This is far from being just another recording of the Kreutzer Sonata. Patricia Kopatchinskaja and Fazil Say share a radical approach, performing each musical gesture in the most vivid way, with smoothness and tonal beauty a secondary consideration. It’s undeniably exciting, especially the first movement which, after all, is quite a wild piece, but even here I was disturbed by the exaggerated shortness of many staccato notes. And in the finale, which though it shares something of the first Presto’s manic quality has a joyful aspect, Kopatchinskaja’s ultra-short, rather splashy bowing of both main themes fails to project their full melodic élan.

Like the Beethoven, the Bartók is a slightly frustrating mixture of the brilliant and the questionable, but in the Ravel the performance’s radical edge is more completely successful. The first movement’s out-of-key interjections are sharply characterised and drawn together by a powerful sense of line, and the spirit of the Blues movement is captured wholeheartedly, with some unusual piano sounds and spectacular violin-playing. Not surprisingly, Say’s own Sonata is also beautifully played. Most imaginatively written for the two instruments and adopting a direct, uncomplicated style, four short movements chart a progression from romantic melancholy through an area of dark, grotesque struggle to an empty, bleak landscape, with a repeat of the gentle first movement as consolation. Daring, and highly individual playing – it’s a CD worth investigating.