Turina’s output of chamber music was relatively modest, some 16 works out of a little over 100 published pieces, five for violin and piano. Only four of those are given here, El Poema de una sanluqueña being replaced by the early Sonata española (1907-08), originally intended to be his Op 2 but withdrawn after a couple of performances. A “complete mistake” is what he called it later, a judgement which seems unduly harsh for this ardent and hugely enjoyable piece which attempts to blend nationalist elements within the strict format he had learnt from d’Indy.

The First Sonata, then, is a much later piece from 1923, composed in Turina’s mature nationalist style. Its three movements are straightforward enough yet seem to my ears to have exchanged some youthful fantasy and exuberance for a more controlled expressive focus. This is truer still of its successor of 1933-34, to which he again attached the title Sonata española. Here the three movements succinctly encompass a four-span design, the relatively long opening Lento built from a set of variations, succeeded by a charming Scherzo and compound sonata-form finale starting as an Adagio and eventually concluding as a fandango!

The two makeweights are fascinating as well, the excellent Variaciones clásicas (1932) – a direct precursor of the Second Sonata’s first movement – and one of his very last works, Homenaje a Navarra (1945), a brief fantasia on themes by Sarasate. David Peralta Alegre plays throughout with verve and feeling for Turina’s style and Ana Sánchez Donate accompanies with poise. Verso’s sound is faithful and nicely balanced.