Exemplary clarity, but the insistent thrust in Mozart’s fast movements is wearing. Rémy Cardinale and Hélène Schmitt exult in precision as a reflection of their technical security; but there is little concern for flexibility. The notes from Cardinale’s fortepiano (copy of an Anton Walter by Christoph Kern, 2006) in, for instance, the Allegro first movement of K380 cascade glibly, while Schmitt’s partnership on a Nicolò Gagliano 1760 is of a matching calibre. There is no space for contrasts of expression within lines or paragraphs and repeats are largely unvaried.

Slow movements are less unyielding, yet a quest for regularity still inhibits a feeling for character and the Andante of K454 is no exception. Credible tempo notwithstanding, these artists have little time for resilient phrasing, lilting accentuation and subtle dynamic gradations. Schmitt’s range is narrow and Cardinale doesn’t use the expressive possibilities inherent in the damper and moderator knee-levers of his instrument.

Reach Beethoven’s Op 12 No 1 and some considerate playing is evident in the Theme and Variations. Rubato and a heartfelt give-and-take to changes in the music are noticeable. Otherwise an edgy truculence pervades, superficially exciting to begin with but, as the clattering performance of the finale shows, ultimately annoying. Regretfully, the fine art of duo playing is not yet a preserve of these players. It is of Gary Cooper and Rachel Podger, who also use period instruments and whose interpretations of Mozart’s sonatas combine insight and sensibility to a remarkable degree.