Alina Ibragimova makes a strikingly distinctive contribution, albeit subtle and restrained…she introduces minute expressive emphases and nuances into her solo line, sustaining the hypnotic motoric pulse…Jonathan Cohen's choice of lute as well as harpsichord among the continuo forces invites another distinctive feature…the scale of the period instrument forces is ideal: orchestral violins in threes making for a warm and perfectly tuned contrast to the soloist. Outstanding.

This is an outstanding and distinctive addition to a catalogue busting at the seams

Ibragimova’s playing, from the very first entry, is surprisingly sweet-toned; even in the relatively boisterous first movement the instrument constantly sings, and she’s not afraid to let the sustained notes ring out a little...Occasional guitar-like strumming further reinforces the South European feel, though the rich darkness of the theorbo’s lower reaches ensures that the music never becomes excessively airy.