‘Lead with trumpet” is the English translation of Ducere Clarino. So, not surprisingly, this early music group is led by a trumpeter, Simon Desbruslais. The group’s mission is to search dusty corners for neglected gems from the baroque repertoire.

Ducere’s Holywell concert was given the title Forgotten Telemann, and featured three of his cantatas, Jachzet dem Herrn (Psalm 100), Göttlichs Kind, and Victoria! mein Jesus ist erstanden. “Make a joyful noise unto the Lord” instructs Jachzet dem Herrn, and Desbruslais, playing a natural trumpet, certainly followed orders, while also adroitly switching to a respectful tone when he reached the words “Be thankful unto Him”.

Our indulgence was craved for baritone Julian Empett, who was suffering from a throat infection. You’d hardly have known it, however, as his warm, very pleasant to listen to, voice was in no way overawed by the trumpet. In the hands of Ducere Clarino, all three cantatas revealed that Telemann could certainly write a good tune, with foot-tapping rhythms incorporated where appropriate. Declining the position of Kantor at the Thomaskirche, Leipzig, Telemann was no match for the man who actually took the job – J. S. Bach – when it came to expressing deep emotion, but judging by these performances, Telemann’s cantatas must have enlivened many a congregation nonetheless.

Even more rare is the music of Viviani (1638-c1692). Unknown to all my reference books, he was represented by two sonatas for solo trumpet. Maybe he was a trumpeter himself, for the sonatas contained some perky movements, not to mention chances for Desbruslais to display his skills with ornamentation. Biber’s Passacaglia for solo violin, stylishly articulated by Lisa Oberg, formed a bridge to more familiar ground – Handel’s Keyboard Suite in B flat (stunningly played by harpsichordist Nathaniel Mander), and his aria Ombra mai fùi, with the vocal line ably taken by cellist Carina Drury. This was a most interesting concert from an accomplished group of musicians.