This admirable collection marks both the 60th anniversary of the London Mozart Players and the 100th anniversary of Harry Blech’s birth. Blech retired as music director of the LMP in 1984; he’d been their figurehead for 35 years and, among his many achievements, were a number of successful tours. It was during that same period that LMP recordings emerged of numerous symphonies by Haydn, Mozart and Schubert. Most of their recordings from the 1950s were only ever released in mono, including the majority of sessions featured in the present collection, which are being issued in stereo for the first time.

That said, not everything here is in stereo. Blech’s dashing account of Haydn’s Drumroll Symphony, a real joy with some bracing tempi, was recorded in mono only and for some reason the Posthorn Serenade’s finale lacks a twin-channel option. Just one thing regarding the stereo tapes: Blech was apparently fond of separating first and second violin desks left and right on stage and although you plainly hear they are seated apart, the antiphonal element isn’t terribly obvious. Still, in both mono and stereo, the sound remains extremely well balanced and the performances are both robust and warmly phrased (just sample the Serenade’s Andante grazioso third movement). The two Mozart symphonies (Nos 28 and 41) are noteworthy for their keen attack and rhythmic solidity and, again, tempi are urgent in a way that anticipates our own period ensembles. In other respects, this is very much “Mozart from the heart” though I expected rather more give and take from duo-pianists Vronksy and Babin in the two concertos (K365 and K242), as well as a recorded balance that made more of the spatial division of the two instruments. Blech’s 1956 recording of Arriaga’s lovable D major Symphony, once issued as a “stereo tape”, has always been a favourite and I was delighted to see its reappearance in this happy context. Also enjoyable are the Mozart Minuets and German Dances, especially the second Minuet with its hurdy-gurdy (which adorned the original LP cover, reproduced in the booklet).

Lyndon Jenkins provides excellent booklet-notes and there’s a touching supplementary note from Harry Blech’s widow Marion, who comments, rightly in my view, on the lack of “soul” in so many modern performances. While not wishing to whine on about “the good old days”, it’s nice to see them celebrated with such a neat and technically well prepared package.