None of these four concertos is original Bach; each is a conjecture of how it might have started life. The best known, and the masterpiece among them, is the Concerto for Violin and Oboe. Though it is familiar in the version that has come down to us for two harpsichords, internal evidence points to the soloists being originally violin and oboe, and in that form it has been much played and recorded. There was a famous recording by Yehudi Menuhin and Léon Goossens (EMI), using a transcription in D minor, which takes the oboe up abnormally high for Bach. The version here, by Wilfried Fischer, is in the more suitable C minor, with a somewhat discreet contribution from Alina Ibragimova that none the less helps to set the work beside the Double Violin Concerto as one of Bach’s greatest concerto masterpieces.

Another welcome rediscovery (also once memorably recorded by Goossens) is the A major Concerto for oboe d’amore, a lovely instrument usually only heard in Bach’s Passions, originally rescued for the purpose of this concerto from its harpsichord version by Donald Tovey. Ogrintchouk plays it beautifully, again in an edition by Fischer, with a just appreciation of the instrument’s mellow tonal qualities. He has the understanding of how Bach’s long phrases are braced by shorter ones within their span, which is an essential quality of good Bach-playing. The other two solo concertos find him equally at home, with the F major work originally the E major Harpsichord Concerto, and a D minor concerto assembled from cantata fragments. Only the sublime Sinfonia from the Easter Oratorio is authentic Bach – and that, it has been suggested, might have begun life as a concerto slow movement. The confused collector can follow the unravelling of all these complexities in an excellent scholarly booklet-note by Geoffrey Burgess, or simply be grateful for four admirably played and recorded oboe concertos by a great composer who wrote demandingly but incomparably for the instrument.