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Following on from her superb 2008 recording of Bach’s sonatas and partitas for solo violin, harpsichordist Winsome Evans also follows in the footsteps of Bach and his contemporaries by devising “keyboard transcriptions of all these solo works emulating Bach’s stylistic textural idioms, compositional procedures and performance practices.” Evans’ copious liner notes demonstrate an extraordinary erudition, an absolute fidelity to Bach’s musical language and an uncompromising attitude towards surmounting every difficulty. She has availed herself of as many 18th-century compositional and performing techniques as she thought necessary to produce a convincing, historically informed realisation of these masterworks, including frequent sharing of melodies “across and between the hands”, composing new bass lines and countermelodies, filling out harmonies and, of course, extensive ornamentation, more often written-out rather than extemporised. And the performances? They are sublime: intimate and urgently expressive, with tasteful use of rubato and colour changes, in the slower movements such as the allemandes and sarabandes; joyful and exuberant in the faster dances such as the courantes and gigues. Together with the performing scores, both sets of recordings comprise a major contribution not just to contemporary Bach scholarship and performance, but to the enjoyment of lovers of Bach’s music everywhere. Imagine the archaeological thrill of tracking down musical manuscripts and finding works which have been unheard for centuries.

His works include the opera Castor et Pollux (1737), chamber music, harpsichord pieces, church music, and cantatas. You can complete the definition of Rameau.

In 2011, the Morgan Library in New York acquired a manuscript which alternates sonatas by Soler and Domenico Scarlatti (who influenced Soler’s writing deeply). Of Soler’s works in the collection, 29 were previously unknown and are recorded here for the first time. With a treasure trove of new music before him, harpsichordist Diego Ares can enjoy the interpretive freedom afforded by works without the weight of expectation.

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While he was composing in Spain in what is ostensibly the late Baroque, to my ears Soler’s style is more similar to that of style galant composers like CPE Bach, with an emphasis on the melodic line and musical twists aplenty. Ares’ playful style perfectly suits this music, which often breaks into a spirited flurry of semiquavers or dashes away with another fresh melody just when it is least expected. Soler’s improvisatory compositional style is reflected in some clever programming. Ares’ notes discuss Soler’s publication of rules for improvising modulations to remote keys, and indeed Ares uses a similar method to insert a few linking passages in between sonatas.

Though brief, these interludes provide just.