Schubert’s limited output for piano and violin is well represented here by the delightful lyricism of the early, occasionally bold Sonata, with the rippling B minor Rondo (sans introductory Andante) and ambitious Fantasia characteristically Schubertian essays, forward-looking and jammed full of ideas. Madojan and Westenholz are a strong, articulate, well-proportioned and mutually reciprocal partnership. '