It was only in the May issue that I greeted—a shade guardedly—the new Amon Ra recording of Beethoven's two main works for wind ensemble, neither of which was in the current catalogue. Now here they are again, coupled not only with the Rondino but also with a totally unfamiliar piece, the Quintet for the improbable combination of oboe, three horns and bassoon, which (perhaps understandably) Beethoven left incomplete. This performing version dates from 1862. Only the recapitulation survives of the first movement; the arranger added an exposition, closely based on it, and a slightly odd development. It is curious music, its invention constrained by the nature of the ensemble; there are not many memorable ideas (one is the main second-subject theme, which has a certain leisurely charm) but here and there one comes upon a phrase or a texture or a convergence of lines that suddenly hints at the 'real' Beethoven manner. But the consistent docility is not characteristic. The Adagio begins with a warm, appealing theme, but its working-out is rather dreary. The little minuet (Beethoven left 19 bars) is quite attractive; there is no finale. The piece is said to have been revised in 1793; I would hazard that it originated considerably earlier.
This work receives an adequate performance; the players are in excellent form, however, in the more familiar music. Even the Sextet, not Beethoven at his best, comes over well with clarinet playing so fluent, brilliant and euphonius; and there is neat phrasing from the bassoons, too. Only the minuet here seems a little unimaginatively handled. The first movement of the Octet is done with plenty of energy and attack, with much deft dovetailing of phrases; in the Andante there is some very sweet (if occasionally imperfectly tuned) oboe playing, while the finale is taken at a tremendous lick, its accents sharply placed and its sturdy humour excellently captured. And I liked too the tempo, considerably quicker than usual, chosen for the Rondino: it makes good sense, for once not dragging nor superimposing deeper meanings on its slender charm.
Comparisons with the record cited above are somewhat beside the point, for there the Classical Winds group use period instruments. The sound they produce is attractive, and right for the music; but I think most people will find that the more dependable intonation and greater polish of the present group—who admittedly have a far easier task using instruments with all mod. cons.—make it the more persuasive. The recorded sound is clear and well balanced.'