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American Record Guide: (03/2021) 
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Reviewer: Charles Brewer

This is the second collection titled “Edinburgh 1742” by Ensemble Marsyas and contains the five concertos for solo trumpet, timpani, oboes, and strings published in that year and place by Francesco Barsanti. Mr Barker’s comments on the earlier recording of Concertos 1-5 (with two horns and timpani rather than a single trumpet and timpani) are still apt (Jan/Feb 2018). He wrote that Barsanti’s music “may not be up to the highest standards of imagination...but it is certainly enjoyable”. Barsanti’s trumpet parts are rather rudimentary, especially in contrast to the difficult solo trumpet in Handel’s overture to the opera Atalanta (adapted from Telemann’s Tafelmusik from 1733), also included on the recording. More effective is Barsanti’s writing for strings, as in the Adagio in siciliano rhythm from Concerto 9. The playing by the 12 string players does not have a strong presence on this recording, also noted in the earlier review, and the performances of the concertos overall are very workmanlike and not very subtle. As in the earlier release, this recording also includes four of Barsanti’s settings of Scottish folk tunes for violin and continuo, effectively interpreted by Colin Scobie (violin) and Elizabeth Kenny (guitar). All of these works must have been useful and pleasant entertainments for the Edinburgh Musical Society (1728-97) and remain so today.

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