The Bohemian composer, Antonio Rosetti (he was christened Frantisek Antonin Rossler but later adopted an Italian version of his name) wrote prolifically for the horn, and ten solo concertos and five double concertos survive. The solo writing is taxing, both in its high-ranging lyrical tessitura and in the very florid arpeggios in the lower register which at times, even on the lips of a superb virtuoso like Barry Tuckwell, sound only just about playable if taken up to tempo. The finest work here is the last on the record, K3:42, which is consistent in invention, has an eloquent Adagio, and an irresistible closing Rondo a la chasse which evokes the vigour of the hunt exuberantly. In the other two concertos the ideas are more conventional, though K3:44 has a jaunty main theme for its first movement. All three finales, however, are attractively spirited.
It is interesting that K3:42 was originally attributed to Giovanni Punto, who had a stronger musical personality and a more individual melodic and harmonic gift. Unfortunately, Tuckwell's HMV record of four of the Punto concertos—which are more entertaining than Rosetti's—has been withdrawn (ASD4008, 6/81) but those who admire fine horn playing will surely be drawn to this Rosetti collection at budget price Tuckwell's style is agreeably robust throughout (it would be a mistake to treat these works as Mozart) and he also directs excellent accompaniments. The digital recording is first class and the cassette only loses a little of the upper range of the LP—the strings are fresher on LP, but the horn has fine body and presence and good focus in both formats.'