Enescu’s style has been extensively discussed, but after listening to these works for cello and piano, an agreement could be reached upon the term “personal Impressionism”. Enescu succesfully combines a typically French timbre and harmonic sensivity with his own highly personal melodic and harmonic modality. Unison passages at the onset of the First Sonata and the second movement of the Second emphasize the power of his rhythm and melody. The Second Sonata, rarely performed, has nevertheless received more attention than the first and upon hearing the three works compiled in the first complete recording, the listener will appreciate that the kernel of Enescu’s stylistic evolution was already present in his earliest works, just as was the case of, say, Beethoven.