In this charming sonata (now usually called a Sonatina) the nineteen-year-old Schubert appears to have been channelling the style of Mozart rather than that of his contemporary hero, Beethoven. The silent desolate landscape of Stanhope builds to an intense climax before returning to a renewed and altered form of stillness, and we conclude with Ravel’s highly original work in which he accentuated what he considered to be the essential “incompatibility” of the violin and piano, using new-to-Paris American blues and jazz inspirations.