For his debut solo recording, the French period violinist Thibault Noally has devised a solo recital that mixes known with unknown to cast fresh light on familiar traditions. The known are monumental: Bach’s Second Partita and Biber’s Passacaglia; the less well known but historically interesting are the works by Vilsmayr, Westhoff and Baltzar. Four delightfully quixotic Telemann Fantaisies provide the framework in which they mingle.

The Telemann Fantaisies, from a set of 12 predating the solo works of Bach, are much the most modern, or more accurately galant: witty and conversational in Noally’s polished, unaffected versions, they wear their virtuosity lightly. Baltzar’s D minor Praeludium and G minor Allemande represent an early benchmark in the solo violin repertory with technically challenging passages of chords and divisions. Thibault plays with Zen-like calmness, and ends phrases and sections exquisitely. Vilsmayr may have lacked the breadth and depth of imagination we associate with Biber but Thibault’s performance of Partita No 5 is spirited and even gently swaggering in the closing Retirada.

Westhoff (who became a member of Bach’s Weimar court orchestra briefly following his arrival in the town to work as a secretary in 1699) is known almost exclusively for his works for solo violin. Noally brings a balance of boldness and fluency to the D minor Suite; his handling of chordal passages is exceptional, seemingly characterising the chords according to their function in the musical textures. In his stylish performance of the Bach he plays thoughtfully, choosing sensible rather than showy tempi and always shaping his phrases with delicate rubato. The warm tone of his 1719 Gennaro Vinaccia violin is superbly caught, further contributing to the pleasure of the disc. We look forwards to more from this promising violinist.