The remit of the Marsyas Trio is ‘to inspire a generation of new works’ for the combination of flute, cello and piano, while ‘uncovering lesser-known repertoire’. Their programme ticks both boxes in its focus on six works by women composers, the oldest of which are Amy Beach’s delightful ‘Pastorale’ and Caprice ‘Water Sprites’ (1921). The other five composers are all British and the most recent item is Georgia Rodgers’s intriguing if formulaic soundscape York Minster (2018), one of several inspired by the ‘harmonic frequencies of resonant spaces’. Cleverly constructed, it sadly does not give any expressive feeling of that great building itself. By contrast, Hilary Tann’s 2017 titular suite (though note the slight difference in spelling) is an object lesson in musical depiction – in this case, seven different bird species.

Also welcome is Judith Weir’s early, thorny little masterpiece Several Concertos (1980), one of her many wry musical commentaries on the manners of music-making – in this case as a series of tiny concertos, one for each player (flautist Helen Vidovich takes the piccolo in the scintillating finale). The trio are thoroughly put through their paces here and in Laura Bowler’s Salutem (2014), a specially commissioned partner work to George Crumb’s Vox Balaenae, which is part of the Trio’s core repertoire. The musicians are required to play each other’s instruments and assorted percussion, to scream and take a selfie along the way!

Thea Musgrave’s brief opening Canta, Canta! is calmer but has a complex history, originating as a movement in her 1954 Cantata for a Summer’s Day before being arranged in 1997 for clarinet, cello and piano; Vidovich worked with the composer in this recent transcription for alto flute. The performances throughout are excellent and involving, NMC’s recording is a little close but naturally clear and the whole is complemented by a fine booklet note from the clarinettist Heather Roche.