The second of Oxford Philomusica’s pair of Baroque concerts was a charming, joyful stroll through some familiar and not-so-familiar works of the baroque era. With Marios Papadopoulos conducting from the harpsichord in his usual meticulous style, and the orchestra responding with warmth and enthusiasm, this was a treat of an evening; two hours of exquisite, unalloyed pleasure.

Perhaps the most interesting inclusion in the programme was the Oxford premiere of a recently-discovered Vivaldi piece, Il Gran Mogol, a flute concerto in D minor. This glorious gem was part of a collection belonging to the Marquesses of Lothian until 1991, when it was purchased by the National Archives of Scotland, and received its modern premiere at Perth Concert Hall on January 26. Flautist Anthony Robb was clearly enjoying himself, producing an appropriately light touch in the fast outer movements, while gently caressing the notes of the sublime Larghetto.

Purcell’s Trumpet Sonata in D major was a magnificent opener, bursting with all the buoyancy and joie de vivre you would expect from a piece scored for solo trumpet. Timothy Hawes’s bright, vivacious account of the solo line, backed by some equally spirited playing from the orchestra, was so full of pizzazz that it seemed anything that followed would be an anti-climax. But of course it wasn’t. Bach’s Violin Concerto in A minor, the highlight of which is the wonderful, dance-like final movement, was a joy, with some impressively energetic solo work from orchestra leader Tamás András.

Oboist Tim Watts impressed, too, in Albinoni’s Oboe Concerto in D minor, with some exquisitely articulated playing, while the orchestra took the spotlight in a sublime rendition of Pachelbel’s Canon — a predictable piece of programming, perhaps, but none the less welcome for that.

But the last word went to Bach, with all four soloists joining the orchestra in a sparkling performance of the Brandenburg Concerto No.2 in F major, bringing the evening to a triumphant finish. Wonderful.