This disc of popular church works by Mozart (well, most of them by him) has little claim to serious attention. The choir from Kosice in Slovakia is capable and efficient, perhaps a shade hard and shallow in tone to our ears, and Johannes Wildner sometimes sets a good, sturdy rhythm in the fast numbers (for example the Gloria of the Mass). But the slow music is often heavy and plodding—listen for example to the Benedictus, or the Sub tuum praesidium (which no one will take for authentic Mozart)—and the bass line is often shapeless and overweighted. Contrasts, of tempo or dynamic, are mostly very sharply marked, seemingly as much for their shock value as for any ascertainable musical reason. With an exceptionally gifted or sweet-toned soprano, it might have been worth recording once again the much-loved ''Laudate Dominum'' from K339 and the Exsultate, jubilate, but I don't think Priti Coles, a British singer whom I have not come across before, is quite that; her voice is well focused, with a quite generous vibrato, but not really handled with any particular sensitivity or style in the motet—and there the orchestral accompaniment is at times painfully stodgy and even clumsy. The recorded quality is acceptable but inclined to be hard and overresonant.'