These two young artists give engaging performances of both sonatas. It’s easy to sense their enjoyment as they play this grateful music. In the Elgar’s first movement, by turns forcefully passionate and dreamy, I missed something of the emotional involvement, the subtle ebb and flow which Max Rostal and Colin Horsley brought to their 1954 account (Testament). In the middle of the Andante, on the other hand, where Rostal’s striving for the greatest intensity becomes counterproductive, Charlie Siem, allowing his tone to soar in a great arch, creates a memorable high-point. He could, however, learn something from Rostal’s imaginatively free treatment of the capricious music at the beginning and end of the movement.

In the Grieg, Siem and Korobeinikov don’t always follow the composer’s wishes. It may seem pedantic to take notice of every suggestion for a change of pace or volume, but these details provide valuable pointers to understanding the composer’s vision, as Kraggerud and Kjekshus (Naxos, A/97) prove in their atmospheric recording.

The short pieces make a pleasing addition to the recital; the Elgar Serenade and Adieu – late pieces that share the well loved qualities of more familiar earlier ones – are especially welcome.