Let’s hope that this debut recording by the prize-winning Hungarian cellist Ditta Rohmann is the first of a two-disc set. With her musicologist’s hat on she has carefully researched the texts, giving particular weight to the differences found in the autograph version for lute of the Fifth Suite. With her performer’s hat on she has taken a pragmatic approach to her instrument, a modern French cello fitted with metal strings but tuned to 415Hz, and opted for a Baroque bow. She describes her compromise as ‘subjective historical authenticity’ influenced by ‘present-day perspective’, and it works extremely well.

These are stylish but unselfconscious interpretations. The tempi are well chosen, the phrasing informed by the harmony, the repeats nicely varied and the sense of petite reprises at the ends of sections delightfully savoured. Rohmann appreciates the value of a Baroque bow in this repertoire and uses hers eloquently.

The C major Suite (No 3) provides ample illustration: the opening of the Prélude flows like quicksilver into the arpeggiated passage, which is exquisitely clear in its articulation. Rohmann surprises and delights by gently stroking the thirds in the first section of the Allemande, then producing lovely, subtle staccato in the Courante. In the Sarabande and elsewhere she is at ease with the decay of the sound in longer down-bow strokes, and conjures here a beautifully controlled, delicate wistfulness. The G major Suite (No 1) provides many similar moments.

Having tuned down the top string to G for the C minor Suite (No 5), Rohmann draws lovely dark tones from her instrument, especially in the Prélude and Sarabande. But she saves the best for last, by making the Gigue sing. Longing to hear more!