The Sonata, BWV1030, belongs to the transverse flute but its appropriation here is not simply a matter of filling a lacuna, Bach having left no sonata for the oboe, a harpsichord score in G minor is extant and the evidence strongly suggests the oboe as the most likely (unspecified) solo instrument. It works well—at least it does so once one becomes accustomed to the (indicated) faster tempos of the first two movements and realizes that Boyd is under no audible pressure. At this point I should explain that, whilst this is a recording of baroque oboe music, there is no hyphen between the first two words; this is a modern oboe, whose greater stridency is for the most part skilfully minimized. The continuo cello is likewise a modern instrument, sympathetically handled with abated vibrato and lightness of bow. The items of Telemann and Vivaldi are entirely 'legitimate' oboe works, and Couperin specified the oboe amongst the instruments suitable for use in Les gouts-reunis; there is no authenticated oboe sonata by C. P. E. Bach but on the evidence of this recording it would be hard to object to its use in place of the violin in this graceful work.
Boyd's phrasing is pliant as is his response to dynamic shape (the echoed phrases in the final movement of the Vivaldi are splendidly handled), his articulation is crystal-clear, and he has plainly done his stylistic homework well—always the right ornament, a modicum of do-it-yourself embellishment, and sighing appoggiaturas. He receives admirable service from his supporting cast, with which he is decently balanced, and the use of a portative organ as 'second voice' in the Telemann Sonata gives variety of tone-colour to the recital as a whole. A most enjoyable and clearly recorded disc.'