In both suites he communicates with assurance the sequence of dances which follow the preludes though, partly no doubt through force of habit, I found myself every now and again yearning for the noble and more sustained gestures afforded by bowed strings…He paces the music eloquently, accommodating moments of reflection with others of exuberance.

What we get with Dunford’s Bach is a certain purity, a relatively unadorned line which assimilates articulation in favour of flow and clarity. The expression – of form or emotion – is all in the phrasing, which relies on the art of silence as much as a subtle rubato. It’s quite beautiful and refreshing, as though excrescences have been shorn away to reveal the classical architecture underneath.