Fascinating works that vacillate between old and new styles, with extensive song-like slow movements (particularly in the Concerto in F major) that stretch the harpsichord to its limits. There is an abundance of novel harmonic writing, notably in the fast movements of the Sinfonia in F and in the finale of the A minor Concerto. Harpsichordist Guy Penson and Il Fondamento revel in the unpredictability of the music, giving readings of perception and colour.'