What interpretative variety Bohuslav Martinů’s cello sonatas inspire – from the intimate, understated eloquence of Josef Chuchro and Josef Hála (Supraphon, 5/88) to the manic intensity of Steven Isserlis and Olli Mustonen (BIS, 8/14). Johannes Moser and Andrei Korobeinikov fall somewhere in between, capturing the rapidly shifting emotions in all three works while maintaining an unflappable rhythmic poise – no mean feat in such complexly syncopated music. The result are performances in which clarity and precision seem to take on an expressive power of their own.

Listen, for instance, to the careful way Moser and Korobeinikov scale the explosive climax at 2'37" in the Lento of the First Sonata (1939), or to the concentrated crispness of the thrilling moto perpetuo in the finale at 2'25". As usual, Moser produces a beautiful, even tone, no matter the context. How yearningly he phrases at 3'05" in the opening Allegro of the Second Sonata (1941), say. I find the duo’s reading of that same Sonata’s Largo so deeply moving – particularly the hushed and heartbroken coda (starting around 6'04") – and it’s astonishing how he and Korobeinikov somehow manage to make the finale seem mercurial and weighty all at once.

To my ears, the Third Sonata (1952) is by far the most elusive and emotionally ambiguous of the three, yet here as well Moser and Korobeinikov get straight to its heart. I love the exploratory quality the pianist brings to the first movement, especially in the extended solo passage starting at 2'30". Equally impressive is the deep vein of dramatic melancholy both musicians tap in the balletic Andante and how heartily they revel in the finale’s Beethovenian high jinks.

Pentatone’s engineers do both players proud – balance between the two instruments is close to perfect – and the recording is significantly enhanced by Gavin Plumley’s perceptive booklet note. Simply put, this is the most satisfying account of Martinů’s cello sonatas on record.