Telemann is rightly beloved of recorder players. He was first and foremost a keyboard player and his music is not as overtly violinistic as many sonata composers of his day. The members of Passacaglia (a British ensemble formed in 1992) have chosen here a selection of works for all the possible combinations of their instruments. Of the five trio sonatas only three call upon their full forces while the B flat major work from the Essercizii Musici pairs one recorder with obbligato harpsichord‚ and the F major Trio a recorder with bass viol and continuo. The remaining selections comprise a duo for two unaccompanied recorders (Op 2 No 5) and the delightful D major Sonata for viol and continuo from Der Getreue Music­Meister. Annabel Knight and Louise Bradbury play with delicate precision‚ fluency and appropriate intonation: the straightness of their sound made the bones in my ears buzz. They are at their best in the perky‚ vivace movements where they seem to relish the syncopation and bariolage‚ but less compelling in the slow movements‚ which demand subtler expression. They play instead with an unvarnished honesty – clearly and coolly defined tones and phrases – that leaves me longing for softened edges to the ends of notes‚ firmer projection of melodic gestures and altogether more shapely phrasing. All this applies particularly in the C major Trio from Der Getreue Music­Meister‚ which is of special interest for Telemann’s sharply drawn caricatures of classical heroines (Xantippe‚ Lucretia‚ Corinna‚ Clelia and Dido). Reiko Ichise and Robin Bigwood deserve commendation for their performance of the D major Sonata. From the poised‚ opening Siciliana‚ succeeded by the deft yet gently executed Vivace and the pensive Dolce‚ to the end of the swaggering Scherzando there is a warm rapport that augurs well for future recordings.