Five years ago the Tate in London staged ‘Aftermath’, an exhibition of European art after the First World War. The paintings on show there, by Nash, Nevinson, Grosz and Léger, find their musical counterparts in this inventively programmed recital, which gives a more vividly immediate context to some familiar pieces than the usual composer-centred surveys. The three sonatas are all wartime works but their composers absorbed the turmoil beyond their gate into their ‘late style’, less lyrical and more sharply drawn and gestural than before in each case.

At least, that’s the impression given by these performances, made in a Whitby studio with Delphian’s trademark attention to detail. Benjamin Baker’s violin is sympathetically balanced forwards of Daniel Lebhardt’s piano, never so much as to exaggerate one or obscure the other. Baker has a nice line in portamento for the sighing lines of Boulanger and Elgar’s central Romance, but the base tonal canvas is more astringent. Baker does not relax into the Elgar after the fashion of Menuhin or Vengerov: this is an Edwardiana that, like the Second Symphony, looks forwards as much as back.

The central work in every way is Debussy’s Sonata. The playful recitative of its opening exchanges comes off here like the mysterious game of tennis in Jeux; a pulse is less important than a sense of continual and unpredictable movement. A Pierrot-like nocturnal fantasy marks Baker’s capricious phrasing of the Intermède – fantasque et léger indeed – and Lebhardt explores an impressively refined palette of piano-pianissimo and rapid-fire articulation evoking Études such as ‘Pour les notes répétées’. No less than a well-curated exhibition such as ‘Aftermath’, it’s worth walking through the whole recital and then returning to your favourite things.