This juxtaposition of composers who, though near contemporaries, seem rather far apart stylistically is curiously compelling. After the dramatic and sumptuous intensities of Szymanowski's D minor Sonata, Op 9, Hahn's Romance in A follows like an emotional mood-cleanser—all is now lightness and wistfulness. That there's an underlying unity of seriousness is shown by the third deeply touching Modéré movement of Hahn's C major Sonata. His Nocturne in E flat leads back to Szymanowski and his Nocturne and Tarantella, Op 28. Waley-Cohen's playing is radiant and soaring, and Watkins's pianism a model, as always, of sensitivity.