Not even in the heady days of Maurice André’s voluminous transcriptions of Baroque sonatas and concertos for Erato (all available apart from a final box with organ) did a recording appear solely dedicated to Vivaldi. Gábor Boldoczki performs eight pieces composed for a variety of string and wind instruments – and purposely leaves out the ubiquitous Concerto for two trumpets, one of the few which the composer originally wrote for the instrument.

Underpinning this enterprising journey is a sprightly and stylish band of modern instruments to match the fleet-of-everything and even-toned Boldoczki. The two opening works, RV230 and 522, are well-known as Bach solo keyboard transcriptions further purloined for the trumpet; the D major (RV230) is rather more alluringly shaped by Alison Balsom (EMI, 3/03) and yet there is a pleasingly unfussy musical projection in these performances, and the soloist is very much a child of his time with Baroque gesture, shape and ornamentation informing his considerable technical armoury.

What perhaps is missing here is the tingle factor – those moments of heart stopping melodic beauty (such as 1'39" 2'11" in track 6) where a Maurice André would sail or soar. Boldoczki is often content to stick within the decorum of the given conceit and the slightly boxy studio acoustic doesn’t encourage a kaleidoscope of colour change, despite the contrast of trumpet with flugelhorn.

Yet no one can doubt Boldoczki’s accomplishment, successfully entering the idiom of these works and with such consistently good taste and judgement. To achieve the beguiling balance and control in the E minor work (from the original G minor double concerto, RV106) takes no little conceptual and practical negotiating. No less effective is the final duo romp for flugelhorns (RV531, from cellos) where the brilliant Russian Sergei Nakariakov joins the fray. A fine and unusual trumpet disc but just a bit short on magic.