Bach’s Cello Suite No 1 opens Australian recorder player Alicia Crossley’s latest release, Alchemy, with a shock to the system. Performed on bass recorder, the familiar work is removed entirely from its comfort zone. Crossley takes the suite at a quick pace, her loud breaths a reminder of the realities of performing on such a colossal instrument. The work is followed by Telemann’s Fantasia No 10 on the naturally louder tenor recorder. Although she’s well suited to the baroque, Crossley demonstrates her versatility across a variety of cultures and eras, each work transcribed to suit her needs.

Australian composer Anne Boyd’s Goldfish Through Summer Rain introduces exquisite harp textures in a Japanese-sounding work inspired by a Korean poem. Debussy’s Syrinx – originally for flute – is performed expressively with vibrato altering timbre rather than pitch. Takemitsu’s Toward the Sea follows with extended techniques such as ‘finger shading’ and ‘fluttement’ (finger-vibrato) in a spiritual pairing with guitar.

A dreamy Sicilienne by Fauré reintroduces harp, but you’ll have to wait for the end to reach the standout – JacobTV’s The Garden of Love. Of all the unlikely pairings, who knew...