Their combined musical imagination feels so intertwined that it emerges seemingly as the natural extension of a single interpretative personality…so keenly attuned are Tiberghien and Ibragimova to each other’s musical proclivities, that at the point of contact it is difficult to imagine this score being played any other way.

They play the two fragile early sonatas with charm, simplicity…and an impish sense of fun…As to the mature sonatas…it’s hard to imagine more delightful or discerning performances. Ibragimova, with her astonishingly varied tonal palette, and Tiberghien combine the wisdom of long experience with a spontaneous joy in music that is so often opera buffa by other means.'

I prefer K526’s strange, magical andante a little slower, more sleepwalking. But what joy to hear this masterly work performed by such expert, sympathetic players.

The first movement features the most dramatic playing of the set. Ibragimova strokes the melodies of the second movement with feather- light bowing, and the presto is a joyful romp. The sound is balanced and warm, with just the right amount of resonance.

The music of course is one of the attractions. Happy surprises are sprung even in the childhood sonatas...Ibragimova’s violin tone may be lacking a taste of honey, but her wiry, athletic leaps and puckered notes bring zestful life to every bar. Cédric Tiberghien’s piano, thrusting along, rhythms crisp, is more galvanising still.