From the first Credo through to the seraphic dazzle of the six-part Sanctus, the group found a rhythmic security that allowed for spontaneity. By the end of the Dona nobis pacem, as the trinity of trumpets soared upwards, it felt as though the hall itself was swelling.

Also, the trio of natural trumpets and the timpani were outstanding.

[Bach’s Magnificat] was originally written in Eb major and is extremely virtuosic for instrumentalists as well as singers. It seems to have slightly overstretched the Leipzig Stadtpfeifer, because a few years later, Bach revised the piece, transposing it into the key of D major, which was easier for the trumpeters. Solomon’s Knot, however, chose the original version, and it was audible in every moment that the trumpets did not need to resort to the alternative. In the opening chorus ‘Magnificat anima mea Dominum’, the listeners already experienced an explosion of splendid baroque colour: the infectious swing, and luminous presence of the trumpet parts launched a momentum which carried through until the end of the work. It was never noisy or violent, but rather built to such unbridled joy in music-making in the final chorus, ‘Gloria Patri’, that only the repeat of the final section after frenetic applause could dissipate the excess energy.

The concert proper began with two pieces from Handel’s Samson, first performed after his great success with the Messiah. Grace Davidson, superbly accompanied by Russell Gilmour on trumpet, was entrancing in Let the Bright Seraphim.

Solomon’s Knot played with assurance and zeal with Rosemary Toll on the drums and celebratory trumpets played by Russell Gilmour, William Russell and Gareth Hoddinott...

The rest of the ensemble was made up of Nadia Debono and Marcelline Agius on violins, Sarah Spiteri on viola and special guest Russell Gilmour on trumpet. The latter played the few solo trumpet passages beautifully, particularly the obbligato part in the bass aria The Trumpet Shall Sound.

Perhaps most moving of all was Handel’s Eternal Source of Light Divine from Queen Anne’s Birthday Ode with soprano Faye Newton and the small backing ensemble on stage, and trumpeter Russell Gilmour at the front of the church answering or echoing her words.

The brass section of three baroque trumpets and two natural horns blazed when required, and didn't put a single foot wrong all evening.

...admirably supported by 'Spiritato!' trumpeters William Russell and Russell Gilmour.

Russell Gilmour, one of the performers of the famous L'Orfeo toccata on the Taverners' recent recording, introduced us to one of the trumpets in the Bate Collection, demonstrating the timbre and articulation of a real natural trumpet and putting an eloquent case for the abandonment of the 'Baroque' trumpet of the 1970s.