Johann Nepomuk Hummel 
Trumpet Concerto in E flat
1. I. Allegro con spirito:- Concerto in E flat major for Trumpet and Orchestra (1806)
2. II. Andante:- Concerto in E flat major for Trumpet and Orchestra (1806)			play
3. III. Rondo:- Concerto in E flat major for Trumpet and Orchestra (1806)

Joseph Haydn 
Trumpet Concerto in E flat
4. Allegro:- Concerto in E flat for Trumpet & Orchestra Hob. VII e:I
5. Andante:- Concerto in E flat for Trumpet & Orchestra Hob. VII e:I
6. Finale. Allegro:- Concerto in E flat for Trumpet & Orchestra Hob. VII e:I

Giuseppe Torelli 
Trumpet Concerto in D
7. I. Allegro:- Concerto for Trumpet & Orchestra in D major “Estienne Roger”
8. II. Adagio - Presto - Allegro:- Concerto for Trumpet & Orchestra in D major “Estienne Roger”
9. III. Allegro:- Concerto for Trumpet & Orchestra in D major “Estienne Roger”

Krtitel Jiri Neruda 
Trumpet Concerto in E flat
10. I. Allegro:- Concerto for Trumpet and Strings in E flat major				play
11. II. Largo:- Concerto for Trumpet and Strings in E flat major
12. III. Vivace:- Concerto for Trumpet and Strings in E flat major

Alison Balsom - Trumpet
Bremen German Chamber Philharmonic

Alsion Balsom is an extraordinary trumpet virtuoso. And this is an extraordinary recording of the warhorse trumpet concertos. There are many recordings of these works, especially the Hayden and the Hummel, but the interpretations here are new and tasteful. Even if you own every other recording of these works ever published, add this one. It is definitive. Every student of this maddening instrument should hear how it can be done. ---Al Timitter, amazon.com

"Incredible sensitivity is Balsom's secret. In her hands, the trumpet rivals the human voice for expressivity and tonal colouring" – St. Petersburg Times, Bach CD review, April 2006.

A highly acclaimed artist, Alison was named Best Young British Performer at the 2006 Classical Brit Awards and was honoured with the Classic FM Listener’s Award at the September 2006 Gramophone Awards. The Echo Klassik Awards recently hailed Alison “Rising Artist of the Year 2007”. Whilst represented by the Young Concert Artists Trust, Alison caught the ear of EMI Classics, for whom she now records exclusively. Her debut CD was released in 2002, followed by her internationally acclaimed CD Bach: Trumpet and Organ in 2005. Her latest CD Caprice was released in September 2006, to further critical acclaim. Under the auspices of BBC Radio 3's New Generation Artists scheme, of which she was a member until recently, Alison has given concerts at the Wigmore Hall, and with all of the BBC orchestras. The summer of 2006 saw Alison take part in the BBC’s celebrated ‘Last Night of the Proms’ in London’s Hyde Park.

Performances in 2006/07 included debuts with the Colorado and Milwaukee Symphony Orchestras as well as performances with Hong Kong Sinfonietta, Orchestre National de Belgique, Athens Camerata, English Chamber Orchestra and an appearance at London’s Mostly Mozart Festival with the Academy of St Martin in the Fields. A trumpet concerto by Joby Talbot, commissioned especially for Alison by the Royal Liverpool Philharmonic, Turku Philharmonic and Munich Chamber orchestras, was premiered in 2006/07.

In May 2007, Alison made her New York debut with further appearances at Chicago’s Ravinia Festival, the Prague Spring Festival and Manchester’s Bridgewater Hall. 07/08 highlights include concerto appearances with the LA Philharmonic, Milwaukee Symphony, Chicago Sinfonietta, San Francisco Symphony, Camerata Salzburg, Deutsche Kammerphilharmonie and Hong Kong Philharmonic.

Alison studied trumpet at the Guildhall School of Music, the Paris Conservatoire, and with Håkan Hardenberger. She was previously a member of the Gustav Mahler Youth Orchestra and the National Youth Orchestra of Britain. Alison was a concerto finalist in the BBC Young Musicians Competition in 1998 and received the Feeling Musique Prize for quality of sound in the 4th Maurice André International Trumpet Competition. She was recently appointed Visiting Professor of Trumpet to the Guildhall School of Music. Alison performs a wide range of recital and concerto repertoire, from Albinoni to Zimmermann and performs on both modern and baroque trumpets.

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Konzert Für Cembalo D-dur Bwv 972 (nach Antonio Vivaldis Konzert Für Violine Rv 230)
 (bearb. Für Trompete Und Orgel)

    1 1. Allegro 
    2 2. Adagio 
    3 3. Allegro assai 

Suite Für Violoncello Solo Nr. 2 D-moll Bwv 1008 (bearb. Für Trompete, Orgel Und Streicher)
 (auszug)

    4 1. Sarabande 
    5 2. Gigue 

    6 Aria Variata Alla Maniera Italiana A-moll Bwv 989 (bearb. Für Trompete Und Orgel) 

Partita Für Violine Solo Nr. 3 E-dur Bwv 1006 (bearb. Für Trompete) (auszug)

    7 Gigue 

Triosonate Für Orgel Nr. 5 C-dur Bwv 529 (bearb. Für Trompete, Violine,
 Viola Da Gamba Und Cembalo)

    8 1. Allegro 
    9 2. Largo 
    10 3. Presto 

Konzert Für Cembalo D-moll Bwv 974 (nach Alessandro Marcellos Konzert Für Oboe Nr. 2)
(bearb. Für Trompete Und Orgel)

    11 1. Allegro 
    12 2. Largo 
    13 3. Presto

Notenbüchlein Für Anna Magdalena Bach (arien Und Lieder Bwv 508-518)
 (bearb. Für Trompete, Viola Da Gamba Und Cembalo) (

    14 Bist Du Bei Mir Bwv 508 

Konzert Für Cembalo, Streicher Und Basso Continuo Nr. 4 A-dur Bwv 1055
 (bearb. Für Trompete Und Orgel)

    15 1. Allegro 
    16 2. Larghetto 
    17 3. Allegro ma non tanto 

Suite (ouvertüre) Für Orchester Nr. 2 H-moll Bwv 1067
 (bearb. Für Trompete) (auszug)

    18 Badinerie

Messe H-moll Bwv 232
 (bearb. Für Trompete, Violine, Viola Da Gamba Und Cembalo) (auszug)

    19 Agnus Dei

Alison Balsom (trumpet), 
Colm Carey (organ), 
Alina Ibragimova (violin), 
Alistair Ross (harpsichord & chamber organ
Mark Caudle (viola de gamba)

None of the music on this disc was originally intended for trumpet. All of it in Bach's days went first to singers, keyboardists and string players. But this point shrinks to a minor historical technicality when British trumpeter Alison Balsom plays. Her case for this music on trumpet is largely irresistible, enough to make one wonder whether Bach shouldn't have written it her way instead. Incredible sensitivity is Balsom's secret. In her hands, the trumpet rivals the human voice for expressivity and tonal coloring. Nary a note comes off as harsh or blaring, qualities typically associated with the instrument, and tenderness abounds. It's hard to split musical hairs at this level of artistry. What's more, Balsom retains at least part of the music's original format, collaborating with soloists every bit her equal: organist Colm Carey, violinist Alina Ibragimova and harpsichordist Alistair Ross. Ross is a spry partner in the lengthy but fascinating Italian Variations while Carey more than compensates for the missing ensemble in the Bach-Vivaldi concerto transcriptions and other would-be orchestral works.

Balsom falls short only in the selections from a Violin Partita and a Cello Suite. Even a player as marvelous as she is cannot match the chordal richness of those instruments on the trumpet; much original depth is lost in translation. These two missteps aside, Balsom and Bach are an ideal combination. ---Zachary Lewis, St. Petersburg Times correspondent

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01.- W. A. MOZART- Piano Sonata No. 13 in B flat major, K. 333 (K. 315c) Rondo alla turca
02.- ASTOR PIAZZOLLA - Libertango, tango
03.- OSKAR FREDERIK LINDBERG- Gammal Fäbodpsalm (Old Pastoral Hymn), for organ Andante
04.- JEAN-BAPTISTE ARBAN- Variations on a Theme from Bellini's 'Norma', for cornet & piano
05.- NICCOLÒ PAGANINI- Caprice for solo violin in A minor (Theme & Variations), Op. 124
06.- M. FALLA- Popular Spanish Songs, for voice & piano, G. 40 El paño moruno
07.- M. FALLA- Popular Spanish Songs, for voice & piano, G. 40 Seguidilla murciana
08.- M. FALLA- Popular Spanish Songs, for voice & piano, G. 40 Asturiana
09.- M. FALLA- Popular Spanish Songs, for voice & piano, G. 40 Jota
10.- M. FALLA- Popular Spanish Songs, for voice & piano, G. 40 Nana
11.- M. FALLA- Popular Spanish Songs, for voice & piano, G. 40 Caneion
12.- M. FALLA- Popular Spanish Songs, for voice & piano, G. 40 Polo
13.- S. RACHMANINOV- Vocalise, song for voice & piano, Op. 3414
14.- W.A MOZART- Die Zauberflöte (The Magic Flute), opera, K. 620 Der Hölle Rache (Queen of Night's aria)
15.- J.S. BACH- Concerto for violin, strings & continuo No. 1 in A minor, BWV 1041 2. Andante
16.- CLAUDE DEBUSSY- Syrinx, for solo flute, L. 129
17.- HENRI TOMASI- Concerto for trumpet & orchestra 2. Nocturne
18.- ASTOR PIAZZOLLA - Escualo, tang

Alison Balsom – trumpet
Gothenburg Symphony Orchestra
Edward Gardner – conductor

In the Latin-inspired pieces, Balsom's awareness of the choreographic suggestiveness in the raunchy Piazzolla and smouldering Falla brings exhilarating freedom and colour. …another infectious performance from a dazzling young British talent in fine form, one whose programming ideas and emerging musical personality go from strength to strength. ---Gramophone Awards 2006

The repertoire on Caprice may border on "pops", yet it provides a wide-ranging showcase for British trumpeter Alison Balsom's extraordinary instrumental prowess. Listen to her seamless, flawlessly arched legato lines in Rachmaninov's Vocalise, the Andante from Bach's First Violin Concerto, or the Nocturne from Tomasi's Trumpet Concerto and you wonder if she had traded in her brass and valves for a silken bow, or a tub of butter. She proves that Debussy's Syrinx for Solo Flute can viable on trumpet, although Mozart's second Queen of the Night aria from The Magic Flute is a fiercer, angrier piece of music than Balsom's suave, scrupulously worked out phrasing indicates.

Similarly, for all the impressive control she brings to Falla's Seven Popular Spanish Songs (in Luciano Berio's ingenuous orchestration), I wish she'd dig into the idiom's earthier tones and embellishments (she should lock herself up for a week with Miles Davis' Sketches of Spain). In fact, in his excellent accompaniments Edward Gardiner takes stylistic matters more into account than does the star soloist. Yet when the music mainly is about technique and fluff, like Arban's Variations on "Casta Diva" or Paganini's 24th caprice, Balsom becomes the Joan Sutherland of the trumpet. At any rate, this release easily explains the enormous buzz and acclaim lavished on Balsom in her native country. ---Jed Distler, ClassicsToday.com

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Antonio Vivaldi - Violin Concerto in A Minor, RV 356
1. I. Allegro 02:37
2. II. Largo 02:34
3. III. Presto 02:35
Benedetto Marcello - Oboe Concerto in C Minor
4. I. Andante spicato 03:11
5. II. Adagio 04:25
6. III. Presto 03:05
Tomaso Albinoni - Oboe Concerto in B-Flat Major, Op. 7
7. I. Allegro 02:38
8. II. Adagio 02:35
9. III. Allegro 02:11
Domenico Cimarosa - Oboe Concerto in C Minor
10. I. Introduzione (Larghetto) 02:40
11. II. Allegro 02:08
12. III. Siciliana 02:24
13. IV Allegro giusto 02:38
Antonio Vivaldi - Violin Concerto in G Major, RV 310
14. I. Allegro 02:13
15. II. Largo 03:04
16. III. Allegro 02:32
Giuseppe Tartini - Trumpet Concerto in D Major, D. 53
17. I. Allegro 03:52
18. II. Andante 02:53
19. III. Allegro grazioso 03:04
Tomaso Albinoni - Sonata da chiesa in D Minor
20. I. Adagio 02:24
21. II. Allegro 02:03
22. III. Largo 01:56
23. IV. Allegro 02:04

Alison Balsom - trumpet
Scottish Ensemble

The recital of Baroque music on a modern trumpet hasn't been much cultivated since the days of Maurice André, who pretty much cornered the market for many years. Young British trumpeter Alison Balsom here enters the field with a quite competent performance and should find strong success among buyers looking for modern engineering. Undeniably photogenic, Balsom has performed a good deal of crossover repertory and is a favorite among listeners of Britain's crossover-oriented classic FM radio. Here, however, she plays it relatively straight. Most of this music, it's true, was not originally for the trumpet, but that wouldn't have stopped any Baroque-era trumpeter. Except for Tartini's Trumpet Concerto in D major, D. 53, she relies on transcriptions of music for violin or oboe. The two kinds of originals produce pleasingly contrasting results. The oboe is closer to the trumpet in its capabilities and allows Balsom to display her clean, precise tone. She doesn't have quite the sparkling power of André in the Tartini concerto, but the oboe concertos by Benedetto Marcello and Tomaso Albinoni are attractively done. The adaptations of Cimarosa oboe pieces by Australian composer Arthur Benjamin are more of a historical curiosity than an ongoing thing. The main attractions are the transcriptions of violin works, two by Vivaldi and one by Albinoni. The Vivaldi concertos, especially, contain passagework that's difficult to execute on a trumpet, and Balsom, working from her own transcriptions, never loses focus; it's her accuracy rather than her power or even her considerable beauty of tone that sets her apart from her predecessors. Worthwhile even for those with André collections. Brief booklet notes are in English, German, and French. ---James Manheim, AllMusic Review

To follow up her acclaimed album Haydn Hummel Trumpet Concertos, the phenomenally gifted Alison Balsom turns her attention to Italian composers, with a selection of concertos originally composed for violin or oboe by Vivaldi, Albinoni, Tartini, Cimarosa and Marcello.

It's a typically elegant affair: Balsom's bright tone and tight phrasing on the opening Allegro of "Vivaldi's Violin Concerto in A Minor" gives way to more subtle work on the Largo, with a series of delicate, feathery trills. Similarly, her nimble fingering on the opening section of Albinoni's "Oboe Concerto in B flat Op. 7 No. 3" is supplanted by long, poised notes on the Adagio section. An eloquent performance. ---Andy Gill, independent.co.uk

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