Ireland was born in England and wrote this sonata in 1909. The ‘Allegro leggiadro’ commences with a murmuring, insistent rhythm on the piano, to which is added a striving, purposeful violin theme whose decorative grace notes are significant in the music’s development. A desolate falling chordal sequence played by both instruments acts as a link to the second group of themes: the main one, sentimental in mood and shaped from a rising arpeggio, is heard first on the piano. The violin takes up the opening piano rhythm, transforming it into a brief jig like melody, and the exposition ends with a climax featuring octave leaps by the violin. These different ideas subsequently create a movement of rapidly shifting moods ending with a coda that leaves the questionings thrown up by the movement more unresolved than answered. Prefaced by a piano introduction that recurs during the movement, the main theme of the ‘Romance’ is a lyrical, expansive violin melody. It has the character of a song without words, simple in nature initially, but becoming harmonically richer at its climax, and it is repeated to splendid effect on the darker hues of the violin’s G string. A lento middle section is created around a mysterious fanfare-like motif, played at first pianissimo, as if heard from afar or through the mists of time. The lento gives way to a con moto passage in which the passionate outpourings of the violin take the movement to its climax. The return of the ‘song’ follows, leading finally to the piano introduction and a tranquil conclusion embodying a brief recollection of the lento fanfare, now in B flat major.

The sense of resolution achieved in the final bars of the ‘Romance’ paves the way for a carefree ‘Rondo’ finale in D major; its rollicking, cheeky tune is simplicity itself and dances effortlessly through the movement set against a variety of imaginative piano textures. In between the appearances of the ‘Rondo’ come contrasting episodes marked by flowing melodies, romantic and triumphant by turn.