Under the careful control of its co-founder, Amelia Freedman, the suave and buoyant Nash Ensemble has been enhancing our lives for so many years (60 to be exact) that it’s easy to take the group’s accomplishments for granted.

This Debussy album sharply reminds us why we shouldn’t. All chamber music relies on performers happy in each others’ company, confidently interacting; but the late works of Debussy, adventurous masterpieces such as the 1916 sonata for flute, viola and harp, especially need skilful and well-acquainted musicians to flourish.

The lyrical fire and fantasy of the violin and cello sonatas, featuring violinist Stephanie Gonley and cellist Adrian Brendel, also demand quick wits and perfect timing. The stakes are notably higher in the fragmentary mosaic and novel instrumental colours of Debussy’s miraculous creation for flute (Philippa Davies), viola (Lawrence Power) and harp (Lucy Wakeford)—a piece that sounds eternally new even after more than a century.

The two other items are the impassioned and kaleidoscopic early String Quartet and French oboist David Walter’s transcription of Prélude à l’après-midi d’un faune, where the original’s half-light splendour meets competition from earthy woodwind hues and Richard Watkins’ very noticeable and beautiful horn. Not that I’m complaining. Sixty years have told us that with the Nash Ensemble’s musicians, whatever their repertoire, nothing can ever really go wrong.