Thomas Arne’s inspiration ran highest when there were words to trigger him off: his best songs are in a class of their own in English 18th­century music. These trio sonatas‚ virtually his only chamber works‚ are soundly enough composed but rather four­square in their rhythms and short­breathed in their ideas. Published in 1757‚ they are more galant in manner than the slightly earlier and decidedly superior Boyce sonatas (which this ensemble recorded so successfully a couple of years ago – Chandos‚ A/99). But they are worth a hearing‚ and worth a recording‚ particularly one as well attuned to the idiom as this one is. Simon Standage and Micaela Comberti make an effective partnership‚ with a considerable difference in tone and articulation that nicely separates the violins and works well for the kind of first­to­second relationship that these sonatas embody. Their neat dovetailing is heard in such movements as the lively Allegro of No 6‚ one of two witty moto perpetuos (the other is in No 1)‚ and of course in the formal fugues‚ of which there are four including a kind of fugal gigue (or perhaps gigal fugue) in No 7. They play these lightly‚ clearly and unfussily. There are some attractive dance finales‚ including a couple of minuets (that in No 1 has an ornamented da capo) and a gigue­like 9/8 in No 6. The best of the sonatas‚ to my mind‚ is No 2‚ with its quietly eloquent opening Largo and a jolly Con spirito to follow. But I have to admit that there are movements in the set that are really a shade dull‚ and some‚ like the Largo that begins No 6‚ are just a shade decorously done. Standage‚ perhaps surprisingly‚ offers almost no ornamentation‚ even in repeats‚ which might have enlivened some of them; but better too little than too much.