A very satisfying coupling: Haydn's Trauer Symphony may not quite plumb the depths of the Mozart G minor, but it is certainly amongst the finest of his mid-period symphonies, and it contains an exceptionally beautiful adagio—apparently this was one of the composer's particular favourites. The St John's orchestra play with great intensity and precision here, and there is some lovely solo playing, notably from the principal horn who sails effortlessly up to a high concert E in the Minuet of the Haydn. The Mozart is perhaps a little lightweight, but the avoidance of sententiousness is highly refreshing and there is no lack of sensitivity or sense of purpose. In this performance, the opening of the G minor Symphony has a delightfully bouyant quality, as though floating on a cushion of air—a long way from the histrionically sobbing violin appoggiaturas and frantically scrubbing violas of certain romantic interpretations.
On a more technical level, Lubbock and orchestra are to be commended for the way they keep the accent firmly on the first note of that oft-repeated two-semiquaver figure in the Andante of the Mozart without ever letting it sound heavy or forced. This kind of precise delicacy is typical of the performances in general. Recordings too are highly satisfactory: warm toned, atmospheric and clearly detailed, with horns-woodwind-strings balance well calculated.'