I approached these transcriptions with some scepticism, for the late Op 120 Sonatas seem custom-made for the dark, velvety tone of the clarinet (or, alternately, the dark, woody tone of the viola). In the opening Allegro of the F minor Sonata, my doubts were confirmed, for despite Khaner’s sensitive phrasing, the flute is simply too bright and pure-toned for such profoundly ruminative, dramatically elegiac music. The Andante, too, has a jarringly pastoral air, as if this private, interior movement had been dragged out of doors. As the Sonata’s mood gradually brightens, however, the transcription becomes more viable, and the gracious Allegretto and jolly finale are a delight.

Curiously, the E flat major Sonata works the other way around. The flute is a perfectly plausible protagonist in the sanguine, amiably discursive first movement; but I longed for deeper-toned exhortations in the Allegro appassionato and there’s too much sunshine clearing away the shadows of the finale – though Khaner’s playing is so exquisitely shaded that it almost works.

I have no reservations about Khaner’s transcriptions of Romances by the Schumanns. Clara’s (originally for violin) sound rather elegant on the flute, and Robert’s (originally for oboe) lose none of their charm. Indeed, in the latter there’s an enhanced sense of ease and flow (though this might simply be chalked up to the notes not having to be squeezed through a pair of reeds!). Again, the performances are engagingly expressive, and Charles Abramovic is an attentive, responsive partner. Andrew Farach-Colton

As the poignant flute solo in the middle of the passacaglia finale of the Fourth Symphony is among the most tenderly reflective passages in all Brahms, it is sad that he did not write any work specifically for the flute. That, no doubt among other considerations, was what led Jeffrey Khaner, the distinguished principal flute of the Philadelphia Orchestra and before that of the Cleveland Orchestra, to make his transcriptions of the two Brahms clarinet sonatas.

As one would expect, his alterations to the solo parts are discreet, involving occasional octave transpositions upwards and, more rarely, downwards. I suspect that in many of the changes Khaner has been concerned not so much whether the flute can actually play Brahms’s written notes but what is more effective on the lighter instrument.

Naturally the replacement of the clarinet by the flute brings a marked change of character. While these late chamber works in their clarinet versions – or in the viola alternatives which the composer himself suggested – have an autumnal quality, the freshness of flute tone brings more of a spring-like feeling. Khaner also demonstrates that though flute tone in its lightness is fresher and brighter than clarinet tone, it is also generally gentler, with such passages as the running quavers in the finale of the First Sonata made more delicate. Yet sensitive as Khaner’s arrangements are, I cannot imagine many people actually preferring these flute versions to the originals. They simply make a splendid showpiece for an outstanding flautist.

Much the same can be said of the Romances by Robert and Clara Schumann, though there is a stronger case for flute transcriptions of Robert’s pieces: he suggested the violin or clarinet as an alternative to the oboe which he originally had in mind. The charming Clara pieces were written specifically for violin but again Khaner’s transcriptions could not be more sensitive, nor the playing more inspired. In all these works he is greatly helped by the brilliant, warmly understanding accompaniment of Charles Abramovic.