That the so-called ‘Posthumous’ Sonata openly exhibits its stylistic debt to Franck and Fauré does not lessen its formal ingenuity (as Enescu, who likely gave the 1897 premiere, recalled in his Torso-Sonata 14 years on) or emotional poise. It receives a thoughtful reading by the Milsteins, who are hardly less successful in the mature Violin Sonata – the searching fragility of its first movement followed with the most probing among Ravel’s blues-inflected studies, then a Perpetuum mobile of unstoppable impetus viscerally rendered by these musicians.

If the Milsteins are less at home in Tzigane, this is because its gypsy inspiration needs astute handling for the expressive contours not to feel stylised or contrived. More convincing is the ethereal Berceuse in homage to Fauré, together with three transcriptions – the suave Pièce en forme de habanera, the sombrely eloquent Kaddish and those winsome miniatures inspired by Greek popular melodies, which have been idiomatically transcribed by the present violinist.

Competition is considerable in this repertoire: Alina Ibragimova and Cédric Tiberghien give performances of greater expressive immediacy, coupled with the Violin Sonata by Guillaume Lekeu; Lena Neudauer and Paul Rivinius are similarly commanding, with a major addition in Ravel’s Sonata for violin and cello. Yet the Milsteins convey genuine insight into this music and their disc, with its excellent sound and imaginative annotations, is worth investigating.