The partnership of Takako Nishizaki and Jeno Jandó is very successful. In the earlier of the more mature sonatas, which date from 1778, the violin often takes a subsidiary role, and here the balance and Jandó’s strong personality emphasize the effect. This is slightly less striking in K. 379–80 (on the third disc) which are later (1781) and in which the part-writing is more equal. On the fourth CD of the series we move on to K. 454 and K. 481, which date from 1785 and 1786, respectively. The two instruments now form a much more equal partnership. Nishizaki’s tone is small and at times a little thin and uncovered (rather like a period instrument) but seems perfectly scaled for Mozart; here playing is highly musical, and these artists strike a Mozartian symbiosis that is appealing in its fresh simplicity of approach.