Na'Zir McFadden's interpretation was consistently songful, dancing, and attuned to the music’s expressive nuances. For exuberance and extroversion, the Praeludium and Rigaudon snapped—concertmaster Nathan Cole’s solos in the latter were spot-on—while the Musette’s hemiolas were shapely and urgent. Meantime, the Sarabande and Air unfolded as models of restraint. Throughout, conductor and string orchestra paid close heed to the suite’s dynamic range. As a result, the Air, particularly, came across with real poignancy, its central maggiore episode shining like a ray of light between the affectingly dissonant turns of its outer thirds.