Separately, baroque violinist Rachel Podger and period keyboardist Kristian Bezuidenhout continually compel us to reappraise core repertoire: Mozart’s instrumental, chamber and orchestral music being but one example. Together, and in perhaps less familiar music to many, their performances are not only compelling, but essential, listening.

As is the music here, by JS Bach’s fifth son, Carl Philipp Emanuel (1714-1788). CPE Bach’s extraordinary symphonies are by now well-recorded and well-known; many of his concertos are also popular. But his instrumental and chamber music is less so. Which is a shame, as it is charming, original and diverse. Just how diverse can also be gauged from this selection of sonatas for violin with harpsichord or fortepiano from across Bach’s lengthy career.

The recital opens with the early Sonata in G minor H.542.5, which at various times has been attributed to father or son – booklet essayist Timothy Jones suggests “a master-apprentice” collaboration between the two. Sandwiched between the darkly dramatic sonatas in C minor and B minor, both from 1763, is the luminous 1780 Arioso con variazioni per il cembalo e violino