Mozart’s 17 church sonatas were composed for liturgical use at Salzburg Cathedral between 1772 and 1780. Mozart would have performed them – presumably playing the organ part himself – between the readings of the Epistle and the Gospel during Solemn Mass, while the celebrant walked from the south side of the choir to the north side. Rather than follow a strictly chronological order, Martin Haselböck sensibly mixes them up to maximise the few contrasts in key, atmosphere and scoring (most sonatas are played by minimal forces, but a few feature a full classical orchestra). In his enthusiastic booklet-note, Haselböck observes that ‘Mozart’s church sonatas currently quite undeservedly lead a life in the shadows’. The Vienna Academy’s radiant performances, recorded at the Hofburgkapelle, go a fair way towards redressing this neglect. Haselböck leads from the organ in lively yet elegant fashion, providing judicious continuo or beguiling solos depending on the requirements of each sonata. The strings – whether there are two violins and one cello or a larger body of players – are athletic, witty and polished. There have been some attractive collections of these sonatas before (notably Ian Watson’s fine survey with The King’s Consort on Hyperion, 11/90), but the Vienna Academy’s playful performances are well worth investigation.