Immediately after finishing his second Violin Sonata op. 108, Fauré started work on a sonata for cello and piano in early 1917, thus realizing a long-conceived plan. In their predisposition and attitude, both works are veryclosely related. In the cello sonata, a sombre, dramatic opening movement is also followed by a calm, relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued, but on accountof increasing interest in Fauré's complete late