'...it’s hard to imagine these pieces being played better.' Gramophone 'As Gottfied Reiche's solo Abblasen sounds the opening fanfare on a disc that explores the trumpet's assimilation into the 17th century Baroque, Robert Farley's laser precision and unflappable ebullience take the phrase 'clarion call' to the next level. And although, during his first decade in Leipzig, J.S. Bach was a conspicuous beneficiary of Reiche's celebrated dexterity, Farley is on a mission to show the trumpet's earlier evolution from something of emblemtaic of parade ground and battlefield to an instrument capable of chamber music subtlelty - Italy at the heart of a seismic shift...But Italy doesn't have the field to itself. Biber, Schmelzer and Gottfried Finger supply welcome contrast, especially when a dash of stylus phantasticus lessens the danger of so many short movements blurring one into another. It's a danger evidently recognised in the careful programming which rings the textural changes from trumpet plus solo accompaniment to richly layered five-part sonatas including the ear-grabbing interpolation of bassoon in Schmelzer's Sonata in C. Incisive, rhythmically taut in fast movements, eloquently expressive in slow ones, Farley's artistry is perfectly complimented by the suave sophisication of Orpheus Britannicus. And buttressed by vivid recorded sound, there's an alchemy at work that turns not-so-base metal into trumpet gold!' ★★★★ BBC Music Magazine (Paul Riley) ‘Robert Farley’s trumpet playing is most impressive...the sound of the trumpet is balanced by the occasional organ solo, including a Toccata by Pasquini and two Canzonas by Frescobaldi, attractively played by Andrew Arthur [and] there are some excellent contributions from the period instrumentalists of Orpheus Britannicus, notably Theresa Caudle, violin….’ Early Music Reviews+ (Andrew Benson-Wilson) '...Farley and the ensemble Orpheus Britannicus are impressive.' MusicWeb International ‘While trumpeter Robert Farley assumes a starring role, this is a collegial effort in which the Orpheus Britannicus (playing period instruments) and its director, organist Andrew Arthur, are also both afforded chances to shine on their own. The playing is spirited and stylish…Farley is an exquisite trumpeter with impeccable technique and finely varied tonal timbre. The performers are well recorded in a rich ambience; detailed booklet notes are provided…and, as the timing indicates, the disc is generously filled to the brim. Definitely recommended’ Fanfare, USA (James A. Altena)