Debussy, Elgar and Respighi. It’s a curious line-up, but this collection of sonatas for violin and piano works perfectly. All were written within years of each other: Debussy’s in 1916 (it was the composer’s last major work), Respighi’s in 1918 (the year of Debussy’s death), and Elgar’s in 1919. They’re perfect vehicles of expression for world-class violinist James Ehnes, whose performances here demonstrate a brilliant array of tone colours: from bold, impassioned flexing strokes to soft, limpid lines achieved with just the right amount of bow hair. And Andrew Armstrong is the perfect partner – a sensitive player who can pack a punch when it counts.

Claude Debussy’s Sonata opens with an unsettled Allegro that twists and winds through some curious harmonic regions. His violin writing emphasises line, with the piano often serving as harmonic and textural support. Both Ehnes and Armstrong capture the strange mystery of this music with their brilliant ensemble skills. The second movement Intermède shifts tempo and mood frequently, while the final movement paints some gossamer-light textures, also seeing the violin rollick from high to low, which Ehnes manages with ease.

The first movement of Edward Elgar’s Sonata opens with a spiky counterpoint between the violin and piano. Ehnes perfectly negotiates the shifts from faster, driving passagework to lyrical episodes, ensuring his expressive and nuanced tone remains throughout. The second movement, a Romance, features gorgeous melodic writing, particularly in the instrument’s lower register, where again, Ehnes’ tone is at the forefront. Lyricism features again in the final movement, marked Allegro non troppo, which is characterised by a distinctly pastoral air.

The violin sonata of Ottorino Respighi is a most welcome find. His music is the least heard of the composers featured on the CD, and his sonata is a fascinating insight into the composer’s own affinity with the instrument. The second movement is a high point of the disc, and features the most beautiful piano introduction, which Armstrong performs with utmost care and attention to shape and line. The final Passacaglia opens with a dark, brooding ground bass that haunts the movement like an angry spectre.

The short Sibelius Berceuse (1915), the sixth of his Six Pieces, Op. 76, is a brilliant way to complete this disc. It’s like one long, luxuriant breath out, with the violin drawing out a fluttering, quicksilver melody mixed with long, aria-like beauty. A most pleasurable programme, performed by two very high calibre musicians.