Whatever Bach’s intentions may have been, one-to-a-part performance seems ideal for his concertos, as it heightens the individuality and importance of the separate lines. Rachel Podger has assembled a splendid supporting group whose playing is extremely stylish and well balanced, with a bold, expressive style that makes the most of Bach’s inspiring writing for strings. My only criticism of the ensemble playing concerns a temporary loss of poise in the finales of the A minor and E major concertos, both taken very fast.

Podger’s own playing is elegant and spirited, with pure tuning and a fine, clear tone. It’s to her credit that she encourages her colleagues to play so positively but I kept wishing that her solo part would stand out a little more. In the A minor Concerto’s Andante, for instance, I’m certain that the violin’s soaring lines should take centre stage, and the finale’s arpeggios should surely have a Vivaldian brilliance and presence, and seem more than a colourful addition to the texture. For all that, these are invigorating, polished accounts, communicating a sense of joy, and offering some especially beautiful moments. BWV1056’s Largo is one – the simple pizzicato accompaniment brings into relief Podger’s lovely decorative line, based on Bach’s harpsichord ornamentation.

I’m not convinced by BWV1055 as a violin concerto, however. When it’s not a harpsichord concerto it’s generally heard on oboe d’amore, because the solo line seems too low for solo violin. The problem comes to a head in the finale, where the showy orchestral violin part trumps the soloist.