An intriguingly organised album from Holland Baroque. The ensemble have made a name for themselves with their cross-cultural ‘encounters’, including Baroque and cabaret (‘Love is Crazy’), Baroque and gospel (‘Anthem and Praise’) and an East-meets-West collaboration with Chinese sheng player Wu Wei (‘Silk Baroque’ – 10/19). I was surprised, therefore, that they have now turned to such seemingly standard fare: Bach transcriptions. But knowing the Steenbrink sisters, I couldn’t help but anticipate something sly kept up their sleeves.

The title of the album, ‘Bachs Königin’, refers to the proverbial ‘queen of instruments’, the organ, though this is a title which through the centuries has also been conferred upon the lute and the violin. The Steenbrinks have transcribed Bach’s works for organ for the smallish orchestral forces of Holland Baroque, and have even created a concerto by combining BWV592 and BWV974 – the latter being Bach’s transcription of the famous Adagio from Marcello’s Oboe Concerto. In this arrangement, violinist Judith Steenbrink takes on the mournful melody of Marcello’s oboe – or Bach’s right hand on the keyboard – with tender touch. The ensemble’s assertive palpitations provide an animated backdrop, and the closing tierce de Picardie is like being wrapped in cashmere.

But nothing is lovelier than the album’s very opening. Holland Baroque begin with an arrangement of Bach’s Organ Sonata No 5 in C, BWV529, conjuring a sumptuous sense of benevolence. There is so much in the texture to enjoy: the violins articulate with a charming naivety, there’s impressively expansive bassoon-playing from Wouter Verschuren, and the general zest and zing is infectious. And then we get the sisters’ first trick: the central Largo is for solo harpsichord. Without knowledge of the original Organ Sonata, one might initially think this a little prelude into the next orchestral movement, a tiny amuse-bouche. But it turns out to be quite mammoth. This clever rescoring beckons the listener to zone in on the slowly unfolding narrative (the tempo is wonderfully settled, too). It is a shame that it is not exactly clear from the booklet notes who the soloist is – though presumably this is the gorgeous playing of Tineke Steenbrink.