Fauré’s cello sonatas are not nearly so well known as his violin sonatas, but these two late works are well coupled with other cello works and some arrangements from songs (the ever-popular “Après un rêve” among them). The big exception is the Elégie, the first work Fauré specially wrote for the cello, here played with the reprise of the opening theme magically hushed. The Op 16 Berceuse is not to be confused with the Berceuse from the Dolly Suite, and comes here in a version designed either for violin or cello. As an exception, Papillon is a light and brilliant virtuoso showpiece.

The centrepiece of the recital comes in the two sonatas, both late works, very compact in their structure, the first dating from 1917, the year when Debussy too devoted himself to chamber music, and the second from 1921, when the style is even more purified. Each is in three movements, lively outer ones framing hushed and intense slow ones. The Andante of No 2 brings a simple, dedicated melody accompanied by plain chords on the piano.

The unusual aspect of this issue is the use of period instruments, a 1902 Erard piano accompanying an 1878 cello made in France. I confess that had I not known that background, I am doubtful whether I would have noticed much difference to more traditional cello and a modern Steinway, but it adds point to a fine issue, well recorded, and issued in celebration of the label’s 10th anniversary.