With this fifth volume of his Debussy survey, Pascal Rogé reaches the rarities and the music for four hands at one or two pianos. He places the solo pieces first, offering a sympathetic reading of the 1892 Nocturne and late Elégie (from 1915, the same year as the miraculous Etudes, though a mere musical whisper alongside them). His Masques reminds us of a piece surprisingly rarely played, though Bavouzet arguably brings still more character to it (and more colour in the Nocturne).

Rogé is joined by his wife, Ami, for the remaining works. The Petite suite occupies the same world as Fauré’s slightly later Dolly, remaining firmly in the salon in this charming performance. The luxuriant strangeness of Epigraphes antiques, reworked for piano four hands in 1914 from earlier pieces, could have been played up to keener effect in some areas, while Lindaraja needs in places a surer rhythmic profile.

The masterpiece here is En blanc et noir, Debussy’s very personal reaction to the killing fields of the First World War. The Rogés revel in its many nuances and the glistening sonorities of the textures – something fatally missing in the charmless vision of Ashkenazy father and son. But it’s possible to find more darkness, more starkness in the work’s centre and a greater sense of desperation in the final Scherzando – surely as emotionally ambiguous as Ravel’s La valse – not least in the early Argerich reading with Kovacevich, still overpowering in its impact.