Original repertoire for flute, cello and piano is not as extensive as it might be. Arrangements abound, as here with Philippe Gaubert’s Three Aquarelles, originally written for conventional piano trio in 1915 while on active service in the First World War. Weber’s more substantial trio (1818-19, though partly based on earlier material and containing allusions to his then still-unfinished opera Der Freischütz in the finale) was conceived for flute with cello and piano but is also well known – like Louise Farrenc’s wonderful Trio (1861-62) – in the alternative version with violin replacing flute.

Martinů’s Trio (1944) is one of the gems of his chamber music output and its three movements, a relatively brief prelude followed by two larger spans, open the programme in bracing fashion. Gaubert’s Aquarelles make for a startling contrast, though the first two movements (‘Par un clair matin’ and ‘Soir d’automne’) are close to the Impressionist style that characterised many of Martinů’s earlier works. Jean-Michel Damase’s music remains less well known outside his native France than it merits, and his Sonate en concert (1952) is typically and deceptively lightweight. It is not really a sonata at all, but rather a suite evoking Baroque models with a catchy Rigaudon, brief recurring Aria and affecting Sicilienne, rounded off with a lively Gigue. It is less weighty than the Weber, for sure, but no worse for that.

These are beautifully poised performances. In the two Trios, Boyd, Doane and Snyder sparkle in the swifter outer movements but find plenty of lyricism in the slower central spans as well as the gentler trio sections in the scherzandos. There is a lovely and idiomatic blend of sonority in the Aquarelles and Sonate en concert, the latter spotlighting the trio’s fine mutual understanding. Bridge’s sound is a little flat but very clear. A very nicely balanced programme.