Reicha's long work list contains many pieces such as these amiable, well-written diversions that fall easily on the ear without troubling the mind unduly. Reicha could be a formidably learned, also somewhat peculiar composer: the only remote sign we get of this here is with a brief, rather jolly double fugue which forms the third movement of the Flute Quartet. The work is delightfully played by Wilbert Hazelzet, who does well to sustain the long opening movement. He has less difficulty with matters of balance than does Hans Peter Westermann, whose oboe (evidently built by himself ''after classic examples'') is mild and somewhat monotonous in timbre, and does not always balance well with the strings in the similarly lengthy first movement of the quintet. Matters are better in the Siciliano, the minuet, and quite a sprightly finale.'