Daniel Hope and his colleagues turn in well-paced readings of all three scores - their expressive intensity heightened by the almost gypsy-style vibrato favoured by Hope himself: highly appropriate to the riotous Hungarian finale of the Brahms and imparting an almost Klezmer-like feeling to the violin flourish at the end of the Mahler.

Schumann’s Piano Quartet sings with an articulate give-and-take and, though the temperature is moderate early on in Brahms’s Piano Quartet, the mercury rises strongly before the end.

The slow movement [of the Schumann] is one of the best things here, full-toned where needs to be - as in the glorious theme itself...There is much to admire in the Brahms, above all perhaps in the Intermezzo, with its fined-down string shadings, and the voluptuous warmth of the outer sections of the Andante.

the four participants move instinctively with the music and with one another, the piano (Schumann’s own instrument) blending in rather than dominating. The fugal flurries of the finale are articulated with terrific panache and togetherness...The affinity with style that shines through the Schumann is equally evident in Brahms’s G minor Piano Quintet.