Following her hugely enjoyable middle-European mid-century recital for piccolo cello (10/23), Octavie Dostaler-Lalonde presents a selection from Geminiani’s Cello Sonatas, Op 5, along with a few other pieces arranged from other publications (taking her cue from the composer, an enthusiastic arranger of his and others’ music; one of the Sonatas for two violins, Op 1, is performed on two piccolo cellos, perfectly convincingly). The recital’s premise focuses on the continuo group that constitutes her ensemble, Postscript, which is of ‘variable geometry’, to borrow a French phrase – meaning that all manner of permutations are envisaged, among cello, theorbo, harpsichord and violone. This includes realising the continuo part with a solo cello, an approach first advocated by David Watkin with specific reference to this very Op 5. As a result, the continuo line-up can change within individual movements, but this is done very organically: the conceit rarely draws attention to itself, and when it does (as in the two-part canon from Geminiani’s treatise The Art of Playing the Guitar or Cittra), the result is very well taken. Above all, this fluid approach allows the ensemble to respond to specific situations and prevents the texture from becoming thick or unyielding.

Dostaler-Lalonde is the star turn here, but as first among equals. At the top of her register there can be just a hint of tightness in the tone, but for stylishness and verve she cannot be faulted, nor for the generosity of spirit that characterises her ensemble playing and direction. Geminiani can have no more sympathetic an advocate, and his music repays listening. One of the standout moments is the maggiore middle section of the last track, which retreads a ubiquitous Baroque ground; but it is so exquisitely placed and consummately executed that it steals the show.