Roffredo Caetani (1871–1961), prince of Bassiano, last duke of Sermoneta, composer and patron of the arts, developed a marked musical talent from an early age. A decisive factor in this respect was certainly the influence of his father, a close friend of Franz Liszt, who in turn would be an exceptional godfather and, later, teacher to Roffredo. Caetani completed his Sonata for Violin and Piano in 1898, and the work was first performed by the great Turinese violinist Teresina Tua and pianist Francesco Bajardi. The Sonata's three movements are decidedly broad, and there is a particular evocation of the Baroque in the Adagio and Finale, as in Ferruccio Busoni's Second Sonata for violin and piano in E minor, Op. 36. The first movement begins with a brief, slow, and expressive introduction, almost enigmatic, somewhat reminiscent of the great Sonatas of the classical period (such as Beethoven's Kreutzer Sonata), and then it gives way, in an almost impetuous manner, to the Allegro, full of themes following one on another, urged on by a pressing rhythm. In the Adagio, counterpoint is much more than a technique; it becomes an expressive tool. Written in ABA ternary form, the central part of which has a faster tempo (Più andante), the second movement consists of a combination of elegiac chants entrusted to the violin with chromatic counterpoint to the piano. The Finale of the Sonata is a three-voice fugue whose theme is developed from the very first notes of the movement and whose character is incisive and brilliant.

Guido Alberto Fano (1875–1961) was an Italian composer, conductor, and pianist of Jewish origin, a survivor of the Holocaust. He began his musical studies with Vittorio Orefice, later undertaking piano studies under Cesare Pollini. In 1894, he was invited by Giuseppe Martucci to be his piano and composition student at Bologna, where Fano graduated in 1897. Fano's Fantasia Sonata for violin and piano in D minor, composed in 1893, is one of the Paduan composer's first chamber works. It was later revised by the composer in 1941, during the dark period of his escape from Nazi persecution. The first movement – ​​Contemplativo e sognante – is characterized by a plaintive thematic motif, emphasized by repeated crescendos and diminuendos in the middle of each bar, as if evoking a Jewish folk song. In the second movement, Andante sostenuto, baroque writing of an intimate and spiritual character is evoked. The piano is entrusted with an elaborate counterpoint with written flourishes that support and incorporate the violin line. The third movement, Misterioso e moderatamente mosso (added in the version of 1941), is nothing but a perpetual motion entrusted to the violin, taking its cue from the piano part of the Allegro molto (third movement version of 1893). The Finale, Allegro molto (added in the version of 1941), is a natural continuation, but it transfers the virtuosic character to the piano. The violin is then free to develop the cantabile and passionate theme set out in the first movement, reversing its first three notes.