It seems surprising that so many Baroque chamber groups overlook the potential for transforming the six ‘trio sonatas’ for organ into bona fide ensemble pieces for multiple instruments. While the keyboard idiom is never far away – not least in Bach’s pedagogical intentions to provide his eldest son, Wilhelm Friedemann, with an appropriately challenging bible for organ-playing – each piece reveals tantalising possibilities in the mind’s ear for diverse combinations.

Especially imaginative scorings inform Florilegium’s critiquing of the sonatas’ contrapuntal clarity and spaciousness, ones which exploit the multi-genre references which so fascinated Bach: concerto, sonata and aria all feature prominently. Unlike the more text-bound 1995 readings from Robert King, four of the six sonatas here are transposed up a tone or third to give new textural life and natural tessituras which, as in Nos 1 and 2, celebrate the satisfying interplay between flute, violin and harpsichord.

Likewise, the Fourth Sonata in E minor rediscovers the piece’s darkest registrations within a flexible string consort with lute. King used an oboe d’amore and viola to beguiling effect but a greater timbral homogeneity serves this fine work even better, despite excessive sniffs. The conventional trio sonata scoring of two vying violins and basso continuo in Richard Boothby’s sensitive arrangements for the Purcell Quartet provides a good and elegant middle way.

The Sixth Sonata (which Bartók famously transcribed for solo piano) is presented here as a quasi-obbligato violin sonata in the BWV1014-19 mould and poetically shaped by Rodolfo Richter, though Sonata No 5 – in a similar solo vein for flute – feels less organic. Despite the finely chiselled musical dialogue between Ashley Solomon and James Johnstone, the higher recording levels given to the harpsichord fail to compensate in the one work which cries out, in its combative virtuosity, for closer-related upper parts.

If the Purcell Quartet has the edge in consistency – the solo piccolo-cello version of No 3 has some especially unsettling moments here – the main Florilegium protagonists offer some wonderfully responsive and vital Bach-playing, especially in the framing works.