This latest coupling in Sir Neville Marriner's Mozart series for EMI strikes me as his finest yet. Along with the point and polish of the performances that one has come to take for granted, there is an extra sense of spontaneity, of conductor and players enjoying themselves, which I warmly welcome. The broad contrasts in interpretation between these readings and the rival ones, differently coupled, on the same label from Jeffrey Tate and the English Chamber Orchestra, remain the same. Subtlety of phrasing and of rhythmic control are common to both of them, but generally Marriner is brisker and less weighty. What is even more fascinating is the contrast in No. 40 between Marriner here on EMI and in his earlier Philips recording, now included on CD in his boxed set of the later symphonies ( 412 954-2PH6, 11/85). In the first movement he is this time a degree more urgent in his presentation of minor-key tensions, and much more strikingly his speeds for Minuet and finale are both markedly faster, more dramatic with crisper articulation. The speed for the Andante remains the same, but the manner is more easily lyrical and this time, unlike last, he observes the first half repeat, though not that of the second.
The point and subtlety of Marriner's performance of the Linz are brought out the more in comparison with James Loughran's version with the Scottish Chamber Orchestra on Pickwick. This, like its coupling, I find rather too solid and square for my taste. On top of speeds consistently on the slow side, whether in Allegros or Andantes, rhythms are too evenly stressed to lead the ear on, and there Jeffrey Tate's versions of both symphonies at similar speeds provide a very obvious contrast. With Loughran even the minuets fail to convey much impression of dance-rhythms. The finales in both works work better than the rest, when the clean freshness of manner is more than enough to convey the necessary exhilaration. The very plainness of these readings will please many, and though the string ensemble is not always as immaculate as it has been with these same players for James Conlon on Erato, the playing Is more than acceptable and the recording first rate: a fair bargain.'