Mysteries abound. There are 32 cello sonatas in the Gérard catalogue of 1969‚ and though they have been authenticated‚ not one of them is in the composer’s hand. Nor are there references to them in any of his papers. Perhaps Boccherini the virtuoso cellist saw no point in keeping track of music written expressly for his own use. And they are written on only two staves – ‘Per un violoncello Solo con Accompaniment di basso’ – leaving the perplexing choice of basso continuo to the performers. The preference for a second cello and an archlute or guitar is explained in the booklet; and the results show that a lot of thought has been given to the matter. But the performances are not entirely successful. Technically‚ the three artists are outstanding. Comberti’s tone is clean and even‚ his phrasing impeccable. But there are many moments when a lack of dynamic contrast‚ most marked in the last movements of G5 and G6‚ lends his playing a brusque quality. This is puzzling because he is much more sensitive in movements of the remaining sonatas‚ all of which are believed to be première recordings. Comberti may not be entirely to blame because the disc suffers from the twin bugbears of modern recording – close miking of the solo instrument and recorded at a high volume level‚ both contriving to cramp instrumental tone that would otherwise blossom and shimmer. A steep drop in volume helps to bring some subtlety to the sound.