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The trumpet is certainly the focus of attention in the opening Adagio, but here it is its expressive and sonorous qualities that come to the fore. In the following Allegro, the interest is more equably divided between the violins and the trumpet, while in the Grave third movement, in B minor, the trumpeter is allowed a rest and the expressive phrases are unfolded just by violins and continuo. It is the Allegro finale that really puts the trumpet through its paces, in a bright, joyous conclusion to a concise but entertaining piece.
from notes by Malcolm MacDonald © 2012
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