Oboists have much for which to be thankful to Mozart. Not only are there a charming concerto and a true masterpiece in the Quartet for oboe and strings but the Salzburger was generous with his provision of solo moments in his operas and orchestral music. And even if his head was turned later on by that single-reed interloper, the clarinet, there are more than a handful of starring oboe roles in his wondrous Viennese serenades.

Oboists are a voracious lot, nevertheless, so it’s no surprise from time to time that they are wont to cannibalise music for other instruments. Olivier Stankiewicz, principal oboist of the LSO since 2015, is hardly the first to adopt a judicious selection of violin sonatas and adapt them for the oboe. It makes sense: the two instruments share the ability to scintillate in notey virtuoso writing as well as to spin a rapt singing line in lyric music. Their ranges coincide more or less, too, so Stankiewicz has had no more than occasional recourse to octave displacement. Only the violin’s ability to play chords trumps the oboe: no matter, as swapping the soloist’s part with the piano’s right hand clears that hurdle, and you only notice if you’re following along with the score.

B flat is an ideal key in terms of fingering and range for the oboe and the two sonatas in that key – the expansive K454 and the genial K378 – come off exceptionally well, with only odd concessions to the instrument (including a cheeky ‘lipped’ low A, officially a semitone below the instrument’s range). The two-movement E minor Sonata, K304, presents a different side of Mozart, its underlying unease vividly communicated by these two players – the brief outbreak of bronzed E major in the utterly un-minuet-like Tempo di minuetto a true time-stands-still moment. Jonathan Ware is an ever-attentive co-conspirator on a beautifully voiced Steinway. Balance between the two players in Queen’s Hall, Edinburgh, is just as it should be, enabling each to come to the fore or provide accompaniment as required.