I doubt whether we would hear these somewhat trivial works so often as we do if it wasn't for the fact that they bear Mozart's name. Sometimes I wonder whether the increasingly universal and seemingly uncritical worship of this composer doesn't go a bit too far: these so-called 'Salzburg Symphonies' were after all written when Mozart was in his mid-teens, and they don't stand any sort of comparison with his later orchestral works.
The first movement of K 136 is often taken at a somewhat hectic pace, so that the repeated notes in the bass tend to chug rather tiresomely; but fortunately Libor Pesek chooses a moderate, flowing tempo and he moulds the music very pleasantly. In fact, throughout all three works he shows a good deal of sensitivity and excellent judgement as to tempo and phrase. The Slovak Philharmonic have appeared on a number of labels in recent times, and the orchestra's string section now add to their laurels under Pesek, who obtains some very adroit playing from what sounds like a smallish body of players. The recording was made last year and has quite a generous acoustic, but a slightly close microphone placement has resulted in a violin sound which has just a hint of acidity.
This disc has the attraction of being at mid price, but a newly reissued account of K 136-8 by I Musici, originally given high praise by the late Roger Fiske in 1984, offers in addition the more substantial Serenata notturna, K239, as well as Eine kleine Nachtmusik (Philips Silver Line CD 420 712-2PSL). A new Decca Ovation issue also provides the same longer programme played by the ASMF under Sir Neville Marriner ( 6 417 7412DM). I feel that either the Philips or the Decca CD both also at mid price will prove a better choice than the Cavalier disc, good though it is.'