I have already highly admired the Orpheus Chamber Orchestra's debut recording of Rossini overtures (DG (LP) 413 363-1GH; (CD) 413 363-2GH, 10/85), while RG has given comparable praise to a companion coupling of Haydn Symphonies Nos. 44 and 47 (DG (LP) 415 365-1GH, 10/85; (CD) 415 365-2GH). Both these CDs represent the highest state of the art in the matter of sound balancing. The latest issue from this outstanding New York chamber group, while offering comparably admirable musical standards, is just a little disappointing as a recording. It was made in the Performing Arts Center of New York State University at Purchase, and this time the microphones seem to have been placed a shade too close to the performers. The difference between LP and CD is striking, the black disc mellower with detail less sharply defined (and in many ways more agreeable). On CD the sharper focus brings a degree of edge to the strings and gives the crisply rhythmic playing in fortes a touch of aggressiveness, not inherent in the playing itself, which is extremely fine.
The Serenata notturna can easily seem bland but here is attractively vivacious and alert, while the more substantial K251 Divertimento combines a gracious elegance of phrasing in the Andantino and first minuet (very beguiling) with a fine sparkle in allegros. The use of light and shade is a constant source of pleasure. The fourth movement is also a minuet, this time with a set of three variations, and is especially imaginative. This account is altogether preferable to that by the Holliger/Orlando grouping on Philips, which is heavier in style. The latter is a chamber-music version (one instrument to a part) whereas the Orpheus ensemble, while retaining a chamber intimacy, is essentially orchestral. I Musici, too, give a splendid account (also on Philips) of the Serenata notturna (coupled with the three string divertimentos) but not finer than the Orpheus.
The additional Divertimento, in B flat, offered by the Orpheus players is for wind, the playing characteristically spirited, with appealing finesse—the oboes especially fine (it is scored for two each of oboes, horns and bassoons). Here the close balance is less critical, but the sound does not separate out quite as one would expect. I must emphasize that my criticism of the recording relates to the highest standards achieved previously by DG. If one sets the volume level a little lower than usual, this can still offer much pleasure, while the presence of the music-making remains.'