Their music-making is infectiously spontaneous yet tellingly ‘considered’ – seamless rapport and impeccably-judged articulation delighting in a stream of illuminating felicities. CPE Bach’s free-spirited sonatas have surely found their free-spirited match.

The violin playing of Rachel Podger blends seamlessly with that of keyboardist Kristian Bezuidenhout. They are spot on in term of interpretive skill, and the musicality of these highly skilled and sensitive performers is evident throughout. The highest praise I can give is that I feel Emanuel Bach would have approved of the performance. Very highly recommended.

There's such a lovely rapport between these two eminent Baroque musicians on their first recorded collaboration, with Podger stepping gracefully into the role of accompanist for long stretches and Bezuidenhout (playing a French harpsichord for the early sonatas and a modern copy of a Walter fortepiano for the later ones) dazzling in the many moments when he takes centre-stage. The lovely Adagio from the opening sonata, more than a little reminiscent of the slow movement of Bach père's Double Concerto, is particularly enchanting.

a rewarding 70 minutes of silky-toned violin and eloquent keyboards. Two early sonatas are audibly the work of JS Bach’s son; the later ones graft a more modern musical sensibility on to those glorious roots.