Both these issues share the same title, suggesting a complete survey of one area of Mozart's music. However, one is of three discs and the other of five, though that difference is not fully reflected in the mere 50 minutes separating the total durations. As a glance at the list above indicates, the Philips collection includes works not to be found on the DG issue, namely the D major Flute Concerto (but its earlier oboe version, in C major, is played by the DG artists), the E flat major Rondo for horn and orchestra (a fragment of 219 bars notionally completed here by Erik Smith), and a second version of the Sinfonia concertante for oboe, clarinet, horn, bassoon and orchestra, made by Robert Levin, that replaces the first two of these solo parts with a flute and oboe. Given that this Sinfonia concertante is itself a work of doubtful authenticity, it's hardly likely that many collectors will feel the need to go to Philips in order to have two versions of it, especially if it means paying for two extra CDs. However, connoisseurs of labyrinthine musicology ought to enjoy John Warrack's paragraph in the Philips booklet on the two versions of this nondescript piece (''scholarly argument has raged about the work... certainly not the strongest Mozart'') though even they may hesitate about purchasing that entire book by Robert Levin (New York: 1988) that is devoted to the same subject.
Of course the decision as to which to purchase rests on more than content, and is made more difficult because both issues are of value. The DG version of the Sinfonia concertante with the conductorless Orpheus Chamber Orchestra is very pleasing for its stylish, affectionate playing and bouncily witty finale in particular, to say nothing of the well balanced recording. I see that IM called the account of the Clarinet Concerto (which uses a period instrument, the basset clarinet) ''second to none in the catalogue'' when it first appeared four years ago, and I gladly concur: it has a fine freshness and delicacy and frankly it makes the famous old EMI version with Brymer and Beecham seem indulgent in its slow tempos. The spacious Andante in C major for flute and orchestra, with Susan Palma, is charming too, as is her playing of the G major Flute Concerto. The same can be said of Frank Morelli's elegantly refined account of the Bassoon Concerto, while the well-named David Jolley and his equally musicianly colleague William Purvis do full justice to the four horn concertos; shortish but warmly attractive works culminating in the finale of No. 4 which became famous when Michael Flanders and Donald Swann added words to it. The third CD keeps up the same high standard of performance and recording. Although Randall Wolfgang's tone in the Oboe Concerto is rather sharp (in colour, that is, not pitch), it is still pleasing and he shows intelligent musicianship. Susan Palma and Nancy Allen give an exquisite account of the Flute and Harp Concerto, ''combining these two beautiful instruments to celestial effect'', as I have written elsewhere.
I suppose I have already suggested in so many words that the DG issue is preferable to the Philips one, and in fact that is the case. It is hard luck for the latter company that their issue comes out at the same time, for the playing is always good and sometimes distinguished. I liked the account of the Flute and Harp Concerto on the very first CD when it first came my way for review along with the G major Flute Concerto and the Andante in C major. But these worthy performances must yield to even better ones on DG, as must that of the Clarinet Concerto, in which Karl Leister is agreeable but Marriner's direction is too neutral. His orchestral contribution to the Bassoon Concerto also has something routine about it, and Klaus Thunemann's tone is plummy. The same accusation of slight routineness must be levelled at the four horn concertos on the third disc, which are accomplished but do not convey the same sense of joyful discovery that we find in the DG performances, although as IM said in his original review, the recording is ''of Philips's best''. As for the Rondo in E flat major, it's a respectable piece worth hearing once at least, but fails to earn an indisputable place on a collector's shelf, particularly as nearly a quarter of its length is occupied by a cadenza composed by the soloist. I have already discussed the Sinfonia concertante: suffice it to say that both of these well played versions make agreeable listening. Some collectors will find the celebrated oboist Heinz Holliger superior to Randall Wolfgang in the Oboe Concerto; I enjoy both, but my final choice for this music goes to the Orpheus set at its bargain price.'