Akin to the pursuits of the Loeki Stardust Quartet of Amsterdam, that most durable of international recorder ensembles, the Flautadors take a distinctive view of Purcell’s instrumental oeuvre with a delightfully airy and “fantastical” programme. Interspersed by “fower part” consorts by Matthew Locke, (whom one increasingly considers must have mentored the young Henry in person), the guiding principle for Purcell is to “toy” with the recorder’s historical place in the courtly wind retinue of Restoration England by imagining a quartet as a viable medium for purloining the best chamber music of the period – for strings.

The Flautadors do not flatter immediately: the opening chaconne – a somewhat anomalous concept for an ostinato genre which closes proceedings in a Baroque opera – represents an uncomfortable idiomatic transfer from King Arthur, not least because of sour tuning. But from then on we are treated to some beautifully balanced consort playing. Both Locke suites are idiomatically and stylishly turned, and how sweetly the Airs ring out afresh from their poignant originals for viols; so, too, the luminous and haunting “Fantasie” from Locke’s Third Suite.

Tuning is a perilous business, with limited room for error in the high register especially. The great C minor Fantasia (No 7) never quite settles in this regard. The issue in the four Purcell Fantasias, in general, is not one of reconstituted timbres from viols – which effectively promote the primus inter pares ideal which Purcell’s “quartets” espouse – but how a habitually detached articulation crystallises the counterpoint while stifling the melodic character of Purcell’s profoundly personal essays. Indeed, it is the Locke I enjoyed most here but the final Purcell suite and chaconne are treasures, sensitively accompanied by lutenist David Miller.