Following his successful recordings of the Bach concertos and solo violin music, Richard Tognetti brings his distinctive approach to the violin-and-keyboard sonatas. His instrument, at low pitch, has a modern set-up but gut strings, and he uses a Classical period bow rather than a Baroque one. The mellower sound and more subtle gradations of articulation of, say, Lucy van Dael (Naxos, 4/01) may come closer to what Bach would have expected, but there’s no denying the bright, lively, elegant effect of Tognetti’s playing, nor that he does full justice to the music.

These accounts are also unusual in exploring the possibilities of substituting organ for harpsichord – for roughly half the movements – and of adding a doubling bass instrument (suggested as an option in some 18th-century sources). In the last movement of BWV1014 and the quick fugal movements of BWV1017-18, the texture of violin and organ is entirely persuasive, and Neal Peres da Costa’s neat, spirited playing perfectly matches the clear, pointed violin style. The Allegros with harpsichord are similarly inspiriting, and the clear, vivid recording ensures that the great slow movements have a beautiful sound. BWV1018’s Largo, with organ and viola da gamba, is slow enough to be solemn, yet keeps a strong sense of movement. However, in the opening Adagio of BWV1016, the most expressive harmonies are preceded by a slowing of the pulse, creating a laborious effect. It’s a shame, too, not to include the extra movements that formed part of the earlier versions of BWV1019. But I can guarantee you won’t be bored by these thought-provoking performances.