all important components of Isang Yun’s style. In Espace I there’s an alternation of emotional charge with deep contemplation – a vital aspect of Schumann’s make-up.

All the performances are passionate and strongly committed. Enders has a splendidly clear, penetrating tone and Schumann’s outgoing side is well served by a natural vigour and élan that generates great excitement in such pieces as the Allegro of Op 70 and the last of the Fantasiestücke. By contrast, Steven Isserlis and Dénes Várjon appear more studied and circumspect, Isserlis’s softer-grained tone giving a gentler impression, ideal in such pieces as the second movement of the Fünf Stücke im Volkston. However, Enders and Hering also appreciate Schumann’s meditative side: Enders’s calm unfolding of the melodic line in Op 70’s Adagio is particularly impressive.

The recording sounds very well, though in the Schumann items the piano appears somewhat recessed in comparison with the cello. When Hering is projecting his tone strongly there’s no problem but some figuration fails to make its full contribution to the texture. However, this is only a small blemish on an otherwise inspiring and stimulating disc.