The Four Seasons is not the most obviously suitable repertoire for the Vienna Philharmonic, normally playing with at least four times the number of string players that Vivaldi would on any normal occasion have expected. The orchestra's string strength on the present occasion (8, 6, 4, 3, 2) is sensibly reduced, very substantial resonance in the recording does not altogether give that impression. But equally certain is that the string playing and its recording are both of very substantial quality; and so is the solo playing of Anne-Sophie Mutter, alertly rhythmic everywhere.
In the upshot a general listener would have good reason to be very happy with the record. But a specialist should be warned that one of the consequences of all these very real virtues is a nagging defect: that the balance is wrong in general, occasionally very much so. Many would prefer a rather greater prominence allowed the soloist by the orchestral strings, although any change here could of course go too far; and even as it is the quality of the orchestral strings overtaking, as it were, the soloist is of the very first class. Indeed, in only one movement, II of ''Spring'', is real harm done, where solo violin is pretty totally submerged by solo dog. More regularly the balance is awry between orchestra and harpsichord. That the keyboard is inaudible in tutti is not the greatest of hardships; indeed many listeners (once including Beecham, I fancy) prefer it that way. But it is hardly reasonable, in II of ''Autumn'', to prefer the harpsichord's solo arpeggios (Specified by Vivaldi) to be totally submerged by their string accompaniment.
I believe these objections are material ones. Even so, there is a touch of quality in evidences; and I am ready to be told in six months' time that the record has achieved the status of a best-seller.'