Hurlstone’s Cello Sonata in D major (1899) was written for the noted cellist and composer May Mukle. In his review of the score, Havergal Brian opined that Hurlstone’s sonata ‘shows ripe and mature musicianship … The Adagio Lamentoso is unusual in its sustained eloquence … the slow movement and the lovely final Rondo standing out in a rare and attractive work’.

The manuscript of Swinstead’s Cello Sonata was discovered by the pianist Clive Williamson, while he was clearing the house of Vivian Langrish and his wife Ruth Harte, who were friends of Felix Swinstead. It is possible that this F major sonata may have been written just before the composer’s death and never given a public performance. According to Lionel Handy, Ruth was ‘a second study cellist and Swinstead may have thought a run-through, if not a performance, might be possible, but there is no record of any performance nor date of composition as yet’.

Doreen Carwithen’s Cello Sonatina (1944) draws upon the stringed instrument’s sonorous, lyrical qualities. The often striking piano material is crucial to the unfolding narrative, rather than offering mere accompaniment and creates a genuine dialogue between the two protagonists.

Bridge’s two-movement Cello Sonata was begun in 1913, but not completed until 1917. Bridge always looked fondly upon the Cello Sonata, which has proved to be one of the composer’s most popular chamber works and remains the most regularly played of all his substantial pieces for two players.