John Cage’s In a Landscape is a masterpiece of oriental calm, and it’s nicely played here but the bass note at 1’08” should be D not F. The first movement of Leonard Bernstein’s early sonata stems from Hindemith and Copland but the faster sections in varied metres in the finale are absolutely typical of the composer of West Side Story 15 years later. Berne and Martin give a lively performance with fine clarinet control in soft passages. Carter’s Gra, which has gained a special place in the solo clarinet repertoire since it was composed a decade ago, was an aphoristic birthday tribute to Lutoslawski. It is followed by Glass’s Metamorphosis for piano – not just drab minimalist figurations but a tune as well, making a mesmeric effect.

Copland’s bluesy Nocturne was originally written for violin and piano in 1926 and works better that way than in this transcription made 50 years later. But the Henry Cowell Developments make a delightfully varied group (composed in 1933 not 1949) which became a ballet for Martha Graham in the following year. Richard Felciano adds to his single work in the British catalogue with a study in a dissonant 1960s idiom where his study with Dallapiccola shows through. The soft ending is haunting.

Béatrice Berne and Laurent Martin are impressively versatile in this wide-ranging programme, but the piano sound is not always flattering and the CD booklet has minimal information and some wrong dates.