For some, a disc of Bach’s Violin Concertos is incomplete without the ubiquitous ‘Double’ in D minor – and on first impression, the choice of the violin-and-oboe ‘Double’ makes a less obviously compatible companion. Yet this is a distinctive and personal celebration of Jansen’s highly inflected playing in the company of friends (an ‘ad hoc’ band) and challenging the status quo is all part of the picture: marrying these three concertos with two relatively galant pieces from the set of six sonatas for violin and obbligato harpsichord must be a first.

Most noticeable in the general concerto canvas is how Jansen’s quixotic, bold and spontaneous toying with Bach so often finds itself checked by her ‘friends’, whose detached, super-polite period-parody articulations are not dissimilar to Riccardo Chailly’s Baroque way with modern instruments. Maybe a new Decca house style is emerging here?

If this unyieldingly pesky and contained accompaniment represents something of a minor irritation, Jansen transcends a good deal through infectious musical curiosity, spinning the lines with irradiating glee in the last movements of both violin concertos. The dynamic contrasts of the E major (BWV1042) and the swagger in the A minor (BWV1041) make for thrilling experiences and, equally, she brings a rare blend of intensity and stillness to the slow movement of the former.

More tactile is the double concerto, where warmth emanates from Ramón Ortega Quero’s oboe, if not always settled intonation. The harpsichord, played by Jansen’s father in the two sonatas, constitutes a solid support role rather than engaging in the active complicity which these pieces really deserve. Jansen’s beguiling sound and fluidity of phraseology is elegantly exhibited throughout (notably in the Adagio ma non tanto of BWV1016). One just wishes that these fellow musicians could rise a little higher to meet Jansen’s questing musical enterprise and imagination.