This is one of the first fruits of the musical partnership between the Zurich Chamber Orchestra and its new principal conductor, Roger Norrington. Just as the programme takes us from the high Baroque to the early Classical, while keeping it in the family, so the orchestra blends period-instrument thinking with modern instruments. The keyboard itself is a modern grand, forwardly placed in this recording. Soloist Sebastian Knauer isn’t afraid of ornamentation in the two works by JSB but it’s delightfully applied. And one of the pleasures is the element of intimacy in the solo keyboard’s duetting with instruments within the orchestra. The slow movement of the D minor Concerto, BWV1052 (strings affectingly sans vibrato) is perhaps a touch too slow, less to do with tempo per se than the pianist’s touch: he produces a less melting tone than Tharaud or – still my benchmark – Perahia. And in the finales of both this and the E major Concerto Knauer doesn’t quite manage to imbue the same sense of dance so well caught by Hewitt and Tognetti.

Perhaps the real discovery of this disc is CPE’s eloquent E major Concerto (not one of those included on Staier’s recent Gramophone Award-winning CD – Harmonia Mundi, 6/11), with its melting Poco adagio, an ebullient finale and a Mendelssohnian opening movement. Knauer revels in the details though he doesn’t always have the last degree of hyper-reactivity when it comes to some of CPE’s quirkier turns of phrase.

JC’s E flat major Concerto forms a delightful end-piece and reminds us that he’s so much more than simply a model for Mozart’s own keyboard concertos in a performance abounding in wit and panache.