For those who are not yet convinced about 'original instruments' and who still enjoy the sound of a full modern orchestra in baroque music, albeit playing elegantly and stylishly, Muti's new complete Water Music has much to offer. In the Overture of the first suite, Muti uses a small instrumental group as a neat counterpart to the main ripieno and elsewhere there is much contrast, with instrumental solos treated in concertante style. Indeed, in the famous ''Air'' some might feel the light and shade is overdone. But over all this is easy to enjoy. The BPO playing is marvellous and the strings have a light touch and textures are not overladen, while the horns are almost aggressively buoyant in their famous fanfare tune. The recording is first class, fresh and yet full. The only drawback is the harpsichord continuo which is all but submerged: perhaps this will be clearer on CD.
The competition is fierce. Apart from Pinnock and The English Concert (Archiv Produktion 410 525-1AH, 1/84), or Hogwood and the AAM (L'Oiseau-Lyre DSLO543, 11/78), both of whom make a good case for original instruments, there is a splendid digital version by Malcolm and the ECO (ASV DCA520, 8/83). In many ways he has the best of both worlds, using a smaller group who play on modern instruments, with great vividness and communicate a real sense of delight in this engaging music.'