The violinist's rock-solid technical prowess underpinning plangent-toned based playing and her piano partner's effortless, secure pianism were heard to even greater effect in Grieg's Second Violin Sonata and more so in Ethel Smyth's solitary essay in the form.

The Grieg, often treated as a succession of dance tunes, had light and shade, shape and depth, while the rarely heard Smyth was a revelation with two Brahms-influenced outer movements, the first dark and fairly passionate, the fourth an out-and-out Hungarian dance.

A brief-ish, imaginatively wrought scherzo and a languid andante with underlying passion, the heart of the work, prompted some particularly beautifully pitched playing from Tasmin.

Then the musicians let their hair down with considerable virtuosity in their own virtuosic fantasy on Tchaikovsky tunes (largely Swan Lake) Tchaikovskiana, though for sheer flamboyance Monti's Czardas, topped it.