Harmonia artificiosa-ariosa, Biber’s final collection of instrumental music, dates from 1696. ‘Artificiosa’ refers to the scordatura, or non-standard tuning, used for six of the seven partitas; these elaborate suites, with extensive double-stopping in the two melody parts (often turning the familiar setting of the trio-sonata into a full, five-part texture) mark one of the high points of Baroque instrumental music. MAK play these demanding works to the highest technical standard, and allow them to make their full sensual impact; the allemandes and sarabandes are played slowly, in a grand ceremonial style, and Léon Berben fills out the continuo to maximise the resonant effect of an admirably full recording.

The faster movements have tremendous energy and drive, and of the three available recordings this is the most imaginative in introducing stylish, expressive ornamentation. Yet I wouldn’t prefer it to the others. With its energy comes a relentless manner of accentuation, often accompanied by unattractively harsh attacks. And, too frequently to my ears, a big, impressive sound is achieved at the expense of the music’s natural rise and fall. Is it necessary, for example, in the concluding Passacaglia of the Fifth Partita, for the repeating bass line to be sustained in such a powerful, unyielding way? In the Purcell Quartet’s recording, each phrase is shaped naturally and the melodic quality of Biber’s writing, rather than its bravura, is emphasised. The Rare Fruits Council, like MAK, goes for sensuality and brilliance, but uses a large continuo section to suggest a constantly varied palette, and fast tempi (making it possible to squeeze the whole opus onto one disc). It’s very exciting, but occasionally lacks dignity.

Each of these recordings has its own claim to our attention: every Baroque music enthusiast should get to know at least one – my favourite is still the Purcell Quartet.