Schwartz’s warm, silky playing matches Fedorova’s rounded piano touch. The top of the bass range lacks the penetrating quality of its smaller relatives, but Schwartz compensates with gravitas and flexibility.

throughout the recital, Schwartz and Fedorova evince tangible feeling for the music in question as also the needs of a duo still not without its element of novelty.

Federova and Schwartz are clearly having a ball here as they repurpose violin, viola and cello repertoire for double-bass, and it’s impossible not to be swept along by the sheer joie de vivre of their playing; Schubert’s Arpeggione and Bloch’s ‘Prayer’ (From Jewish Life) really sing under Schwartz’s hands, with not so much as a hint of murkiness resulting from the downward transposition, and the final ‘Gato’ from Cinco canciones populares argentinas sweeps all before it.