Here is a coupling of two of the most delightful 
                works ever composed for wind instruments, though they occupy very 
                different places in their two composers’ careers. The Mozart Quintet 
                for Piano and Wind was composed in 1784, when he had reached full 
                maturity as a composer, and was poised to pour out the masterpieces 
                of the last seven years of his life. The Beethoven, on the other 
                hand, is a comparatively early work, written as a direct homage 
                to the Mozart work, which Beethoven heard on a trip to Prague 
                in 1796. Here we have Daniel Barenboim, in music to which he is 
                ideally suited, together with four of the principal wind players 
                from the Chicago Symphony Orchestra. 
              
 
              
And an excellent ensemble they make, though I 
                could sometimes wish for a slightly more assertive approach from 
                the three reed players. Were they, perhaps, a little overawed 
                by Barenboim’s presence, and therefore less inclined to take the 
                expressive initiative than they might otherwise have been? Hansjörg 
                Schellenberger’s oboe playing, in particular, is far less engaging 
                than that of Neil Black on the outstanding Sony recording, with 
                Perahia at his wonderful best at the piano. On the other hand, 
                I did enjoy horn player Dale Clevenger’s willingness to sound 
                forth brassily at appropriate moments in both works. 
              
 
              
These are lively characterful accounts; Barenboim 
                is probably better in the Beethoven than the Mozart, where he 
                sometimes fusses at the music, and introduces some slightly unwelcome 
                dynamic variations, risking drowning out some of the delightful 
                details in the wind writing. The Beethoven is, ultimately, not 
                at all on the same artistic level as the Mozart; but it does have 
                a genuinely fine slow movement, fit to rank with those in his 
                earlier piano concertos, and Barenboim and his colleagues make 
                a splendid job of it, with all the wind solos lovingly shaped. 
              
 
              
The recording, made in Chicago’s Orchestra Hall, 
                is excellent, well balanced and intimate without being intrusively 
                close. A highly enjoyable issue then, though not one to displace 
                the Perahia or Kuerti on CBC. 
              
Gwyn Parry-Jones