If you’ve tended to consider Vivaldi’s cello sonatas less interesting than most of his music (I confess I have), then these performances may persuade you to think again. One might argue that much of the colour and excitement of this programme is peripheral to Vivaldi – the large, continually varied continuo group, providing accompaniments that are often profusely elaborated, and, in each sonata, the improvised interpolations between movements. In Sonata VII (RV44), the first movement is followed by an extempore organ toccata, nearly six minutes long, cleverly combining themes from the first and second movements, and in the next gap the guitarist begins a similar exercise before breaking into song.

And this creative approach extends to every aspect of interpretation, continually throwing new light on the music. The energetic performance of Sonata VII’s first Allegro, with its syncopated theme set against strummed guitar chords, forcefully brings out the movement’s inherent character; this contrasts with the more delicate corresponding movement in Sonata VI (RV46), lightly accompanied by theorbo. The double bass gives extra rhythmic impetus to the more vigorous movements and emphasises the solemnity of such pieces as the initial Largo of Sonata V (RV40). By refusing to accept routine attitudes to articulation and ornamentation, Dieltiens compels us to listen anew to typical Baroque turns of phrase and appreciate their rhetorical, expressive quality. Everywhere, the level of artistry is extremely high; the Largo third movement of Sonata VI, played by two cellos alone, is a model of perfect blend and tuning, allied to heartfelt expression.