Overcoming the prejudice and condescension of the Parisian establishment, Louise Farrenc (1804‑75) was the most successful female composer of her generation. In a city where opera ruled she went her own way, ignoring the stage for the quintessential Germanic genres of symphony and chamber music. From her childhood piano studies with Moscheles and Hummel, no less, Farrenc was steeped in (early) Beethoven and Mozart. Add in Mendelssohn and a dash of Weber and you have the prime influences in Farrenc’s musical style. Her early Variations concertantes on a yodelling ‘Swiss’ theme trade in pianistic glitter à la Hummel. Elsewhere in these chamber works the odd turn of phrase may induce a fleeting sense of déjà entendu. But there is no question of slavish imitation in music that beguiles with its grace, melodic fluency and refined craftsmanship. Instrumental scoring is deft and attractively varied. Farrenc knows exactly what she wants to say, and says it with economy, charm and aplomb.

Not that this music is all limpid lyricism. The stormy opening movement of the D minor Trio, No 2, generates a powerful impetus, while the finale’s mingled pathos and agitation evoke both Mozart and Mendelssohn without sounding quite like either. Elegant pathos is also the keynote of the C minor Violin Sonata, whose central Adagio is operatic bel canto by other means. My own favourite movement here is the quicksilver, rhythmically teasing Scherzo of the Op 45 Trio for piano, flute and cello. Mendelssohn, you suspect, would have been happy to own this.

Led with sparkling élan by pianist Konstanze Eickhorst, the Linos Ensemble yet again prove eloquent Farrenc advocates. They relish the quickfire instrumental repartee of the finales, keep the rhythms buoyant and phrase the lyrical melodies with affection. Their judgement of rubato seems spot on. Eickhorst is unfazed by Farrenc’s virtuoso demands, in the D minor Trio especially; and she and violinist Winfried Rademacher bring a Romantic intensity to the Adagio of the Violin Sonata. Eickhorst, flautist Kersten McCall and cellist Mario Blaumer turn Op 45’s Baroque-flavoured moto perpetuo finale into a graceful bourrée, where the scampering performance by Emily Beynon and friends (Channel Classics, 9/08) takes the composer’s prescribed Presto at face value. There’s room for both views. Farrenc’s recent emergence from the shadows is long overdue, and this disc does her proud.