Isabelle Faust and Alexander Melnikov’s period instrument traversal of Mozart’s sonatas for fortepiano and violin reaches its midpoint in the finely crafted interrogative and illuminating style that marked the previous three volumes.

If you’re already familiar with the series you will need no recommendation to acquire this latest instalment. If you’re yet to encounter it, Volume 4 is as good a place as any to start, straddling as it does Mannheim innovation and late Vienna maturity when the violin was elevated from mere accompanist to equal partner with the piano.

Faust’s use of the 1704 Stradivarius ‘Sleeping Beauty’ and Melnikov’s modern fortepiano modelled after the late 18th-century Viennese master builder Anton Walter, provide two distinctive voices that even so prove an harmonious match, tonally, dynamically, colouristically and in the bel canto singing quality of both.

Their playing styles, immediately noticeable in the effortless switching from playfulness to poise in the opening C major K.296, are equally attuned. The elegant Andante sostenuto is despatched with a precision that takes liberties with its suspended stop-start moments but stays always, adroitly, within...