The distinguished discography of Handel’s violin sonatas includes fine versions by John Holloway (CRD, 10/92), Andrew Manze (Harmonia Mundi, 11/01), Hiro Kurosaki (Virgin, 4/03) and Adrian Butterfield (Somm, 2/08), just to name a few. DHM released a set by Julia Schröder only recently, so the label’s issuing of a new survey by Musica Antiqua Roma is surprising. However, these performances are excellent for their lyrical sweetness, stylistic sensibilities, imaginative expressiveness and immaculate recorded sound (recorded in a quiet chapel in Siena).

Riccardo Minasi’s lively playing is never clumsy and seldom forced: he has worked for Italian Baroque ensembles including Concerto Italiano, Il Giardino Armonico, Zefiro, Accademia Bizantina and La Risonanza, and usually avoids the eccentric mannerisms of the more maverick groups and frequently demonstrates the cantabile eloquence of the best of them. The dance-like Allegro ending to HWV361 is articulated playfully, the solemn D minor Grave that begins HWV359a is melancholic, and his firebrand soloing in the rushed opening Allegro of HWV358 emphasises the fervour of Handel’s youthful Italian style.

Three sonatas are included that Handel probably did not compose (HWV370, 372 and 375) but there’s no doubting the authenticity of Handel’s last chamber sonata, composed in about 1750 (HWV371), which is given an emotionally adventurous performance from its rapturous opening Affetuoso to the quicksilver Allegro conclusion. Occasionally anachronistic plucked accompaniment seems unduly whimsical to me but otherwise cellist Marco Ceccato and harpsichordist Giulia Nuti provide exemplary support.