The 'Mirrors' referenced in this album's title aren't Ravel's piano pieces of that name - a strange transcription they'd make with violin added - but instead refer to Arvo Pärt's ineffable Spiegel im Spiegel. And here, especially in the unwaveringly cusp-of-silence piano part, there's more of a sense of mirages which also arise in the two sonatas flanking them. What a superb choice of programme: embattled masterpieces composed by two composers who admired each other greatly, Poulenc and Prokofiev, during and just after the Second World War, with the Arvo Pärt as breathing space.

Paul and Helen Huang aren't related, but the true teamwork makes better sense than any other performance I've heard of the Poulenc Sonata for Violin and Piano, inexplicably heard less often in concert than Prokofiev's dark and tragic first. There is tragedy here, too, typically brushed aside by countless hints of other music, other melodies, in true Poulene style.

I wondered if, in what is hardly a mere 'intermezzo as titled, the pianist isn't quite matched by the violinist for distant voices, but any reservations were blown away by the Prokofiev, where the opening Andante assai has the perfect realisation of what the composer likened to wind in a graveyard, and an ending that has one holding one's breath for what feels like a long time. The watery vision of the slow movement flows seamlessly into other ideas - which is not always the case - and while the violence may be objectively viewed elsewhere, everything adds up. A masterly performance of one of the great sonatas of the 20th century. The studio sound is perhaps a touch on the dry side, but you're soon drawn in to the magic that the pianist. and the violinist on his subtle 1742 Guarneri conjure so ineffably.