Emmanuel Pahud made these recordings for Auvidis in 1993-95 before his international career took off, both in the concert hall and on disc, with his EMI contract. They appeared originally with different couplings, then in a three-disc box (3/98), but this new and generous compilation is very welcome for bringing together three rarities superbly performed by Pahud, whom Eric Le Sage accompanies with perfect point and sympathy.

The Beethoven is a straight transcription – made with the composer’s approval – of one of the lightest, most sparkling of his early chamber works, the Serenade, Op 25 for flute, violin and viola. Having a piano instead of violin and viola may be less distinctive, but even with a weightier bass line its sparkle remains, particularly in a performance like this.

The six little Weber sonatas were written in 1810, originally for violin and piano, but if anything the flute brings out the freshness of the writing even more effectively, with finales delectably jaunty. That is until No 6, in which the second of the two movements brings a Largo altogether more serious in tone, and at 4'35" by far the longest movement in any of the sonatas. Next longest is the Andante with Variations which opens the Fifth Sonata, using a theme from the opera that Weber completed in the same year, Silvana, setting off more light-hearted fireworks.

The Introduction to Schubert’s E minor variations – which share the grave and mysterious manner of the rest of his late work – similarly sets a quite different tone from the rest of the programme. The theme, ‘Trockne Blumen’ from Die schöne Müllerin promises more solemnity, except that variation form seems to encourage light-heartedness. Here, too, the piece ends in jolly, carefree mood, with Le Sage, along with Pahud, excelling himself in brilliantly clear articulation. Though some may prefer the original Beethoven flute sonatas coupling for the Serenade, the recoupling of these three works is both attractive and sensible, though this reissue remains at full price.