Why is it that the French have traditionally excelled at writing for wind ensembles? Is it the instruments' individuality of timbre and their clean-cut tone, as against the strings' greater homogeneity and less incisiveness, that appeals to them? Is it a certain objectivity of sound that suits the much-vaunted Gallic classicism? Whatever the reason, wind groups have cause to be grateful to a number of French composers for providing works that form the mainstay of their repertoire. The present selection does not depart from familiar and well-tried ground, but the performances by this highly accomplished team (based in Zurich but international in personnel, with a British couple on oboe and clarinet) are so fresh, with tone of such quality, so finely balanced internally (revealing a true understanding of each work's structure and distribution of interest)—in other words, so innately musical, that in almost all these items they are preferable to their rivals. Lightness and pert humour characterize the Auric trio, quiet lyricism the seven Milhaud miniatures (partly quasi-archaic) drawn from his film music, spirited gaiety the little Ibert pieces (in the first of which, however, the bouncy rhythmic detail might have been crisper). The most extended and demanding item is the Francaix Quintet, a deftly crafted work (like everything of his) that is let down by its finale but which otherwise taps a deeper vein than that of his usual frivolity. Clear recording adds to the disc's appeal.'