Michael Stegemann, in his note, makes a claim for Krommer being in his clarinet works more than ''a prolific producer of pleasant undemanding music'' (ein gefalliger Vielschreiber). Highly enjoyable as these pieces are, it is a claim difficult to sustain, and perhaps a misleading one. Concertos for two clarinets are an unlikely idea, and Krommer does very entertainingly with it: there is the expected reliance on passages in thirds and sixths, and on witty or (slow movements) tender imitation. But to expect more, or to suggest more, seems to me to ask for more than the music really intends. What we have is delightful. The invention is fresh, the harmony simple and effective the orchestration clear, expert and graceful. Both works make highly agreeable listening, and the fact that they really demand so little of the listener is part of their charm. The siblings Meyer understand this very well, and produce playing that is fresh and witty, also beautifully unanimous yet contrasted. One cannot imagine it being better done; whereas more profound works would offer a whole range of interpretations for the interested player.
Wolfgang Meyer fires off the pyrotechnics of Rossini's C major Variations coruscatingly, leaving sister Sabine to deal with the rather more extended and ambitious Introduction, Theme and Variations. There seems little to separate the two players in skill and virtuosity. Both performances are great fun. The recording is bright and warm.'