The performances are of high quality. The noontide lethargy at the start of Vivaldi’s Summer is beautifully realised and the opening movement of the Geminiani D minor Concerto (Op 2 No 3) sounds appropriately fiery, while his splendid arrangement of the C major Sonata from Corelli’s Op 5 is suitably rich and grand. The arrangement of Bach’s Second Suite with violin replacing flute may disappoint some listeners, particularly in the famous ‘Badinerie’, but the work seems entirely plausible with just strings. One or two of the tempi appear to me on the fast side – the finale of the Corelli arrangement would sound more joyful with greater poise. In her solo passages, Jeanne Lamon ornaments her lines most stylishly, and plays with enormous confidence and vigour, not least in the two items without orchestra; in the Biber, Linda Melsted proves a most able partner.

As to the recordings, the orchestral sound is transmitted with plenty of attack and vigour but the solos tend to sound somewhat recessed. This is particularly so in the Schmelzer, where the violin should appear to be standing well in front of the organ. And, within the orchestra, the balance is not always perfect, the viola interjections in the Vivaldi often being virtually inaudible. However, there’s plenty to enjoy here and, as an introduction to Baroque violin music, the programme could hardy be bettered.