it makes the perfect companion to her memorable recording of Bach’s solo violin works...Faust’s playing is poised and effortless. She uses minimal vibrato, producing a clean, silvery sound.

In all, there’s lots here to enjoy and admire; Faust’s playing is technically superlative, imaginative and fun – if not occasionally over-precise and controlled.

Faust’s supremely intelligent, expressive playing throughout is as unmissable as ever…Matteis the Younger’s undated Fantasia in A minor makes for an arresting opener, and sets the tone for the programme as a whole. In lesser hands, the piece could perhaps sound like a study in string-crossing and tricky left-hand stretches, but Faust’s combination of absolute technical security and improvisatory freedom transform it into something infinitely rich and strange.

Faust’s sampler of the vast store of other European music from this era — virtually all of it previously unknown to me — is sheer delight. Whether by design or by chance, “Solo” also presents an unusually comprehensive picture of what makes Faust such a multifaceted and captivating musician.