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American Record Guide: (01/2018) 
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Reviewer: John W. Barker

The album title here is “Edinburgh 1742”. There are several motivations for it. First, to celebrate the activities of the Edinburgh Musical Society, 1728-97. But also to take note of Scottish music in the 17th Century. Also to point up the fascination in the British Isles at this time with the French horn, usually in pairs. But, above all, there is the desire to demonstrate the connections with the Society of the two composers presented. Though Handel had little personal contact with the Edinburgh Society, his music had a steady presence in their concerts, both in and beyond his lifetime. So here we have a “Concerto in F” consisting of two movements from the Water Music that include two horns. There are also two opera excerpts that also include that pairing: an aria from Alcina—strongly sung by mezzo-soprano Emilie Renaud—and a march from Tolomeo. But Handel’s contributions here are dwarfed in quantity as well as novelty by what we are given of the little-remembered Francesco Barsanti (c.1690-1775), who had close involvement with the Society. Of a direct Edinburgh nature is his publication titled A Collection of Old Scots Tunes, for treble instrument and bass. We have four examples here, with violin. The largest amount of space is given to Barsanti’s concertos. In his Op. 3, published in Edinburgh in 1742, there are ten concertos; and half of them call for two horns (and timpani) with the conventional strings and continuo. Those five are all given here. I can recall one or two earlier recordings of some of these, but they are long gone, so this would be the first chance for most listeners to become acquainted with these works on CD. Given Barsanti’s nationality and background, these concertos are essentially in Italian form, all but one in four movements, the outlier in three. The style is post-Corellian, but the inclusion of horns is unconventional. The two are used in the British fashion, rather as trumpets might be otherwise, with the timpani backup that trumpets would have presumed. The music for these concertos may not be up to the highest standards of imagination is such a form, but it is certainly enjoyable. The main ensemble consists of 11 string players, plus harpsichord: its sound is a bit on the thin side, but the horns add a lusty quality. Barsanti may be a minor composer of the late Baroque, but it is good to have him given some rare accessibility in this release.

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