What a fine composer Sweelinck was! This second volume of his complete keyboard works (by my reckoning there are enough for four) drives the point home by presenting several of his best compositions, including the imaginatively patterned variations on Esce mars and Unter der Linden grune, the weighty and implacable Fantasia crommatica (how Bach would surely have admired this piece) and the hauntingly beautiful variations on Mein junges Leben hat ein Endt. Other works here include a take on Peter Philips’s Pavana dolorosa, a lovingly plumped-up version of Dowland’s Lachrymae, and a handful of improvisatory toccatas. Sweelinck brings together in his music many of the influences current in the first years of the 17th century – Italian flair, north European seriousness, English resonance and melodic grace – and makes of them a rich and rewarding brew, maintaining coherence by the force of his own good taste and sound compositional judgement.

Robert Woolley used just an organ in Vol 1 but here switches between two marvellous harpsichords – Malcolm Rose’s currently muchin- demand copy of the Victoria and Albert Museum’s 1579 Theewes claviorganum, and a deep and mellow copy by Derek Adlam of a 1611 Ruckers virginals. His playing, too, covers most bases. Without forcing the pace, he shows brilliant fingerwork in Esce mars or a piece like the Toccata C2, and achieves clarity and composure in the more melodically driven works. The toccatas occupy a convincing middle ground between the improvisatory and the written-out in feel, and tempi are for the most part expertly judged (only Mein junges Leben seemed a bit slow to my ears). In other words, these are pleasingly natural performances. There is not much competition in the world of Sweelinck recordings, but this stands out as an excellent harpsichord release in its own right.