It’s called ‘The Baroque Album’, but it isn’t really very baroque. The two concertos belong to the early and middle classical eras, and the other items, even if composed during the Baroque, are presented in a highly Romantic manner. But the music does offer opportunities to Jian Wang, a fine young cellist, and he plays with some style – even if it’s the same style, whatever the music.

In the Boccherini concerto – this is the one Grützmacher arranged, but here in something closer to its original form – he shows some sweet, light, evanescent tone, and deft fingerwork in the higher reaches of the instrument, as well as immaculately clean bowing. There are some oddities – a repeat of 22 bars in the Andantino (which is taken very slowly indeed) and a cut of eight in the finale, which don’t correspond with my score or the normal text. Never mind: it’s played with some charm and warmth. (I should add that he somehow allows a bottom G to sound, to uncomfortable effect, in the opening flourish, three times over: it’s not just a flick on an open string – the string is stopped – so it must be a misreading, which ought to have been spotted.) The cadenza, mostly just repetition of music already heard, is misjudged.

In the Monn concerto the dynamic shaping is too Romantic for my taste, but the soft and often very graceful solo playing in the slow movement is quite beguiling. The orchestral playing here seems soft-edged in the quick music, stilted in the slow. As for the other items: well, I thought the days of Romantic Couperin arrangements were long past, and this one, with its lush textures and sentimental orchestral writing, seems very dated and distasteful; the Toccata after Frescobaldi, a long way after, also emerges as a Romantic showpiece.