Neither work here may qualify as forgotten masterpieces but there is so much to savour and admire that it does make you wonder how such pieces slip into oblivion.

Pierre de Bréville (1861-1949) was a pupil of Dubois and, more importantly, Franck, though for stylistic comparisons, this sonata owes more to Fauré. It’s a substantial (37'36") work composed 1918-19. The first movement has one of those glorious, never-ending soaring melodies that transport you on gossamer wings into the ethereal blue skies of Chausson and Lecoeur. De Bréville follows his brief gaie, mais pas trop vite second movement with a Lamento based on his own song Héros, je vous aime, while the opening of the finale, as Martin Anderson observes in his sparkling booklet-note, recalls Alkan.

Canteloube’s Suite (this recording uses the original 1906 version rather than its 1933 revision) was written under the tutelage of Vincent d’Indy. It is no less agreeable, airy and unmistakably Gallic. Perhaps the most impressive of its four movements is the second, ‘Le soir’, with its ‘assured understatement and gentle half-colours’ (Anderson), though the Debussyesque final movement, ‘Dans le bois au printemps’, shimmers atmospherically – and quotes the same Auvergnat melody that Canteloube later used, famously, in ‘Baïlèro’ from Chants d’Auvergne. Graffin is ideally attuned to this idiom, sensitively partnered by the busy fingers of Devoyon. This, in other words, is Hyperion at its best – two beautiful and unaccountably neglected works revived in outstanding performances, sympathetically recorded and stylishly presented.