I couldn’t quite work out what the International Baroque Players’ latest concert, which was subtitled Apollo & Dionysus, had to do with those two Greek gods, generally reckoned to represent the contrast between light and darkness — unless ‘darkness’ marked the University Church’s irritating habit of switching off most of the lights during a concert, making it difficult to read the programme. But the main title, Journey of Discovery, was certainly appropriate, for intermixed with Telemann, Bach, and Vivaldi were the lesser known Platti, Heinichen, and Fasch.

First up was Platti’s Concerto Grosso No 10, its ethereal chords wafting seductively round the pillars before developing into a perky tune. It’s not a blindingly original piece, but very easy on the ear. Heinichen may have been a pupil of Vivaldi, and certainly the opening of his Concerto for violin, strings and basso continuo sounded like Vivaldi’s Seasons with the bass parts beefed up. Heinichen admiring his teacher, or plagiarism? But the biggest discovery was Fasch’s Concerto for lute and strings. Brimming with vitality and enticing tunes, it’s amazing this work isn’t better known. Alas, it was not heard to best advantage here — the players tried hard to rein back, but lutenist Magnus Andersson was frequently inaudible from my seat, four pews from the front.

Amongst the acknowledged baroque masters, Telemann was represented by his Pisendel violin concerto (Johannes Pramsohler was the assured soloist), and by Concerto in A, ‘the frogs’ — who sounded as if they were croaking in splendidly animated conversation. Bach appeared twice too, with a gravely fugal Ricercar from A Musical Offering, plus Brandenburg Concerto No 3, hustled through rather too fast. Finally, there was a spirited performance of Vivaldi’s Sinfonia in C, its opening tune sounding like hearty laughter.

The players exhibited both enthusiasm and a strong sense of ensemble throughout — it’s good to see this Oxford-based orchestra beginning to draw bigger audiences.