While Bach’s oeuvre boasts only a sprinkling of solo-voice cantatas, they are among the most riveting, largely owing to the exceptional demands they make on the singer. Two of the most celebrated, the ‘Wedding Cantata’ and Jauchzet Gott, represent the mainstay in a recital introducing a Czech soprano and Baroque orchestra (though quite how Baroque is open to question) I had not previously encountered.

These are nothing if not tidy responses to the musical texts, though without the sustained confidence to commit a reading which is ultimately arresting or especially memorable. Martina Janková has a pleasing voice – at best exhibiting some real quality, especially as Weichet nur progresses – but Bach’s supplementary version of Ich habe genug (where the flute replaces the oboe in a liquid, even feathery scoring) gravitates to short-term phraseology and a distinct shortage of emotional direction.

Janková exhibits genuine warmth and coloratura in Jauchzet. Indeed, roulades of semiquavers present few obstacles to her. The outer movements are impressive although the recessed recorded trumpet sound inhibits the cut-and-thrust of the fanfare dialogues or lyrical imitations.

Any programme as challenging as this is likely to test even legendary Bachians in the Giebel, Ameling, Auger and Mathis mould (to name only a few). Yet Janková’s brave interpretations are too often undermined by wild pitching, despite moments of allure and promise. If the instrumental accompaniments are a touch clunky, Collegium 1704 perform with enduring discipline and no little vitality.