Radutiu and Rundberg make a formidable duo, equally comfortable in the very different environments of these three works. Lalo’s 1856 Sonata, though written long before the music on which his fame rests, is nevertheless a strong, characteristic piece, the restlessness of its first movement mirrored in the lively finale, while the central Andante makes affecting play with changes from major to minor. This performance fully embraces Lalo’s Romantic, rhetorical idiom and makes one wonder why the sonata isn’t played more often.

Magnard’s Sonata is a dense, complex piece but its themes are distinctive and clearly differentiated, and Per Rundberg’s delicate touch makes any criticism that the music is too thickly scored seem misplaced. This performance is especially persuasive in more reflective moments such as the lovely, dreamy middle section of the Funèbre slow movement; but the energetic music, played with extra-clear rhythmic definition, is just as effective. With its powerful overall narrative, this seems like another unjustly neglected work.

Initially, I felt dubious about the idea of transcribing Ravel’s Violin Sonata for cello. It’s true that the first movement loses something of its crystalline quality and that in the ‘Blues’ we miss the twanging, banjo-like strumming of the violin. But, for someone new to the work, this would still sound like a wonderful, unique piece; Radutiu plays the bluesy quasi-vocal lines most stylishly and, in the moto perpetuo finale, his virtuosity matches any of his violinist rivals. To those who fancy exploring off the beaten track, this is strongly recommended.