Modern solo trumpet-players performing Baroque concertos still appear to draw heavily on the same works (if in different arrangements) that defined Maurice André’s career as the doyen of brass soloists. Such a dominating figure continues to inspire – Warner’s current programme of releasing all André’s Erato recordings is well under way, and what a feast that is – but inevitably acts as a spectre of comparison for younger colleagues.

Every one of Gábor Tarkövi’s concerto choices was first championed by André, though this accomplished Hungarian still makes something of his own mark here. The Marcello Concerto is lyrically phrased, positively languid in the first movement, and his lines are infused with energy and a controlled, even articulation. Soberly accompanied by tight chamber orchestral playing, the other Venetian concertos are also admirably contained in their assiduity and stylish elegance.

In the little Baldassare work with its exquisite Grave, Tarkövi comes as close to André as you’ll hear. Ambitions to pronounce with such poignant warmth, and in the Tartini to bring spontaneity and variety of colour, do not compare so well. The elder statesman’s poise, wit and charisma in his own recording, under Neville Marriner, reveal why this arrangement was made in his image. One just wishes Tarkövi had arranged concertos deliberately to articulate his own considerable talents. The duets with the fine soprano, Mojca Erdmann, are universally delightful.