There is little I need add to my enthusiastic review of the LP of this fine issue in Tate's Mozart series, a surprisingly rare coupling. There is even more benefit than usual from the silent background of CD in symphonies that start with hushed slow introductions, and on my machine CD adds a fraction to the brightness of the trumpet sound. But just as subtly it reveals a little more clearly the relative smallness of the body of ECO violins, and next to the sound of the St Martin's Academy violins in Sir Neville Marriner's Mozart performances (including the latest HMV coupling of the Prague and No. 39—reviewed in September and available only on LP at the moment) it is on the thin side. But that only marginally detracts from the consistent imagination of Tate's readings which are among the most satisfying in any medium.'