It’s hard to think of any other leading violinist today who moves as comfortably as Isabelle Faust does between the 19th and 20th-century repertoire and the period-instrument specialists of baroque and classical music. She excels in both, and as if to underline this unfussy versatility, just a day after the release of her exceptional recording of the Schoenberg concerto with the Swedish Radio Symphony Orchestra, Faust played concertos by Bach at Wigmore Hall, London, with one of Europe’s leading period bands, the Akademie für Alte Musik Berlin.

A number of Bach’s concertos survive as works for harpsichord and orchestra rather than in their original forms for other instruments, and the two solo violin concertos that Faust played, in G minor BWV 1056R and D minor BWV 1052R, are modern reconstructions of harpsichord works, though both certainly seemed thoroughly violinistic in Faust’s dazzling performances.

Even the well known concerto for oboe and violin BWV 1060R was recovered from a harpsichord version; Faust played this with the Akademie’s oboist Xenia Löffler, and partnered the group’s leader Bernhard Forck in the concerto for two violins. Occasional portamentos and rubatos seemed a little self-conscious, but the lightness and clarity of the performances were exemplary.

Between the concertos the Akademie included a symphony (Wq 182/3 in C) written half a century later by Bach’s second surviving son Carl Philipp Emanuel, while Faust and Forck played a trio sonata for two violins and continuo (BWV 529) by Johann Sebastian. For the first of two encores Löffler swapped her oboe for a recorder to partner Faust in the opening sonata from Bach’s Cantata No 182, while the second was the final Badinerie from the Suite No 2, with Faust playing the solo part usually heard on a flute, and certainly taking it at a speed that few flautists could even contemplate.