This issue offers a wide variety of styles, which is not to its advantage. The account of the Clarinet Quintet has Mozart playing at its most mellifluous, in which everything is warm, not to say cosy; the tone of both Theresa Tunnicliff and her colleagues is rich, the initial Allegro is only the first of some distinctly laid back tempos, dynamics are fullish and without sharp contrast and finally, the recording itself is amply resonant. The effect in the short term is not unpleasant. However, we do not get far into the first movement before it strikes the ear, and just as importantly the mind, as being too deliberate and even sleepy to realize the music to the full; and the exposition repeat merely underlines this impression. I have often praised Mozart performances for being affectionate, but in this case the players go too far in this direction. Although they bring more urgency to the development section, the near-14 minutes that this first movement takes here make it seem too long—and it is assuredly not Mozart who is outstaying his welcome! The same must be said, sadly, of much of the rest (the Minuet is an exception, though Accardo is schmaltzy), and the whole work is drawn out to nearly 40 minutes. But given the Martini & Rossi sponsorship for this issue, perhaps I may be forgiven for suggesting that this performance could well suit late-evening listening with a large glass of suitably dolce Italian refreshment to hand.
Though the Horn Quintet is not as interesting it receives a more convincing performance, for Robin Graham's tone is full but flexible and his positive, open-hearted and unfussy approach is matched by his string colleagues. The tempos seem entirely natural and all is alert though rightly unhurried, even in the Allegro finale, while the recording, though close, is well balanced. Oddly enough, the first movement of the Oboe Quartet carries even more energy, surely too much this time in that things seem pushed along, an effect reinforced by a high-level recording that allows one to hear keywork and the odd intake of breath. Though it is better thereafter, too often one misses the necessary element of grace. The oboist, though skilful, has an occasional sourness in the upper register, e.g. on the high Ds after the seven-minute mark in the first movement.'