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Sonata No 3, one of three which launches with a slow Andante (Sonata No 2 begins with an Adagio non troppo too, so four of the six sonatas have slow movements first) offers an attractively judged first movement, if also some doubts about the ensuing Allegro's pacing: not as lithe as could be wished. But Sonata No 1, which Formenti introduces third (he does not go into his choice of ordering, or the possible key implications), perfectly reveals the 'exquisitely baroque and gallant atmosphere' with which Formenti characterises Nardini's work. The final Allegro, rather like a sprightly minuet, is delightful, and Gusberti's fine cello detail adds much here.

No 2 opens with the almost mechanical clock-like Adagio ma non troppo, an instruction Formenti diligently adheres to, to good effect. There's almost an English feel here -- Arne, perhaps? The finale is utter enchantment, Gusberti nicely restrained and his instrument's lovely timbre evident (as also in No 1), and Gabriele Toia beautifully nifty and versatile on his two-manual keyboard.

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