This final disc … is easily the most convincing of the set. Queyras gives an intimately conversational account of the Cello Concerto, never turning it into a virtuoso vehicle for its own sake, and persuades the Freiburg Baroque Orchestra under Pablo Heras-Casado to give him equally gentle, refined support. In the D minor Trio, both his and Faust’s supplely expressive phrasing goes a long way towards mitigating Melnikov’s tendency to over-assertiveness, too, though the pianist’s playing is by no means one-dimensional and he conjures some delicate, silvery sonorities from the 1847 Streicher instrument that he has used throughout the series.  Andrew Clements