Schumann’s violin-and-piano sonatas are all late works but there’s no question of flagging inspiration – the music is full of character, energy and passion. Marwood and MadΩar bring out these aspects strongly; their playing is clearly defined, with precise variations of articulation, and the more passionate movements – the opening of Op 105, the Scherzo of Op 121 – come over with considerable force. Many of the more tender moments are equally successful, and I particularly enjoyed the wonderful variations in Op 121 and the Intermezzo of the Third Sonata.

Occasionally, Marwood’s approach to the more lyrical music seems somewhat reserved – for example in the E major episode in Op 105’s finale – and MadΩar’s determination to avoid excessive use of the sustaining pedal results in places in a rather dry, brittle sound. And in those pieces where Schumann obsessively repeats a particular rhythm or motif – the finales of Op 105 and the Third Sonata, and the first movement of Op 121 – the playing does little to avoid a niggling effect. The fine recording by Carolin Widmann and Dénes Várjon generally gives a smoother, more resonant impression, due partly to Várjon’s more liberal use of the sustaining pedal. This allows them, when appropriate, to relegate these oft-repeated features to the background. And generally, by taking a freer approach to rhythm and tempo, they appear to dig deeper into Schumann’s secret world. But the more straightforward playing of Marwood and MadΩar brings out a different facet of the music – Schumann’s strong and individual continuation of the classical tradition.