Beneath the shimmering surface of Delius’s little-known violin sonatas are the latent exuberance
and nostalgic rapture which have made his orchestral music so popular. Across the decades
separating the B major Violin Sonata of 1892 from the Third Violin Sonata of 1930, Delius
developed a unique musical language which leavened the post-Romantic heritage of Wagner
with French Impressionism and European and Afro-American folk idioms; an intoxicating mix
that moved Sir Thomas Beecham to call him ‘the last great apostle in our time of beauty and
romance in music’.
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