The basic drawback to this collection is the recording itself, made in a very resonant acoustic with the trumpet realistically forward and given good presence, but with the very backward orchestral detail blurred and often masked by the trumpet. This does not help the opening Haydn work to emerge crisply and emphasizes the feeling that the orchestral accompaniment in the first movement is heavy and rather square. The Andante too, taken very steadily, is not given much lift by the conductor. But in the Torelli and Michael Haydn matters improve and these are very enjoyable.
The highlight of the collection is the Telemann piece, which features a pair of oboes (with splendid playing from Neil Black and James Brown). In the delightful slow movement (Grave—Aria—Grave) the oboes and continuo are left by the trumpet to their own devices and here the resonance lends an element of fantasy to the most engaging texture. The Neruda Concerto is not a memorable work and the performance is in no way especially imaginative. John Humphries lived during the early part of the eighteenth century and his piece is also conventional, though here the crispness of the solo playing is effective. This compilation is offered at budget price but only about half its contents is really rewarding.'