Not a few major conductors wanted also to be remembered as composers and Furtwängler was certainly well equipped musically to fulfil both roles. He studied privately as a youth under both Rheinberger and Max von Schillings, and wrote his first symphony at the age of 17. Two other symphonies followed in 1944 and 1953, matching Bruckner in their expansive ambition but perhaps not their communicative success.

His Second Violin Sonata (1938‑39) owes more to Brahms. It reveals a distinct lyrical flair, especially in the touching central Andante cantabile. This is quite memorable and might be successful as a basis for film music, as it is beautifully played by Sophie Moser. The snag is that, although it opens in muted fashion, the climaxes of the powerful extended first movement (16'30") are inclined to be bombastic, not helped here by the piano, where both the playing (of Katja Huhn) and also the balance tend to dwarf and even all but drown the violin at times. The Presto finale presses forward with great gusto and moments of lyrical passion but, again, the piano is too dominant, even though the vigorous commitment of both performers is compulsive.

The duo are are even more at home in Beethoven’s G major Sonata, and here the balance is as excellent as the performance. The vigour of the bold, good-humoured first movement is admirably shared, the engaging second movement is played with affectionate grace (molto moderato e grazioso) and the finale is splendidly spirited. Most enjoyable.