‘Their approach, as smart and stylish twenty-somethings, is to ensure that their work is constantly stimulating and challenging, setting them apart from many of their peers.” Thus stated the Players’ programme introduction. The group is certainly international: although founded by Oxford’s Aliye Cornish, the 20-strong line-up features musicians from ten countries. Many passed through the European Union Baroque training orchestra, in Woodstock, and all now work with top professional ensembles.

As their debut Oxford concert unfolded, you’d never have guessed that they are only able to get together occasionally. The sense of unity, and a common approach to the music, was the same as you would expect from a high-class string quartet. As the robust second movement of Corelli’s Concerto Grosso Op 6 No 12 followed a floating and summery opening, you also felt that the Players (director, Chris Bucknall) really enjoy transmitting their music to audiences. Being “smart and stylish twenty-somethings” is an obvious advantage here; it must be difficult to feel quite the same enjoyment when knocking out a Brandenburg Concerto for the 300th time. Corelli was followed by concerti grossi from Scarlatti, and Locatelli – his C minor concerto beginning with the sound of an insistently ticking clock, portrayed here with a strong sense of rhythm. Locatelli may never have been anywhere near Venice, but somehow I pictured gondoliers nearing the end of a working day having gathered precious few tips.

After the interval, the Players were joined by soprano Elizabeth Weisberg and baritone Derek Welton for some excerpts from Handel’s Apollo e Dafne. “Apollo has conquered!” sang Welford with great power: his voice was a little overbearing, although he softened later. Weisberg’s “Blissful is this soul” was particularly moving, her voice intertwining with Marta Goncalves’ gentle transverse flute. A most enjoyable concert – certainly the Players are already hitting the “stimulating” button among their avowed objectives.