Diego Fasolis’s recordings are often viscerally thrilling, occasionally veering into the throes of vulgarity. If one never quite knows how live “live” is, then at least with I Barocchisti the adrenalin keeps flowing and spontaneity abounds, as we hear in these committed performances of Bach’s keyboard concertos for the composer’s Collegium Musicum series in downtown Leipzig, c1730.

The rich and intense recorded sound mirrors the robust and purposeful string group which accompanies the brilliant and serious solo harpsichord-playing of Francesco Cera, especially in the minor-key concertos. The D minor is bursting with character, the inner parts weaving lyrically above the continuo. The stately tempo of the F minor works especially well, allowing the textures to resonate while affording a flexibility of line which implies a kind of elongated “aria” over the three movements. It’s a most persuasive approach, intended or not.The E major reverts to “period” type in some respects; the homely congeniality of the first movement (far less austere than the BWV169 cantata from which it is parodied) is atmospherically conveyed and the sicilienne middle movement is exquisitely shaped. Yet the articulation is too regulated, given the spontaneous surprises one remembers from Fasolis in his secular cantatas and Brandenburg recordings of late.

Cera embarks on a wonderful journey in the D major Concerto, if perhaps fractionally ponderous in the first movement. But then everyone else tears around these days and I Barocchisti relish the strong harmonic direction, the time to breathe, the space to take a detour and to celebrate the emboldening bass-lines. It’s the kind of fruity, no-nonsense Bach-playing which – when you’re in the right mood – hits the spot.