Debussy's two-piano masterpiece and Messiaen's devotional cycle make a logical pairing. Both were composed during wartime: En Blanc et Noir dates from 1915 and its central movement is dedicated to a French officer killed in action, while Visions de l'Amen, completed in 1943, was Messiaen's first major score after his return to Paris from internment in a German POW camp. Both are sometimes turbulent works, but perhaps not as turbulent as these performances by Robin van Raat and Hakon Austbo make them out to be. Their approach, characterised by fierce dynamic contrasts, jagged phrasing and explosive fortissimos, suits Messiaen's highly coloured extremes of rapture and religious awe far more convincingly than it does Debussy's much more svelte textures, in which van Raat and Austbo seem to mistake capriciousness for emotional turmoil. The essence of En Blanc et Noir is in its restraint and almost classical detachment, its emotions kept beneath the surface rather than constantly ruffling it.