From objective scholarship and subjective insights arise performances of emotional depth and tonal finesse, excellent sound and balance transparently revealing the substance behind and beyond the notes. Jonathan Cohen directs from the harpsichord, and together with Thomas Dunford (lute) offers unobtrusively supportive continuo playing. Bach’s music may be virtually indestructible, but it is also susceptible to fine re-creative instincts—like those of Alina Ibragimova. She plays with a fluid mobility of line that never degenerates into heartless mechanised inexorability; and has time for resilient phrasing and lilting accentuation, for intelligently shaded dynamics, for due acknowledgement of modulations—like the change to C sharp minor in the first movement of BWV1042—and for close interaction with orchestral colleagues. Incidentally, three of these works are transcriptions of keyboard concertos.