The romance of the flute and harp? What, incautiously left too close together in the band-room overnight? Found entwined in the morning, inventing the double cadenza?
More cautiously, as it turns out, the reference is to the music: well-known, and well-loved romantic pieces played either by one instrument of the other, or both together in duo. They do indeed combine splendidly, the flute enhancing the tune, leaving the harp to elaborate the accompaniment, as nature clearly intended it to do. Consider the Mendelssohn ''Spring song'', or the Bizet Intermezzo: how could these possibly go better than they do here? The harp on its own, too, can certainly make its effect, and does so, notably, in the Hasselmans La source, a favourite of harpists (of good ones anyway!). The flute is harder pushed for a suitable unaccompanied solo: Debussy's Syrinx, nevertheless, turns out to be an ideal choice.
The whole programme is most beautifully played, and the two instruments ideally balanced in a recording of the very first quality. It is easy to think of many ways of paying more for a record considerably less enjoyable than this one.'