A sense of joy in collegial music-making pervades these performances. Unlike many, violinist Renaud Capuçon and pianist Bertrand Chamayou and their colleagues do not avoid the vein of sensual passion that glows beneath Debussy's perfectionism...Perhaps the finest all is the beautiful balance of elegiac tone that thins out of the Sonata for Flute Viola and Harp.

Fantasy is certainly the unifying factor here. If there’s such a thing as distinctly Gallic cello-playing, Edgar Moreau’s narrow-bore sound and deft articulation surely embody it to perfection...Capuçon is sparing with the full richness of his tone – which paradoxically makes the whole thing only more sensuous.

Debussy’s chamber oeuvre here is pure enchantment...All the performances are superb: this is a new generation of devastating Francophone instrumentalists.

yet there’s nothing precious about these wonderfully responsive, all-French performances...Some might prefer these sonatas in slightly less fulsome performances, but the sense of authority that runs through the whole disc is hard to resist.

The performances throughout are at the least the equal of their rivals but I have rarely heard the cello and violin sonatas played with such relish and sensitivity, Bertrand Chamayou the subtle accompanist. Of course, the most captivating performance is of the sonata for flute, viola and harp, which is as it should be. Erato’s sound is the finest, too.

These French musicians are friends as well as regular colleagues. What they bring is twofold: innate sensitivity to Debussy’s idiosyncratic lyricism and apparent aloofness, and a detailed 21st-century way of characterising individual phrases...Moreau’s elegance and warmth put him in the line of the great French cellists: Pierre Fournier and Paul Tortelier.