This collection of six works for various combinations reveals William Alwyn at his most impressive, always thoughtful in finely crafted works. The Clarinet Sonata, with Robert Plane an inspired soloist, is in a single movement, a sequence of sections with varying speeds. Originally commissioned by Thea King, it opens with a virtuoso flourish leading to a melancholy melody and exploits the full range of the clarinet’s most distinctive qualities, not least hushed pianissimos, which regularly marked King’s masterly performances. Strongly constructed, the 12-minute sequence ends with a repeat of the opening flourish. The Oboe Sonata by contrast is in three distinct movements. A jolly first movement with neo-classical overtones is followed by an easily lyrical slow movement and a finale with more neo-classical echoes. Sarah Francis is a first-rate soloist with Sophia Rahman again a most sympathetic accompanist.

The Viola Sonatina with viola player Sarah Jane Bradley is in four compact movements starting with a grave slow Prelude leading to a light, scampering Dance and a warmly lyrical Aria before the finale in a sort of hornpipe rhythm. The Suite for viola and harp, with Sarah Francis joined by Lucy Wakefield, treats the harp more as an accompanying instrument than for display. In three brief movements, a lyrical piece with a simple tonal melody leads to a miniature waltz and a final jig with a lyrical middle section.

The String Trio is similarly in four brief movements but involves a rather more astringent idiom. The first movement with a 12-note theme has a pizzicato middle section. It is followed by a jig marked Molto vivace and a solemn slow movement leading to a strong, positive finale in contrasting sections. Conversations for piano, violin and clarinet consists of a sequence of eight short pieces that the composer described as “a discussion between friends”. It nicely brings together three of the principal contributors to the whole programme. Altogether a fine survey, splendidly played and recorded.