It is curious the way Harnoncourt, such a stickler for authenticity in his Bach cantatas (which I enjoy), takes a quite different approach to Haydn and Mozart. These performances are bold and strongly accented, very much looking forward to Beethoven, especially in the finale of No. 104. He opens No. 103 with a bizarre eccentricity, for which no explanation is given in the accompanying notes: the drum roll is not a roll but a timpani fanfare, which is repeated at the reprise. If you can accept that there is much to praise in the orchestral playing elsewhere although the Andante piu tosto Allegretto marking produces a fast pacing. In No. 104 the Andante becomes an Allegretto and the Menuetto a scherzo, with extremely strong accents almost producing an effect of syncopation; I found this almost grotesque. The finale is appropriately spiritoso. Very good recording, but this coupling, which can be compared with no other, is too eccentric to be recommended, except as a collector's item.'