The finest performance here, by far, is of the Bartók sonata, one of the most demanding of his modernist works. The spontaneity which the performers speak about in their ‘conversation’ materialises in playing that is both forceful and expressive.

[Brahms] This is a performance of extremes, which is magnified by Kopatchinskaja’s leaps between vibrato and a totally white sound, from a sweet tone to a scraping one, and from phrases that sing to those that declaim. The Bartók caps a recital that is as personal and imaginative as any recital could be. Strongly recommended.

Of the three works, Bartók’s far-reaching Violin Sonata No 1 is the least often performed. Kopatchinskaja plays with nerve endings on edge in the violin’s lonely solo in the slow movement and the almost ferocious folk-like realism of her performance provides a compelling climax to a collection that takes nothing for granted

Every phrase [of the Bartók] is sharply characterised – as well as powerfully gestural – and their playing is as volatile as the music itself.

The duo’s latest recordings don’t spring any nasty surprises. Certainly, the physicality and the brusqueness of bowing and fingering are here. But there is nothing wilfully wayward or showboaty in the playing.

you might expect these two to emphasise the explosive contrasts and heart-on-sleeve richness respectively [of the Janáček and Brahms], but instead it’s the tenderness with which Kopatchinskaja especially approaches them that leaves a big impression.