This is the second volume in the Ensemble Villa Musica's 
          complete set of the Mozart string quintets, and these two works were 
          recorded in November 2000, immediately after the first and last of these 
          pieces (K174 and K614), which were issued as volume one earlier 
          this year. 
        
 
        
The string quintets are perhaps Mozart's most significant 
          achievement in the field of chamber music, so any new recordings are 
          worthy of enthusiastic attention. The featured works here are the first 
          and the last of the series, date from 1787, although K496 is a little 
          problematic as far as its date of composition is concerned, being ascribed 
          too early a Köchel number. In any case this is a transcription 
          rather than an original composition, being an arrangement of the Wind 
          Serenade in C minor, K388. The music works well enough in its new format, 
          though in truth the subtleties are not as abundant as in the other mature 
          string quintets. 
        
 
        
The quintet medium gave Mozart the opportunity to enrich 
          his chamber music thinking with the addition of an extra cello to the 
          foundation of the string quartet. Enrich is the right word too, for 
          he played the viola himself, and was often fond of using divided violas 
          in orchestral works, two tell-tale signs that the subtle addition found 
          in these quintets would bring special results. 
        
 
        
The opening movement of the C major Quintet is a magnificent 
          inspiration, one of Mozart's greatest achievements in chamber music, 
          with an ideal balance between activity and poetry. The Ensemble Villa 
          Musica does the music proud, aided by a recording which is atmospheric 
          and full of presence. It really is of 'demonstration quality'. The quality 
          of the sound has a musical advantage, moreover, since the details in 
          the texture and the rich sonorities are heard to full advantage. The 
          remainder of this Quintet maintains these standards across a variety 
          of musical approaches, including a charming minuet and a lyrically inspired 
          slow movement. 
        
 
        
The booklet contains detailed supporting information 
          and is nicely organised. In all this is a most attractive issue in what 
          is becoming an important chamber music collection. 
        
 
          Terry Barfoot