CHAMBER works for flute and recorder were sandwiched between two concerts of all six Bach Brandenburg Concertos by ensembles ranging in size from one to 25.

Performances of aplomb and—particularly during the evening concert—infectious enjoyment made for an uplifting and illuminating day.

Compagnia d’Istrumenti gave three Brandenburgs, Number 6 setting the tone, violists Mark Braithwaite and Daniel Edgar chasing eagerly through its close imitation.

Number 5, with foot-tapping rhythmic energy from the start, saw Peter Seymour suffuse the extended harpsichord solo with improvisatory humour; Niels Tilma’s bright trumpet sound emphasised the celebratory character of Number 2. Speeds were nicely judged, flowing in the slow movements, otherwise pacey, exciting but not driven.

Later, Seymour sensitively accompanied flautist Jennifer Cohen’s shapely, elegant phrasing in the B minor flute sonata. Recorder player Ian Hoggart, whose breath control is formidable, played the striking A minor unaccompanied Partita—a reminder that the ever-versatile Bach could write compelling multi-faceted music consisting of only a single melodic line.

In the evening, the University of York’s Baroque Ensemble gave the remaining Brandenburgs led by Daniel Edgar, who also expertly and boldly negotiated the challenging violin solos without dominating the texture. Horns and oboes supplied appropriately rustic impetus in Number 1. An engaging concerto by Telemann provided extra contrast. What this bigger band wanted in tonal refinement they more than made up with pleasing gusto and contagious energy.

The event reaffirmed Bach’s genius in the most enjoyable way.