A winning combination: the sunniest [piece] pieces, charmingly performed and superbly recorded. After Mozart, it is the 20th-century French school of woodwind writing that holds...

A winning combination: the sunniest [piece] pieces, charmingly performed and superbly recorded.

After Mozart, it is the 20th-century French school of woodwind writing that holds the palm for sheer felicity, just as English orchestral players, with their individuality of style and personality, can often upstage their French colleagues for affectionately subtle characterisation in its performance. The present three soloists are as expert individually as they are perfectly blended as a group, and the result here (with absolutely truthful recording) is very entertaining indeed.

The wit and charm of Ibert's Cinq pieces have long made them favourites of the wind trio repertoire, with the perky Poulenc Sonata with its dolorous central 'Nocturne' (tres doux) not far behind. Milhaud's Pastorale is more audaciously prolix, but his Suite d'apres Corrette has a disarming simplicity, yet brings delicious passing dissonances in its 'Menuet', before 'Le coucou' carols us back into spring. Tomasi's rustic Concert champetre is hardly less engaging, with its wry 'Nocturne' interrupting the geniality before the folksy closing Vif.

Villa-Lobos's Trio is the most substantial piece here, and the most fascinatingly complex in its rhythmic and harmonic texture. Its bouncing, interweaving ostinatos surely suggest the exotic, ever-present sounds of the Brazilian jungle - the haunting central Languissamente, for example, makes a dark, tropical nocturne, while the backgound energy is always left unsubdued. It cannot be easy to play, yet it is presented here with great assurance and total identity with its vivid colouring and atmosphere. A splendid collection, highly recommended.'

-- Ivan March, Gramophone [4/2000]