Anyone concerned about the reimagined Baroque works on this program should remember that JS Bach, for instance, was an inveterate borrower of his own music and would change the solo instruments for a concerto or other work at the drop of a hat. This was often a necessity: he had to compose so much music for special occasions at short notice.

Bach’s Concerto for Two Keyboards was originally intended for violin and oboe. So if we could ask Bach whether it bothered him that James Crabb arranged the concerto for piano and accordion, the answer would likely be no. The versatile and powerful accordion hadn’t been invented in his lifetime, but chances are he would have used it if he could.

Crabb’s presence as accordionist predominantly adds depth, vitality and fresh colour to this enjoyable recital. The occasional downside is in balancing the instrumental forces. There are fleeting moments when the cello is eclipsed by the accordion’s exuberance. Or, as in the first movement of Handel’s Sonata in D major, Op. 1, No. 13, the accordion sounds a split second behind Emily Sun’s violin and Timo-Veikko Valve’s cello.