Volume 6 gathers together the symphonies written in Paris and Vienna between 1778-88 embracing the last three great ones (No. 39-41), whilst Volume 7 more or less picks up various residuals as far-ranging as 1767-88. Mozart, already burdened with an outrageous work-load, wrote to his father in 1782: ''Well, I am up to my eyes in work... And now you ask me to write a new symphony too! How on earth can I do so?''. Of course he did—the Haffner, but later, having the opportunity, he revised it, as he did also No. 31, the Paris, and No. 40, between them Vols. 6 and 7 present each of these three works in both versions providing a rare chance for comparison. There are those whose best work may be stimulated by pressure (of time or circumstances) but that is not to say that, given the chance, they might not improve it by second-thinking. Composition at Mozart's speed closely approaches extemporization, an art in which a little dross and water-treading often accompany the gold at the best of times.
The whole project remains the first and only complete recording of Mozart's symphonies employing 'authentic' instruments and following period practices, and as such it is uniquely important. The performances are of the high quality one might expect from the personnel (a reading from the Who's Who? of London's early-music world) but in an enterprise of this magnitude it is not surprising that there are a few blemishes. passing untidinesses apart, enthusiastic bowing produces a few harsh sounds and the intonation of the woodwind, an area of notorious difficulty, is of variable accuracy. The most consistent area of interpretative weakness remains, as has been repeatedly noted, the coolly inexpressive delivery of the slower movements. If the subtler nuances of the best performances on modern instruments are in fact unavailable to period ones, were they 'ideals' that Mozart envisaged but could not have heard? These and other stimulating questions are raised by this monumental, seven-volume set, very well recorded (though digital sound is less kind to 'period' strings) and superbly annotated. With such an extensive 'archive' the pinpoint selective facility of the CD medium is invaluable.'