PAOLO Pandolfo is, of course, the musical name associated with the viola da gamba. But what I loved about this incredibly enriching concert was the way the ensemble – Pandolfo and Amélie Chemin (viola da gamba), Thomas Boysen (theorbo/guitar) and Markus Hunninger (harpsichord) – blended together the musical intimacy, engagement and communication.

There was an utterly compelling performance of a young Francois Couperin’s Les Idées Heureuses and Les Papillons (from Pièces de Clavecin I): music of serious substance and authority. Then there was a memorable performance of Robert de Visée’s Prelude and Chaconne (from Manuscrit Vaudry de Saizenay). The response to Thomas Boysen’s interpretation of this instinctively lyrical music was justly rapturous.

However, it was the performances of the works by Marin Marais that was the focus of this Paris 1689 concert, and they were simply superb. Right from the off, Marais’ Suite in D minor was delivered with such joy, it was infectious. I had to smile at the audience response: nodding heads, hands desperately wanting to conduct the beats.

There was an unbearably moving performance of Marais’ Tombeau de Mr Meliton and the intimacy and dialogue in his Suite in G major summed up the evening’s concert: not just musical engagement and communication, but real insight, an infectious musical gift that leaves an audience wanting more. And we got it. The encores were a delight, not least the musical flirtation between Ms Chemin and Mr Boysen, on a Sunday too!