They launch into the first of Beethoven’s ten violin sonatas with a joyous sense of fresh discovery. They go way beyond generic posturing to give us a sense of unbridled enjoyment that is palpable. Neither player ‘dominates’ in the old fashioned sense of ‘give and take’, but rather they respond organically to the moment, creating a dazzling array of fluctuating internal balances.

Their complementary personalities (recorded with a balance in the violinist’s favour, unlike Ehnes and Armstrong) meet most harmoniously in the Spring Sonata’s Adagio, where Watkins draws an appealing, fortepiano-like resonance from the piano and Waley-Cohen’s phrasing taps the music’s pastoral roots… Each of the three sonatas inhabits its own costume, made to measure.