Readers may remember the perky pair of Mozart violin concertos Francesco Dego released last year with Roger Norrington and the RSNO (10/21), paired rather unusually not with another concerto but instead with Mozart’s Violin Sonata No 21, K304, joined by her longstanding duo partner Francesca Leonardi. Now here’s an all-sonatas programme from the two of them, featuring Nos 1, 3 and 5 of the six-strong Op 1 set of 1778 that the 22-year-old Mozart penned on tour in Mannheim and Paris. Preceding these is Sonata No 32 in B flat, K454, composed in 1784 in Vienna for Mozart to perform himself with the celebrated violinist Regina Strinasacchi, a rare female professional musician who trained at Venice’s famous Ospedale della Pietà.

As before, these are readings performed on modern instruments in a historically informed style. Equally as before, the balance between Dego and Leonardi is impeccable, along with the sense of two musicians singing from the same hymn sheet. Further compliments should be directed towards their thoughtful colouring and development of musical argument. The various returns of K301’s opening Allegro con spirito theme are one example. Another would be the concluding theme and variations of K305 in A, where Dego’s wide dynamic and tonal range keeps things fresh, with delightful, delicately whimsical rubatos thrown in as the movement progresses. In fact, dainty whimsy, intimacy and exquisitely neat articulation are often the qualities I find myself appreciating from Dego’s crisp, attractively dry sound. Even her sudden forte outbursts are so perfectly delineated as to sound refined. What I do sometimes miss as a result, though, is some real red-blooded generosity to the delivery, and edge-of-the-seat sparkle. This is of course personal taste, but Dego’s comparatively fragile, intimate take on K454’s Andante doesn’t make me catch my breath in the same way as the more expansive warmth and glowing long lines brought by Isabelle Faust and Alexander Melnikov in their own period-instrument reading, and I could make the same point with the sonata’s opening Largo.

If you’re looking for unfailingly tasteful and refined playing, then Dego and Leonardi neatly tick that box. If you’re looking for a period sound with a bit more warmth and expressive urgency, I’d nudge you towards Faust and Melnikov.