Interpolated among a highly individual, challenging and variable Bach cantata series, these Brandenburgs appear as fresh, often supremely sensitive, yet also infuriatingly hidebound – both in terms of Kuijken’s ideology and within some of the least successful concerto performances.

Listening to No 5 is, however, little short of a revelation with its Elysian textures, delicious asides and exquisitely poised phraseology. From the far-off days of Kuijken’s playing in Gustav Leonhardt’s 1976 set and then recording his own for DHM in 1993, there is still a remarkable questing spirit at heart. Now, the focus is on intimate and highly discursive chamber engagement. No 3 is an exercise in tactile “Hausmusik”, No 6 an interiorised and at times subdued reflection of viol-like nostalgia, and the First and Fourth are given a telling bucolic immediacy. The integrity of the inner parts is an important concern throughout.

Kuijken’s mantra is that primary inspiration must start from historical principles which can then define interpretative choices. This is all very well but, surely, only when conducted in parallel with more general musical decisions? I am at a loss to know why most of the slow movements are so lacking in esprit, warmth and flexibility. Foursquare, prosaic and clunky phrasing inhabits too much of the poetic world of Concertos Nos 1, 4 and 6, and yet as a proponent of the lighter-sounding “violoncello da spalla” (in effect, a smaller bass instrument, played on the shoulder), Kuijken introduces moments of beguiling luminosity, a delectable world of French courtliness.

The emblem of radicalism streaming though Kuijken’s relationship with the Brandenburgs over the years has been the matter of the trumpet in No 2. He has, arguably, over-reacted in the past to natural trumpets with holes (making tuning bearable) and modern mouthpieces, alighting in 1993 on a source for horn. Now he has the virtuoso trumpeter-purist, Jean-François Madeuf, who plays the piece “au naturel”. It’s a real tour de force but as my ears were not made in the 18th century, I find it strangely sour in intonation, and so detracting from Madeuf’s brilliance in other respects.

Mention should be made of the superbly stylish harpsichord protagonist, Ewald Demeyere, and the fine flute and recorder playing of the seasoned Barthold Kuijken. The strings are both colourful and resonant but there isn’t enough tonal allure in the violins, either in the solo excursions of Nos 1, 2 and 5 or in the tuttis. In the past two years we’ve had contrasting performances from Pinnock (Avie, 3/08) and Gardiner (SDG, 1/10) – each packed with interest. This set is no different in that regard but could not be further removed in its overall perspective.