This programme of deftly configured trumpet adaptations of oboe and violin concertos fairly fizzes. Here we find that rare thing – a brilliant modern-trumpet player who effortlessly plants herself within the heart of the most stylish baroque ensemble playing, and even does so in ‘period’ pitch. In the past, this kind of liaison could lead to territorial compromise but Alison Balsom (in whom 18th-century musical sensibilities are already contentedly ingrained) ensures that the meeting place is simply the music, guided by the wise and well-judged direction of Trevor Pinnock.

This generous selection of concertos reflects something of the tried-and-tested among trumpeters and chamber orchestras over the past 40 years (such as Vivaldi’s Op 3 No 6, Albinoni’s Op 9 No 2 and the Marcello Oboe Concerto) alongside other fresh-minted transcriptions. Of the latter, I was less certain that Vivaldi’s Op 4 No 6 would transfer effectively, but the combination of Balsom’s even focus across all registers and unerring control brings an infectious quirkiness to the original La stravaganza concerto. Perhaps inspired by her immersion in Wynton Marsalis’s Trumpet Concerto in the past year, there’s an appealing slur y swing to the fast movements of this and the Albinoni, a work whose jaunty and nonchalant outer movements capture the Venetian ‘dilettante’ to a T. Of all the well-worn musical metaphors of gondolas on the lagoon, the middle movement is the non plus ultra of the genre, and Balsom delivers it with a sweet simplicity as alluring as you could ever imagine.

Trumpet aficionados will recall examples from the vast discography of Maurice André – the aforementioned Albinoni, a Telemann F minor concerto and the oft-revised Marcello Oboe Concerto. The Telemann might have captured some of its darker hues on a bigger trumpet, but arguably at the risk of breaking the consistent timbre of Balsom’s unerringly well-calibrated piccolo trumpet. The pièce de résistance is a bold reworking of Handel’s Concerto Op 6 No 5. One could have chosen more obviously malleable works from this great set of 12, but clearly Balsom loves it and it’s a charming and uncomplicated reimagining. It caps a thoroughly enjoyable voyage where soloist, director and arranger (the redoubtable Simon Wright) bring a fresh perspective to this affably life-affirming music.