The first disc focuses on French music, with Milhaud’s Sonata (1918) so typical of his music from the First World War in its polytonal tendencies and deft contrapuntal interplay between wind trio and piano – not least the Doloureux, which makes for a pointedly subdued finale. Occupying a parallel position almost three decades on, Jolivet’s Serenade (1945) yet belies its cultural context in writing of unforced verve and elegance – only the final Marche burlesque touches on more acute emotion. It is Magnard’s Quintet (1894) that proves the greatest find here, a substantial work from his early maturity whose initial three movements draw a range of fastidious tonal and emotional shades from their subtly attenuated modality; only in the final Joyeux does it slightly outstay its welcome in its methodical progress to a crowning peroration.

The second disc is framed by French works of a more recent provenance. Philippe Hersant’s Osterlied (2016) merges wind quintet and piano into an eloquent if not untroubled rhapsody on a Bach Lutheran hymn whose lyrical immediacy is a reminder of his expertise writing for film, whereas Thierry Escaich’s Mecanic Song (2006) draws a wider range of expression from these same forces in what is an eventful series of variations tinged with the deftest irony. Between them comes Nielsen’s Wind Quintet (1922) – still the finest work for this medium; one whose occasional wariness of gesture underlines its composer’s ambivalence to modernism. This account is a little aloof in the initial movements but the grating dissonance of the ensuing Praeludium finds potent contrast in the easeful chorale that begins an ingratiating final set of variations.

Overall, a stylistically thought-provoking collection into which can be read as much about the governing concept as is wished. Recording and presentation are on a par with earlier issues in a series that will hopefully encompass a good deal more of this repertoire before it concludes.