The brother-and-sister team of Gil and Orli Shaham take a fairly romantic view of Prokofiev’s First Violin Sonata. Gil treats its more lyrical passages to his rounded tone, whereas Orli allows herself enough freedom to occasionally bend the line – as she does (for example) near the percussive start of the second movement. The first movement has a loose-limbed, ruminative feel to it, less austere than David Oistrakh with Sviatoslav Richter or Vadim Repin with Boris Berezovsky, at times approximating a Brahmsian glow. Sometimes the Shahams’ overtly expressive manner brings the chilly arguments just a little too close to thawing and in the filigree passagework at 4’51” Gil sounds less otherworldly than Repin. But the Andante is beautifully drawn, the finale, with its pounding piano writing, often very powerful. The most affecting moments come towards the end of the work, where Gil’s approach suggests an intensely warm melancholy.

The somewhat lighter Second Sonata (originally for flute but transcribed for violin at Oistrakh’s suggestion) goes with a carefree spirit, especially the second part of the opening idea – at around 0’27” – a questioning response that strengthens its resolve by the time we get to the second subject proper.

The couplings are generous. The five wistful Melodies (originally wordless songs) are rich in poetic undertones, more probing and intimate than anything else here, and the witty Heifetz arrangements find Gil mirroring his virtuoso forebear while Orli makes the ‘accompaniments’ rather more interesting than usual. Elsewhere she can sometimes hog the limelight, but better that than the more familiar vice of the violinist taking over. Fine sound and excellent notes from Harlow Robinson.