This album is one that, piece by piece, grows in number. It opens with Ruth Schon­thal’s Theme & Variations for solo flute; moves on to Rudolf Tillmetz’s Nocturne for flute, horn and piano; and culminates in an arrangement by Laszlo Varga for six instrumentalists of Richard Strauss’s Don Quixote.

As such, it’s an unusual programme, ranging in style and scope, united under the rather broad banner, Made in Germany. It’s the first in a planned series exploring overlooked chamber music from various countries, and even if it doesn’t entirely hang together as a programme, the group certainly showcases some rare repertoire here.

Schonthal’s intriguing solo flute work, wonderfully played by Mark Teplitsky, dates from 2004, a period when the composer’s pupils included none other than one Stefani Germanotta, aka Lady Gaga. Quite the life trajectory; Schonthal was born in Hamburg in 1924, and as a Jew, forced to flee the Nazis. Her Theme & Variations suggest a smart, curious spirit; rather more interesting than the everyday Nocturne of 1898 by Tillmetz, recorded here for the first time.

The main event is the Strauss, arranged by Varga, who escaped from a Nazi labour camp and later became principal cellist of the New York Philharmonic. Strauss’s orchestral tone poem can certainly take a chamber reduction, with the cello (Julian Schwarz, intense) and violin (Eric Gratz, eloquent) still shining, and it’s fascinating to hear it dressed up in such different clothes. (Albeit minus Variations 7 and 8, with no explanation.)

The Olmos players attack the arrangement with gusto and vigour, at times perhaps too much, but never lacking the virtuosity needed to pull off this characterful musical story. Perhaps more than anything else, the recording captures that lovely sense of eavesdropping on music-making between friends; the Olmos Ensemble was formed from the San Antonio Symphony Orchestra and has survived that group ending in recent years.