The Norwegian recorder player Caroline Eidsten Dahl has really ticked the boxes with this collection of nine of Telemann’s recorder sonatas, beautifully supported by cellist Kate Hearne and harpsichordist Christian Kjos, most particularly with the opening pair of works: two sonatinas accommodated for the recorder from a 1730 collection for harpsichord and violin or transverse flute which, due to Telemann’s own basso continuo parts for them not having been discovered until the 1990s, hasn’t been recorded a great deal.

So I’ll begin with that pair of sonatinas, and if you’re at all familiar with Maurice Steger’s recording of them – really the only point of comparison – you’ll be struck immediately in the C minor’s opening Largo by the difference in tempo and overall feel of Dahl’s reading; and the funny thing is that, when it’s usually Steger who opts for whippet-like tempos, here it’s Dahl who wears that mantle. In fact she’s half a minute faster than Steger, with a leisurely, flowing sound that presents a genuine alternative to Steger’s more stately feel. What’s more, zip to the A minor Sonatina’s concluding Presto and she’s even pipped him there for speed, coming in at 1'11" in comparison to his 1'46". Aside from tempo comparisons, you’ll also hear a very different approach to tone production, Dahl keeping things notably refined overall. You’ll hear what I mean in the C minor’s Allegro, where she pushes far less air out on her emphasised notes.

Smooth tone, elegant articulation and ambitious but effortless-sounding tempos are likewise the names of the game across the remainder of the programme. Take the famous Vivace from TWV41:F2 in F. First published in Telemann’s own fortnightly 1728 29 periodical aimed at proficient amateur musicians, Der getreue Music-Meister, you’d have to be more than merely proficient to take it at the pace she’s gone for in this joyous and hugely enjoyable reading. Add the style with which she delivers the intentionally virtuoso Allegro of the Sonata in C, TWV41:C2, plucked from the Essercizii musici, plus the sweet lyricism of the C minor Sonatina’s Dolce, and this whole album deserves repeated listening.