The playing of these two fine artists offers high-class musical riches at every point, Tamestit finding a ceaseless range of tone-colours that always sounds natural rather than contrived.

If you want to bask in this sonata’s autumnal glow, these players’ expressively meticulous performance will do very nicely indeed.

Tamestit and Tiberghien find a wealth of light and space in the two sonatas, bringing a folksy, homespun charm to the third movement of No. 1 and plenty of impish energy to its finale; the two song-transcriptions, too, are beautifully done, with some magical pianissimo playing from both artists in the evergreen lullaby. And it’s wonderful to hear the two Op. 91 songs with bass-baritone for a change, Goerne’s dark, nutty timbre like luxury coffee to Tamestit’s cream.

If the fiery F minor is best heard on the clarinet, the blander E flat arguably benefits from the viola’s more incisive tone. Fine performances; the near-contemporary 1899 Bechstein piano is ideal.