"Barsanti’s Op. 3 concerti grossi (published in 1742) are exuberant and felicitous works, faintly Handelian in style (the two men knew each other) but infused to an even greater degree with an airy Italian grace...Whelan coaxes articulate phrasing, buoyant rhythms, and subtly nuanced dynamics from his players, and the ensemble’s silvery sound is faithfully captured by Linn’s recording engineers." BBC Music Magazine, Christmas 2020 ★★★★★
"Whelan has hit the fixing jackpot and assembled a team of Britain’s finest period players for our delight. The tutti violin-playing is particularly exquisite – neat but never plain – and Elizabeth Kenny’s glistening theorbo is perpetually lovely. Admittedly, the Barsanti concerti grossi fluctuate in compositional quality. Yet Ensemble Marsyas make miracles, speaking through the musically mundane with eloquence and verve." Gramophone Magazine, December 2020
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"Barsanti’s Op. 3 concerti grossi (published in 1742) are exuberant and felicitous works, faintly Handelian in style (the two men knew each other) but infused to an even greater degree with an airy Italian grace...Whelan coaxes articulate phrasing, buoyant rhythms, and subtly nuanced dynamics from his players, and the ensemble’s silvery sound is faithfully captured by Linn’s recording engineers." BBC Music Magazine, Christmas 2020 ★★★★★
"Whelan has hit the fixing jackpot and assembled a team of Britain’s finest period players for our delight. The tutti violin-playing is particularly exquisite – neat but never plain – and Elizabeth Kenny’s glistening theorbo is perpetually lovely. Admittedly, the Barsanti concerti grossi fluctuate in compositional quality. Yet Ensemble Marsyas make miracles, speaking through the musically mundane with eloquence and verve." Gramophone Magazine, December 2020