Goerner’s opening statement in Fauré’s First Sonata is passionate, free and probing, and I was expecting violinist Tedi Papavrami to follow suit, but he is a little more discreet and gentle in tone…One’s ears adjust after a while, and what’s then clear is that this is a performance of subtlety and confidence…There’s technical aplomb throughout.

Hear the firmness of Papavrami’s tone [in the Fauré] and sense the way that Goerner’s lines quietly pull the music forwards with increasing momentum and weight. It feels like a symphonic prelude; and sure enough, when the second movement finally breaks, it’s positively volcanic: a headlong, keyboard-shaking, lower-string-buzzing onrush of passion. No wonder Proust felt that this music burned itself on to your soul

Pianist Nelson Goerner and violinist Tedi Papavrami clinch the muscular, urgent nature of the music as well as its sensitivity and flux; the rigour and classicism as well as the whimsy. It’s very much an equal partnership, with Goerner urging things on and Papavrami responding with generous, full-toned lyricism. The Franck sonata gets a particularly fine performance – intelligent, forthright playing from both musicians.