The value of this CD, titled Romantic Violin Sonatas, lies in the totality of its program. There are individual recordings of each of these three sonatas that offer a stronger interpretive personality. If one views recordings as a zero-sum game, where winner takes all, this disc will be of less interest. But if one views a recording as an overall listening experience, the choice is happier. All three works are strong, and they go very well together. Schumann’s Violin Sonata No. 2 was composed in 1851 and premiered by Joseph Joachim and Clara Schumann (that’s a concert I would love to have attended). The work is filled with an almost frenetic energy at times, and a good deal of tension that is not resolved until the brilliant conclusion of the finale. Guillaume Combet, violinist, and Sandra Carlock, pianist, play it with rhythmic thrust and some fervor. The recording balance slightly favors the piano more than is ideal. There are recordings that make even more of its drama, but this performance is musical and appealing. Schubert’s violin Sonata in A, sometimes called a Duo Sonata, was composed in 1817 but not published until 1851, so that it serendipitously coincided with the Schumann. Schubert’s serene melodic writing is almost its polar opposite, however, at least in its first movement. The lyrical opening could be material for a Schubert song, and here the performance by Carlock and Combet is beautifully shaped. The Scherzo feels lighthearted but is filled with surprising modulations so typical of Schubert. The third-movement Andantino gives the performers another opportunity to demonstrate their affinity for the sonata’s lyrical side, and they bring the right level of energy to the finale. For me the Schubert is the strongest performance on the disc; it is competitive with versions by much more famous instrumentalists. Grieg’s Violin Sonata No. 3 from 1887 is his last completed chamber work. It begins with abrupt, fist-shaking energy, after which the first movement alternates between that and more lyrical material. The second movement, marked Allegretto espressivo alla Romanza, is for me the emotional heart of the piece. The performance here is certainly expressive, but I wouldn’t have minded more risk-taking and greater use of rubato. Similarly, the finale, with its folk rhythms and passionate mood, could be more unbuttoned. To sum up, this disc offers a very well-constructed program of 19th-century violin sonatas, performed at an expert musical level. The recorded sound is clean, although favoring the piano a bit. Robert Matthew-Walker’s program notes are thorough and helpful.