Both Respighi and Richard Strauss made their reputations with large-scale orchestral works, at one time described by the critics as inflated but now recognised as masterpieces. Strauss’s similarly masterly E flat major Violin Sonata is an early work (1887) which reveals the composer’s talent for music in a more restrained textural way, yet is just as full of romantic emotional feeling. The writer of opera is instantly recognisable in the style of the rich melodic lines, while the often intricate piano accompaniments make clear that their composer was himself a first-rate pianist (as well as a fine violinist), which made his recitals with his wife, Pauline – whom he met at the time of writing his sonata – so successful. The Sonata itself is not only inspired but takes naturally to the medium of violin and the piano, with its lyrically melodic first movement, a charming improvisatory slow movement and an appassionato finale all with the compulsive forward impulse of his tone-poems.

Respighi’s Violin Sonata has in its first movement the agitato impetus and rhapsodic fluency of Strauss’s orchestral works. Its lovely slow movement has a yearning expressive feeling which draws the listener in, rising to and falling away from a passionate central climax. The finale all but disguises its passacaglia format with its thrustful vigour, jagged rhythms and changing moods but ends with a burst of sheer passion. Both sonatas are played here with complete understanding and spontaneity, and bring moments of true musical virtuosity. Piers Lane is a first-class pianist and forms a fine partnership with Tasmin Little, whose tone is caught with great beauty, for the Chandos recording is completely real and naturally balanced.

Three of the Six Pieces then offer an engaging codetta to the main works, charmingly lightweight, all but salon pieces, the balletic ‘Valse caressante’ particularly beguiling and the closing ‘Serenata’ winningly intimate.