This bargain re-issue 
                of three of Mozart’s most popular concertos 
                features soloists who, in three out 
                of four cases at any rate, play on period 
                instruments. The fourth and possible 
                exception is Saskia Kwast, who may be 
                playing on a modern concert harp. My 
                apologies if I’m wrong, but I’ve been 
                unable to check that. 
              
 
              
These are, on the whole, 
                stylish and attractive performances. 
                Koopman directs the accompaniments and 
                tuttis in an alert and sympathetic manner, 
                and his soloists are mostly equal to 
                the task of projecting the music. However, 
                despite his accomplished playing, I 
                find the sound of Marc Vallon’s 18th 
                century bassoon far too dull in tone 
                to be acceptable. I just don’t believe 
                that Mozart or Haydn would have been 
                drawn, as they clearly were, to an instrument 
                so devoid of colour and flexibility. 
                Indeed, Vallon’s playing disappears 
                into the undergrowth alarmingly quickly 
                at the merest hint of forte in 
                the orchestra. Not for me, I fear, especially 
                when there are wonderful versions on 
                modern instruments by such as Thunemann 
                and Zeman. 
              
 
              
Marcel Ponseele, the 
                oboist, is much more interesting to 
                listen to, even though his tone is still 
                lacking in reedy brightness. However, 
                his cadenzas are models of brevity, 
                and I found this an enjoyable enough 
                performance. The finest item on the 
                disc, though, is the delightful account 
                of the Concerto for Flute and Harp. 
                This work greatly benefits from the 
                simple and fresh approach of all involved, 
                and its charm can be felt all the more 
                strongly for it. Those interested in 
                textual issues might like to listen 
                carefully to the slow movement (track 
                8) between 2:50 and 3.10, though; B 
                or Bb? The excellent Hazelzet on his 
                Baroque flute gives us the former, while 
                Kwast plucks out the latter - take your 
                pick! 
              
 
              
Competition is very 
                strong in the area of Mozart concertos, 
                but this disc is, given its price, thoroughly 
                recommendable for the Flute and Harp 
                Concerto alone. 
              
Gwyn Parry-Jones