Debussy’s late Sonata for flute, viola and harp is one of his most elusive and refined masterpieces, and many composers from subsequent generations have been tempted to explore the same alluring soundworld. Two of the results appear around the Sonata here; both are single movements, on more or less on an equivalent scale. Toru Takemitsu’s And Then I Knew ’Twas Wind (1991; the title comes from a poem by Emily Dickinson) was designed to be performed alongside the Debussy; it’s a mosaic of almost self-contained musical units, each perfectly shaped, with phrases that are sometimes shared, sometimes left hanging, and seem to inhabit the same world as the sonata without ever parodying it. Sofia Gubaidulina’s Garden of Joy and Sorrow, composed in 1980, is built around a short poem too – by the Viennese Francisco Tanzer – which is recited at the end of the work, like a verbal equivalent to the solo cadenzas that articulate the instrumental piece. Together they make an elegant frame for the performance of the great sonata by Marina Piccinini, Kim Kashkashian and Sivan Magen, which is more robust than it can be, though still subtle and sensuous.