A feature of this issue is the inclusion of both versions of the Op 8 Trio – the original of 1853 54 and the extensive revision made long after, in 1889. In recasting the work, Brahms left the impressive main ideas of each movement more or less unchanged; but in the first movement, Adagio and finale he recomposed most of the contrasting material, making it more succinct and more relevant to the main argument. Even if the Trio’s early version tends to sprawl, it’s still good to hear its fascinating byways, especially the unexpected quicker section towards the end of the Adagio, and to be able to compare it to the later achievement.

The Schnyder Trio give performances notable for their verve and enthusiasm. Many movements benefit strongly from this approach: the Scherzo of Op 8, for instance, with its quicksilver piano runs and eager violin and cello entries, and Op 87’s finale, done with considerable panache, admirably sustaining the movement’s giocoso character. The trio’s ‘no holds barred’ approach results in an extremely exciting performance of Op 101’s passionate first movement; Brahms appears almost beside himself with agitation. If we turn to Nicholas Angelich and the Capuçon brothers (their fine set includes just the revised version of Op 8) we find their more moderate manner makes of the movement something more rich and varied. Whereas some of Schnyder’s big chords tend to sound too forceful, Angelich manages throughout to keep a rounded sonority. And generally, throughout the trios, the Capuçons and Angelich, by taking more time, are able to explore in greater detail the character of each movement’s succeeding episodes.

In the wonderful Andante with variations in the Op 87 Trio, the Schnyder performance is smooth and expressive, much of it sounding truly beautiful. But, taking only slightly longer, Angelich and his colleagues bring out its dark, Magyar feeling in a way that’s only hinted at by the Schnyders.

To sum up, the Oliver Schnyder Trio offer playing that’s often thrilling in its brilliance and intensity, with a most sympathetic and convincing account of Op 8’s first version, but it still wouldn’t be my first choice.