Sir Charles Mackerras's recordings of the late Mozart symphonies with the Prague Chamber Orchestra for Telarc have established the exceptionally high standard of this series—fresh, alert performances on an apt scale using modern instruments, recorded in a pleasantly warm accoustic. On this latest disc the same team are just as convincing in four of the earlier symphonies. With discreet use of harpsichord continuo, Mackerras's readings are more stylish than those of James Levine with the Vienna Philharmonic, whose DG series have already covered these teenage works. Irritatingly the couplings of the two series are totally at odds (if you specifically want Symphonies Nos. 24, 26, 27 and 30 you will have to purchase three discs), but my preference consistently goes to Mackerras, not just because of the continuo but because of his subtler, more springy rhythms and generally more refined less square shaping of phrase. As for the playing, the Prague orchestra is every bit as refined as the famed Vienna Philharmonic.
This coupling of four of the less well-known teenage symphonies finds Mackerras generally adopting more urgent speeds than Levine, as in the finale of No. 26, lighter as well as faster, or in the delightful Andantino grazioso slow movement of No. 27, where Mackerras avoids the questionable use of muted strings, though I must say the delicacy of Levine in that movement is very winnning too. All three movements of No. 24 are faster with Mackerras, and I love the way that he points the humour of the 3/8 finale by the use of continuo. What some may still question is whether with a reverberant recording the impression is of an orchestra rather large for this generally lightweight music. Whatever the scale, there is no loss of detail, with Mackerras's textures more transparent as well as more refined than those of Levine, even allowing for the closer, drier Vienna sound.'