Shostakovich’s Viola Sonata, his final composition, is surely one of the most significant works in the emergent solo viola repertory of the 20th century. Like all his late music, it’s dark in tone and unsettled in mood, but tempered by an air of resignation, most strongly felt in the slow finale, with its haunting references to the Moonlight Sonata. How slow should this movement be? Yuri Bashmet and Mikhail Muntian play very slowly, way below the metronome indication, and their final minutes create an atmosphere of rapt concentration. Power and Crawford-Phillips stick to the written tempo; not quite as striking, maybe, but there’s a big gain in our awareness of the long phrases. Elsewhere, Power and Crawford-Phillips appear more reliable, better-balanced guides to the Sonata than the characterful but wayward Bashmet and the somewhat reticent Muntian.

Power’s performance is particularly engaging in the witty, sardonic middle movement, where Nobuku Imai seems, by comparison, too bland. Elsewhere, her playing is sensitive and refined, and Roland Pöntinen plays his part wonderfully throughout. He does seem reluctant in places to play really quietly, where Crawford-Phillips is meticulous, though he could learn from Pöntinen about the sonority and characterisation of several passages.

The Preludes and the Gadfly Suite were both arranged by viola players associated with Shostakovich; they neatly illustrate contrasting aspects of the composer’s career and are splendidly performed here.

To sum up: if not the very last word on the Sonata, this is still a finely played programme that can be recommended with confidence.