The recording presented here, whose programme allows us to discover or rediscover more or less unknown scores, has nothing to do with an opportunistic commission, anxious to be part of a fashionable movement; in this case the militant promotion of female composition. Of course, the nobility of such a cause has not escaped the two performers, Clara Danchin and Anna Jbanova, but, more generally, the fervour of their playing imposes above all the idea that it is appropriate to do justice to works that should not be relegated to the rank of simple curiosities. The museum function of the recording plays its part, but from a perspective that clearly aims to encourage concert performances. There are certain scores, in fact, that were victims of the contrary winds of fate, and Marguerite Canal’s Sonata, for example, could not better illustrate this point. It is well known that the great Enesco was inspired by the work, but his sudden death meant that he was unable to carry out his plan to perform it in public.