Reprinted from yesterday's late editions.

Maurice Andre has everything you need to play the baroque repertoire for trumpet. His dynamic range lets him switch instantly from a full round tone to a slender, quiet version of that silvery sound.

His short staccatos vary from the briefest note to one that is unmistakably staccato but with more substance. He controls a vibrato that can be fined down to the slightest suggestion, or widened to an exciting, lyrical beat. As for agility and the dazzling high notes that, combined, often seem to define the limits of the baroque trumpet. Andre has these in super-generous measure.

Monday night in the Kennedy Center, Andre displayed these facets of his art in music by Bohm, Handel, Purcell and Albinoni, of which the first and third were written for trumpet, the other two for oboe, violin or flute. There was not a moment in his playing that did not move on the highest level.

Alfred Mitterhofer, the evening's organist, did far more work than Andre, since, in addition to supplying impeccable partnership to the trumpet, he played Bach's big A Minor Prelude and Fugue and the Bach transcription of the A Minor Concerto of Vivaldi. He is real musician.