The attractions of this disc relate entirely to the two Zimmermanns in the Sinfonia concertante. Though not of the same family, they make a good partnership, the one—as his previous EMI issues have demonstrated—a clean, stylish violinist, the other producing some of the richest viola sounds to be heard on disc. Together defying the conductor's metrical, heavy-handed way with Mozart, their distinct personalities shine out in what are otherwise unimaginative performances. The contrast can perhaps best be appreciated in the lovely slow movement, where the soloists' entry suddenly lightens what till then has been a prosaic account of one of Mozart's loveliest themes. The playing is never less than efficient, but the next orchestral interjection brings an obvious relapse, again with prosaic playing of a supremely beautiful passage (track 2, 2'14''). Significantly the opening tutti in the finale, plain and unlifted, has one registering too fast a speed, but then the soloists enter to give sparkle to the same idea, with no sense of haste, a revealing comment on performing style.
Gelmetti's reading of the great G minor Symphony is uninspired too, hardly requiring detailed comparison. The Minuet is slow and stodgy. Otherwise speeds are well-chosen, but rhythmic squareness and the close, rather dry recording, with strings made edgy, lacking bloom, undermines any refinement in the playing.'