Ravel, it seems, made a careful study of the piano trios of Saint-Saëns before embarking on his own in 1914. There was no question of any similarity of idiom; what Ravel wanted to know was how best to balance the instruments, notably the violin and the cello. That link gives point to this coupling, even though the pianist, Hannes Minnaar, is very much the dominant figure in the ensemble, a point enhanced by the forward balance of the piano.

Nevertheless, the two string instruments are beautifully matched in both works, carolling above the firm foundation of the piano. What is striking about Minnaar’s brilliant playing is the clarity even in the most elaborate textures. In the Saint-Saëns that gives a delightful lift to the performances of all the fast movements. The pizzicato pay-off to the third movement’s presto Scherzo in a galloping 6/8 is a delight, as are many other moments.

The Ravel, written when the composer was on holiday at his favourite resort, Saint-Jean-de-Luz, is even lighter and more sparkling, and what is most striking is the extrovert flamboyance of Ravel’s piano-writing with glissandos adding to the excitement, something superbly caught by Minnaar. The slow movement is measured and intense, not very lyrical, before the sparkling Scherzo with its catchy cross-rhythms (echoing Basque music) restores the light-hearted mood, continued in the sonata-rondo Finale, marked animé.

The Ackermusik of 1997 by the ever-thoughtful Dutch composer Theo Loevendie, after those two works comes as something of a disappointment, consisting as it does of a sequence of fascinating textures with barely a hint of any lyrical, let alone melodic element. Nevertheless, the players of the Van Baerle Trio play the piece with a rare intensity. Clear, transparent sound with the closeness of the piano not too distracting.