At once Tate's performance of K287 beats a different path from that of his rivals listed above, for he opens up repeats in the first movement to the extent that It lasts for nearly 14 minutes. While the taking of all repeats is usually deemed to be a laudable exercise on record, I can't help but feel that in this case there isn't sufficient substance in the music to justify such an action. In the performances by Vegh on Capriccio/Target and the ASMF Chamber Ensemble on Philips the movement plays for less than nine minutes, where it sounds better proportioned, more concisely argued, and not a moment too short or too long. I think it would help the longer version of the movement if Tate's conducting were a little stronger, for although the ECO is technically first rate there is a certain lethargy in the playing, with a slowish basic tempo and accents rather under-played. The same is true of the second movement Theme and Variations, which are not really characterized very vividly. The first Minuet and Trio is slackly played too, and I found myself reacting strongly against the hushed, over reverential style in the long Adagio movement, though Jose-Luis Garcia is an admirable soloist here. There's more vigour in the second Minuet and Trio, and the finale has a good deal of strength and personality, but overall the performance is too under-vitalized.
After Tate's performance of K287 I found myself reacting very favourably to the ASMF version, played with one instrument per part—more so in fact than when I heard this performance in straight competition with Vegh's version last November. This time I relished rather more the clean lines of the smaller ensemble, and the taut bright, no-nonsense style. The ASMF's disc also includes the Divertimento, K138. Vegh uses a smallish chamber orchestra. His performance is quite direct and purposeful, but he brings much grace and wit to the score too: it is a shrewdly balanced, wise interpretation. Vegh's disc also contains the Divertimento, K205.
In the Serenata notturna Tate conducts quite neatly and sensibly but within an otherwise superlative recording the timpani fail to register adequately. Mackerras on Telarc/Conifer conducts the work with more vigour, and his timpani are very much in evidence to underline the work's particular personality and character. His version is a fill-up to the Haffner Serenade. Marriner's strong, vital performance on Philips is very satisfying too. In his case the main work is the Serenade, K203.'