Schumann’s Op. 94 romances are an exceptionally stylistically unified set: all with a pensive, nostalgic feel, albeit with bursts of energy; all in either A major or minor; similar moderate tempi. By contrast, Debussy presents a dizzying array of tempi, dynamics and moods in just the first minute of his own melancholic, nostalgia-laden Violin Sonata of 1917. Indeed its gypsy folk inflections and the defiant energy of its finale are very much at odds with his own downbeat assessment of it as “an example of what may be produced by a sick man in time of war”. Beethoven was forced to be less stormy than he’d wish for his tenth violin sonata, because it was for sweet-toned French violin virtuoso Pierre Rode, who disliked boistrous music. Yet still he achieved drama via a myriad of shifting moods, textures and colours.