The first thing that strikes one about this Mozart disc from America is the sound of the period string instruments playing in the Clarinet Quintet. I find it unattractively unctuous, and the extreme closeness of the recording does nothing for it—a little more distance would have helped, although as far as I am concerned it would still not lend entrancement. The performance of the first movement is somehow to match: everything is smoothly tailored, even beautifully so in its way, but comes over as bland, with little sense of discovery or wonder, and with a dynamic range that is virtually limited to piano and mezzo forte (though the recording may have something to do with that). However, Erich Hoeprich's account of the clarinet part, here rightly on a basset clarinet, is undeniably skilful, and there is much to admire in his finely turned account of the Larghetto. I wish I could be equally enthusiastic about the violinist in the passage beginning just before 1'30'' in this movement, who handles her melody line in a way that could cause aural sea-sickness in delicate listeners.
After these movements, the Minuet, taken briskly and cleanly, comes as a pleasant surprise, and in the trio section I find myself partially won over to the sound of the four strings. The finale also has a nice spring in its step. But the first movement still worries me, and if you think that you too may dislike the string sound, it would be wise to sample it before acquiring this disc, well-filled though it is at nearly 80 minutes.
The same caveat applies to the sound of the natural horn played by Lowell Greer in the Horn Quintet, a replica instrument of one made in Mozart's lifetime. I am getting used to it, and also remind myself that it must be closer to what the composer intended than a modern horn. Furthermore, Greer is an excellent player and a thoughtful musician. All the same, do listen if you have doubts as to your own reaction. I have left little space for the G minor String Quintet that ends this programme: suffice it to say that this is accomplished playing that to my mind does not reveal all the subtle beauties of this ambiguous masterpiece. Furthermore, these artists omit the exposition repeat of the first movement.'