CPO is a great champion of the second-rate and the Anglo-French composer George Onslow, born 14 years after Beethoven and dying three years before Schumann, is a splendid specimen of the species. We’ve reached Vols 3 and 4 of his piano trios and they continue to hold the attention with their sheer variety, something which is emphasised by Trio Cascades’ non-chronological programming. Onslow certainly knew how to charm his listeners, be it in the variations of the Op 20 Trio or the second-movement Allegro of Op 3 No 1. There are hints of the influence of other composers: the shadow of Beethoven looms over Op 26, particularly its first two movements, the one strong and taut, the second a grave Adagio, while the Minuet of Op 20 is deliciously Mendelssohnian, though its witty interplay and lightness of touch are relatively underplayed in this performance.

And herein lies the main caveat: second-rate music needs first-rate advocacy and, while the performances are unquestionably seriously intentioned, the Trio Cascades isn’t up there with the finest (if only the Florestan had been tempted to record a selection before they disbanded). The violinist in particular isn’t always tonally secure and the three players lack a certain spontaneity, a confidence, in their interplay which means some of Onslow’s more novel effects pass for relatively little. This is particularly noticeable in the underplaying of the harmonic swerves of the finale of Op 20, the relatively tame last movement of Op 3 No 1 – which would benefit from greater risk-taking – and more assertive piano-playing in the Allegro vivace assai of Op 14 No 3.

The seriously intentioned notes are thorough, if in places idiosyncratically translated. This is an interesting starting point for some compelling music but it doesn’t tell the whole story.