Benjamin Beilman, violinist, and Andrew Tyson, pianist, are two young men at the beginning of their musical journey through life and on the international concert circuit. Individually they are technically brilliant and together they are exploring the potential of their relatively recent concert partnership. The program revealed a willingness to interrogate diverse repertoire.

Mozart's Sonata No 35 in A major, K526 was a good choice of opener, with Beilman and Tyson flinging the phrases to the audience in a display of youthful effervescence. The opening molto allegro danced out in a romping tussle – like two young pups locked in a perfectly matched race. Tyson kept the piano crisp, dry and unsentimental; his ornamentation was economical and precisely timed without unnecessary innuendos caused by flabby ritenutos. The stepping figure in the second movement was executed as a nicely balanced conversation between instrumentalists. Tightly controlled runs, accurate and delightfully springy, bound the violin and piano together in the final presto movement, embodying the Mozartian quest for a "perfect balance of the passionate and the rational".

Perhaps the most emotionally demanding work was Janacek's Violin Sonata penned in 1914-1915 and revised 1916-1922. Modernist elements in tonality and rhythmic patterning are interwoven with lyrical melodies, long phrases and snatches of traditional lullabies and dance motifs. There is a confident narrative line expressed in a modern voice. Janacek is the voice of the changing times, articulating a hope that the Russians would liberate Czechoslovakia from imperial rule. In the opening con moto, we heard the soul with which Beilman can infuse his playing – a throbbing melody above the undercutting, uneasy rhythm of the piano. Liquid phrasing in the contrasting ballade intensified into almost languid sonority in the allegretto. These carefully distinguished movements made the surprisingly aggressive outbursts in the final adagio all the more dramatic.

The Hildegard Project in support of women composers and the associated commission by Musica Viva of Jane Stanley's Cerulean Orbits is a praiseworthy initiative. Abandoning conventional key structures for tonal centres, Stanley crafted Cerulean Orbits to resonate around the note B, using this as an anchor to enable the violin and the piano to orbit each other, soaring and dipping in a way that imitates the motion of the spheres in the heavens.

Beilman and Tyson were very much at home with the sophisticated structure and compositional grace of Saint-Saens' Sonata No 1 in D minor, Op 75. This work brought out the best of their abilities: minute attention to clarity and perfectly synchronised playing. Tyson revealed the inner voices of the writing in the presto and the two united in light, fast and sparkling duet passages. Beilman's accurate, confident intonation up the neck was phenomenal, and the two concluded with an elegant, flying finish guaranteed to bring the audience to its feet.