Nothing, I think, will ever quite replace for me Leon Goossens's old record of Mozart's Oboe Quartet (Columbia LX256/7, 9/33). I admit that partly this is a question of the abiding affection one feels for the recorded performances one first fell in love with; but i think I am not alone in regarding it as one of the most beautiful of all chamber-music performances on record (Goossens himself, incidentally, is at 88 as alert as ever and even playing a little). But no one who wants a more modern recording, and better string playing than the Lener Quartet sometimes provided, will be disappointed with this new version by Heinz Holliger. It is fresh, lively, delicate and robust, with a bright humour and a gentle lyricism in the slow movement, that are as closely attuned to the spirit of this marvellous little piece as were Goossens's own. It is not a hard work to play; it is a very hard work to play well. Holliger's only un-Mozartian mannerism is his slight tendency to lean on notes, romanticizing phrases in one or two places; but this is scarcely worth mentioning. His tone does not have Goossens's sweetness; but there are many who have found Holliger's reediness preferable. This is an enchanting performance: I do not believe that among modern recordings there is a better.
The other items on the record are a very enjoyable performance of the D major Divertimento, K251, which is really led by the oboe, and a reconstruction of the fragment, K580b, for cor anglais and string trio (two violins and cello, that is). The cor anglais part is complete; no attribution is given here to the completion of the string parts. Was it Holliger himself, composer as well as master-oboist? Whoever it was, the rescue of this minor piece of Mozartiana, with its Ave verum melodic line, is very welcome. Excellent recording.'