These five agreeable works receive suitably relaxed performances, with Rossini predictably emerging as the most attractive composer of the five. He delivers a quasi-operatic crescendo that could be by nobody else, and that is played with suitable brio. This is a delightfully witty performance, and the players also show how much there is to be found in the pieces by Reicha and Danzi, provided that the touch is kept light, the manner friendly. In places the virtuosity bears rather heavily upon the horn, who survives barely scathed; the others, especially the oboe and the clarinet, are brilliant players with a nice sense of timing and a quick-wittedness in the exchanges that is a delight. The bassoon is also a fine player recorded close enough for one to hear the catch of his breath and the clack of his keys. A pleasant record.'