When the Posthorn Serenade has prompted so many excellent versions recently, on CD as well as LP (see above), it is strange that the equally winning and characterful Haffner Serenade has been relatively neglected. Boskovsky's 1973 version, with Alfred Staar as soloist and with outstandingly firm and well-focused Decca recording, stands the test of time remarkably well, but on various counts it must yield to this new Marriner issue. It rather follows the pattern of his recent version of the Posthorn Serenade (Philips 412 725-1PH, 1/86), light and elegant in its Mozartian manners. The Academy's string sound is sweet and smooth, yet there is sparkle and charm in plenty. Generally in the eight movements of Mozart's most extended serenade, Boskovsky is a degree fiercer and more robust, partly a question of the more immediate Decca sound, which shows its age only with the touch of acid on high-violin tone. Where Marriner consistently scores is in the extra sense of fun he conveys, culminating in an exhilarating account of the 3/8 Allegro assai of the finale, relating it directly to the comparable movement of Symphony No. 29 with its cross-rhthyms and scurrying scales. Above all, Marriner seems to say, this is music designed to entertain. Unlike Boskovsky he observes exposition repeats in the outer movements.
The playing of the Academy's regular violin soloist, Iona Brown, in the second, third and fourt movements of the Haffner Serenade is masterly. Another significant gain over the Boskovsky is Marriner's inclusion (as a prelude) of the Haffner March, K249, pointedly done.'