This crack squad of first-rate period-instrument musicians gives lithe, polished and devoted performances that make a convincing case for a one-to-a-part "orchestra". Indeed, so full-bodied is the sound that you could be forgiven for not noticing the paucity of numbers – except the precision and freedom for manoeuvre is far greater than any chamber orchestra could achieve.

Podger delivers an infectious, dancing lead which rubs off on the small, top-quality band. The A minor jig has a breathless intensity as the players unanimously bend to the delirious rhythm...Podger's period-instrument rendering of these untiringly repeatable masterworks is among the best on disc, authentic or otherwise.

Exceptionally intimate and flexible performances from Rachel Podger

The first and most immediately striking thing about this new recording is that the orchestra is made up of single strings...the solo violin part is often written like just one of the orchestral parts and so Rachel's more chamber-like approach sounds fantastically appropriate and vividly exciting.

In these lively, one-instrument-to-a-part performances, they [1056 and 1055] work well in this adaptation, and Podger’s lean, sinewy sound rises out of the ensemble shiningly.

The music flows with a natural ease. She stays light and nimble, very much embedded in the ensemble. The delicacy of her dynamic shifts and decorative details is remarkable...But this above all is a community endeavour. Podger’s six supporting musicians play alongside with exquisite skill and freshness...and provide a thrilling kaleidoscope of colours.

Sunshine floods through this ensemble recording...The forces are small, just one player per part, yet Rachel Podger and Brecon Baroque think big...The E-major Concerto has spring, poise and wit, while the G-minor contrasts the langour of the Largo with a fizzing Presto.