The performance of the Sonata is on a large scale, with generous, full tone and a vivid, resonant recording. Gabetta and Chamayou appreciate the first movement’s grandeur and emotional force, and the listener is swept along with their vision. Sometimes I found myself wishing for a lighter, more delicate manner, particularly from the piano. A recent recording by Johannes Moser and Ewa Kupiec provides an alternative view, more relaxed and flowing and, I suspect, closer to what Chopin had in mind. But Gabetta and Chamayou’s approach is very persuasive, above all in the finale, which generates an irresistible rhythmic momentum. In the Scherzo, the Trio is unusually slow but Gabetta projects her melody with conviction and intensity. I found the Largo much less successful; at this very slow tempo it’s almost impossible to give the listener a sense of the long arcs of melody.

Both the Polonaise and the Grand duo are given exciting performances, full of energy and vigour but tending to lack those moments of intimacy that throw into relief the predominant brilliant colours. The three short pieces that complete the programme are full of interest. Glazunov’s arrangement of the Etude is extremely expert, while Franchomme’s transcription surprisingly but successfully combines the outer section of the Op 15 No 1 Nocturne with a section of Op 37 No 1. His own Nocturne seems very plain in its harmony after Chopin but is still a beautiful cello piece. Sol Gabetta plays them all with lovely tone and sensitive phrasing.