If you are going to play Mozart’s fragile childhood sonatas ‘for keyboard with violin accompaniment’ on modern instruments – always a risky proposition – this is the way to do it. Avoiding the twin traps of over-inflation and simpering coyness, the symbiotic partnership of Tiberghien and Ibragimova respect the music’s innocence while relishing every tiny opportunity for mischief and humour. ... With the B flat Sonata, K454, of 1784, written for the Mantuan virtuoso Regina Strinasacchi, the violin’s emancipation is complete, in music that often sounds like a finely wrought double concerto without orchestra. Again, the players compel the ear with their rhythmic vitality (the outer movements kept supple and airborne), their quick-witted banter and their care for detail. ... Tiberghien and Ibragimova come close to my ideal Mozartian duo, in performances that further whet the appetite for the rest of the series.  Richard Wigmore