A quick glance at the repertoire above and it seems to be a nice programme of well-known piano pieces by Debussy and Ravel. You might ask yourself if you really need another version of ‘Clair de lune’ or ‘An Afternoon on the Phone’ (as one of my friends calls Debussy’s timeless tone poem). But then you notice there are two pianists involved. Your eyes still linger. ‘Clair de lune’ for two pianos? Cui bono? And then you see that the arrangement is by the distinguished French composer Henri Dutilleux, who died in 2013 at the age of 97. Now you want to find out more.

Debussy’s best-known work is most subtly and sensitively distributed between the two pianists, completely respectful of the original, and beautifully played by this duo. Not only that but the sound is comparable to Wyastone at its best. Here, the venue is the Saffron Hall at Saffron Walden, which I can testify, as both performer and audience member, is one of the best in the country, its acoustic, even when empty, allowing a warm intimacy yet with plenty of space for the piano(s) to sing.

Having listened to several new Petite Suite and Ma Mère l’Oye recordings recently, Bax and Chung provide us with an antidote to those chilly offerings, here drawing in the listener rather than holding them at arm’s length. After Petite Suite (duet) comes En blanc et noir (two pianos, its unsettling second movement quoting the great Lutheran chorale ‘Ein feste Burg ist unser Gott’), then three short transcriptions for piano duet (good programming). The first two are by Léon Roques (1839-1923), who violinists will know from his arrangement of La plus que lente. Here, though, with ‘La fille au cheveux de lin’, is his less-known, faithful version for piano four hands.

Rather than the composer’s own two-piano arrangement of L’après-midi d’un faune, Bax and Chung opt for the less familiar four-hands-one-piano version by Ravel, who throws in a few individual touches of his own, such as the two delicate harp-like arpeggios in the primo part after the opening flute solo. And it is Ravel who has the second half of the disc, for after Mother Goose comes La valse, which, as Misha Donat’s quite excellent booklet reminds us, was first written for piano solo (followed by this two-piano version and then its celebrated orchestral form). Forceful, relentless but tightly controlled in the hands of Bax and Chung, it concludes a disc of uniformly fine performances from a couple who work both musically and domestically hand in hand.