Schubert's music for violin and piano falls into two groups. The first three of the four sonatas he wrote in 1816 and 1817 were labelled Sonatinas when they were published posthumously in 1836. The Rondo in B minor and Fantasy in C from the last years of his life are uncompromising, technically demanding works that many players still fight shy of. None of the music holds any fears for Alina Ibragimova and Cédric Tiberghien, who even exaggerate the intrinsic challenges by taking a friskily fast approach to the second section of the Fantasy, where the marking is only Allegretto. It's symptomatic of an on-and-off refusal to follow the natural flow of the music, which ultimately limits the rewards of this set. url.ie/4qdb