Brimming over with infectious spontaneity and bonhomie, this enjoyable set suggest the wide-open spaces of the modern concert hall rather than chamber-room intimacy…at 76 Barenboim shows few signs of waning powers – indeed, there is a freshness about his playing here that is reminiscent of his outstanding Mozart concerto cycle with the English Chamber Orchestra, recorded over 40 years ago.

Naturally, the big personality here is Barenboim. Not Daniel but Michael...it is the violin, not the piano, that is consistently, insistently the sound that dominates these performances. That’s not to say that Barenboim père sinks into the background...Poor Kian Soltani, struggling to be noticed alongside these two larger-than-life musical characters. He honestly doesn’t put a foot (or a finger) wrong.