Frederick Delius's Violin Sonata in B was written while the composer was living in Paris, in 1892, and was first played there during the following year at the home of pianist Harold Bauer, the violin part taken by Serge Rivarde. Yet the work was rejected for publication, on the spurious grounds that the piano part is too taxing; the composer himself later dismissed the work. Fortunately, however, Delius did not succumb to the tendency amongst some composers to destroy their early work, but carefully preserved the manuscript; it was eventually published posthumously in 1977.

Although the Sonata's passion contrasts with some of the more contemplative, limpid scores for which Delius became renowned, it seems astonishing that the work did not find an audience during his lifetime. The first movement opens with youthful ardour, before a quotation from his recently-finished opera Irmelin finds its way into the gentler lyricism of the second subject group. The "bright" sound of B major, and some striking harmonies, enhance the movement's pervasive sense of vibrancy. In the slow movement Delius's melodic facility is displayed, a Schumann-esque piano introduction leading into a tender, legato violin line, interspersed with moments of more fervent romanticism. Another musical cross-reference is featured in the finale's opening, when Delius's symphonic poem Paa Vidderne is recalled. This movement makes even greater demands on the protagonists, with a wide range of textures and formidable technical agility required, and there are hints of the Scandinavian musical styles so important to Delius throughout his life.

Scandinavian music was also having a significant impact in France at this time. During Delius's sojourn in Paris he met the young Maurice Ravel, to whom he summarised his view of Parisian musical trends: "modern French music is quite simply Grieg, plus the third act of Tristan". Surprisingly, Ravel concurred: "It's true. We are always unfair to Grieg". Ravel was influenced by Delius, known as "le grand anglais", in the composition of his one-movement Violin Sonata in A minor of 1897. The Violin Sonata in G was penned some years later, at a less carefree time in Ravel's life. The work was begun in 1923 for the violinist Helene Jourdan-Morhange, perhaps Ravel's closest female friend, whose career was tragically curtailed by apparent "rheumatism" that prevented her from performing. This may go some way to explaining why Ravel took so long to complete the work. In January of 1924 he wrote to Falla: "I thought I would finish my Violin Sonata towards the beginning of February. I have just abandoned it . . . my depression is worse than ever".

The Sonata hinges on Ravel's desire to explore, and even emphasise, the apparent incompatibility of violin and piano. Accordingly, the first movement accentuates the brittle quality of the piano, juxtaposing this with the violin's lyrical qualities. In the second movement, a rather melancholic "blues", Ravel creates a jangling sonority during some of the violin's pizzicato passages, and the skittish finale is a perpetuum mobile that toys nervously with motifs heard earlier in the work.

Before Ravel's publishers Durand would print the Sonata, a work they had waited some time to receive, they required to hear it played first. Duly, Ravel approached the violinist Enescu to run through the piece, an occasion recalled by Yehudi Menuhin, who was having a lesson with Enescu at the time: "With Ravel at the piano, he played the sonata through at sight, carefully and almost flawlessly. . . When they were done, Ravel pronounced himself delighted and prepared to go. Enescu stopped him, saying, "No, let's try it once more, just to be sure." This time Enescu put his part aside and played the whole work from memory. My father and I were dumbfounded, as was Ravel".