Beautifully produced (Andrew Keener), beautifully recorded (Oscar Torres), beautifully composed (we knew that), beautifully played (we would expect nothing less from Nash Ensemble members) and beautifully presented (typical of this label), the performances are also penetrating and revealing as well as being the epitome of interactive music-making. Aside from Debussy’s sole String Quartet and the three (of the planned six) Sonatas that he was able to complete (Cello & Piano; Flute, Viola & Harp; and the endgame one for Violin & Piano) there’s Prélude à l’après-midi d’un faune in an arrangement by David Walter, well-judged as such, and faithful to Debussy’s opening flute, played seductively here, if begging the question as to whether something so exquisite in its original guise should be transcribed, however sensitively. Perhaps the standout performance, however invidious to single it out, is the Violin Sonata, while any duo taking on the Cello Sonata are up against Rostropovich & Britten (Decca) and have been for decades. Conversely, I find more in the Nash’s String Quartet than some other groups. From Faune to final track, this January release will be a New Year winner.

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