While Gade’s position as the father of Danish music remains secure, outside of Denmarkhis reputation rests on a surprisingly small selection of works, mostly orchestral. Dacapo’s fine recording of the Violin Concerto late last year (12/09) was welcome and this new programme of his three sonatas for violin and piano is even more so, especially as there are no recordings otherwise available.

Mendelssohn is reputed to have given the premiere of No 1 (1842), a charming and gentle inspiration, a little naive in places, not least in the salon-music-like cast of the central Andante con moto’s main melody. The Second (1849) is more accomplished, nicely balanced with a compound central span alternating Larghetto and Allegro vivace sections. The Third (1885) followed fully 31 years later and is the only one in four movements. It is a typical product of an older composer, more serious-minded but also more relaxed, less ardent.

Schumann admired the “compelling, distinctive Nordic character” of Gade’s music but those unfamiliar with his output will listen in vain for the pale but strong lyricism of say, Grieg or early Sibelius. The Germanic models now seem all-pervasive. What Schumann discerned may rather just have been Gade’s own voice. Be that as it may, that voice comes over clearly in these impeccably prepared performances, one or two intonational infelicities aside, recorded in the Libby Gardner Concert Hall in Salt Lake City.