Whatever difficult circumstances surrounded Mozart's relations with Dejean, who commissioned the flute quartets, there is no evidence that they affected the music, despite the composer's open declarations of dislike for the flute which appear in his correspondence.
In this new issue of the flute quartets, the Australia Ensemble embrace the music's carefree, buoyant mood wholeheartedly. Their mix of youthful enthusiasm and disciplined ensemble is particularly well suited to this music, and an incisively edged tone-quality gives their performances added impact. They are at their best in the exuberant, faster music, as in the light-hearted expression of, say, the finale of K285, the first movement of K285b, or the wittily parodic finale of K298. However, in slower, lyrical passages, such as the slow movement of the D major Quartet, K285, or the second movement of the C major Quartet, K285b, they deny some of the music's possibilities for contrast. Here, the tonal purity of Bennett and the Grumiaux Trio, or the extremely sensuous melodiousness of Galway and the Tokyo Quartet seem more successful.
Galway's disc includes his own version for flute of the Oboe Quartet, K370; here it is played in its original scoring. Galway's arrangement is wholly convincing, but Nuttall's fine oboe playing makes an eloquent case for Mozart's original scoring. These bold, forthright performances from the Australia Ensemble will have a wide appeal.'