Ysaÿe’s is an art of memory in its broadest sense. And of memorialisation. As the Belgian composer and violinist recognises in his debt to JS Bach’s Six Sonatas and Partitas, and to hearing Joseph Szigeti perform Bach’s G Minor Sonata – the inspiration for Ysaÿe’s own essays in the genre, the first one of which – in G Minor, of course – was dedicated to Szigeti.

This first of the six that form Ysaÿe’s Opus 27, each dedicated to different performers, is appropriately arresting; the first movement even tormented, the following movements Bachian, yet redolent of the music Ysaÿe knew and loved. The Second in A Minor, for Jacques Thibaud, is even more explicitly Bachian, riffing on that...