You’d expect this line-up of performers to give us something remarkable, and so they do; the powerfully projected emotions and great imaginative range of their Brahms could only come from players well used to being soloists. And it’s a very suitable approach for this exuberant, colourful quartet. What’s less expected, perhaps, is how well the four of them play together – the excellent, easy ensemble throughout, and the fine blend of the strings, at the start of the second movement, for instance. In the Andante’s opening pages the strongly sustained melodic lines, with fairly intense vibrato, do rather clog up an already thick texture, but we’re soon taken into another world as Argerich introduces the C major march tune in the middle section, with crystal clear sonority and an inspiring rhythmic élan. The high point of the performance is the gypsy-style finale, combining controlled virtuosity with unconstrained physical energy.

Argerich’s pianistic prowess continually lights up the music. An obvious instance is the extraordinary way she plays the cimbalom flourish in the Brahms finale, and there are many more subtle examples, such as the arpeggio figures in the last of the Schumann pieces, looking quite ordinary on paper, but here giving a noticeable lift to the music. In the preceding Duetto, her accompaniment doesn’t push itself forward, yet it supports Maisky and Kremer’s long melodic lines in a truly expressive, animated way. Ideally, the first of the Fantasiestücke could sound more wistful, with the violin and cello inflections more restrained – the Florestan Trio achieve this – but in general Schumann’s fantastical world, as well as Brahms’s more overtly emotional one, is brought magnificently to life.