Mozart's and Weber's Clarinet Quintets are quite often coupled on record, though they really have little to do with each other. Mozart's is a masterpiece of the Viennese tradition, Weber's reflects that of Paris concertante chamber music; and the clarinettist who does not appreciate the difference has missed a crucial point.
Emma Johnson comes most fully to life with Weber. Though she can sound a little laconic, this is not necessarily a disadvantage since Weber's wit has a dry side to it. She handles the first movement simply and straightforwardly, and does nicely by the Adagio, with its slithering chromatic scales; the Menuetto and the Rondo finale are nimbly delivered, even if the music really holds rather more joie de vivre, even swagger. Mozart's Quintet is played carefully and affectionately, though there is a sense of caution with the Larghetto, and in both this movement and the opening Allegro a greater degree of relaxation might have made the easings to and fro of tempo seem more naturally accomplished.
There is a bonus in the KAnh91 fragment for clarinet quintet, which tantalisingly breaks off after four-and-a-half minutes just as Mozart is addressing himself to a development section. The recording is afflicted by a bass which can give the cello too much prominence, but too little definition, so that some figuration (as in Weber's Menuetto) is obscured.'