Lovely to hear each of these four masterpieces granted its own unique personality. Try by way of an example the veiled, intimately voiced second set at 1'22" into the A major Second Sonata’s central Andante, such a sensitive response to line, Peter Cropper’s tone sounding warm and “inward”, while Martin Roscoe is as ever an acutely responsive partner. Turn then to the A minor Fourth Sonata and the opening Presto flies off at a terrific lick, driven but without the least hint of unwanted aggression. An element of humour enters into the Andante scherzoso and in the finale Cropper shifts from scowl to smile for the second subject (1'44").

Cropper’s great strength as a player lies in the way he charts subtly shifting moods rather than fronting the show with a virtuoso’s charisma. He doesn’t quite have that (his tone can occasionally shift off-colour), but you can tell just how much thought has gone into all four of these interpretations. Be warned though that Op 23’s finale straddles track 6 (its allotted space on the disc) and track 7, which also includes the Spring Sonata’s opening Allegro. Which means that the Spring starts at 2'04" into the track (hence an excessively long track timing of 11'04"), an assertive performance, very forceful in parts of the opening Allegro, warmly lyrical in the Adagio, and with terrific account of the jokily desynchronised Scherzo. What we’re given is humanised, down-to-earth Beethoven, an impression confirmed by an alert and sympathetic account of Op 30 No 3. The main appeal throughout is of spontaneity and dialogue shared on equal terms, which is just as it should be, and although other violinists might top Cropper for tonal allure, few surpass him in terms of persuasive musicianship, and Roscoe’s piano playing is a consistent delight.