As Walter Liebhart, the author of the excellent notes points out, nineteenth-century wind music is never far from the operatic stage. Rossini, of course, most conspicuously of the composers here represented knew all about opera, just as at the other extreme Taffanel knew all about instruments (and just a little bit less, perhaps, about writing enchanting music for them!). Giulio Briccialdi was a new name to me: but I fancy many listeners will join me not only in this but also in discovering a lively composer of very considerable skill. Lefebure, not quite a new name, was director in the century concerned of the chamber music class at the Paris Conservatoire, and certainly skilful in his field. Perhaps he was strict in class; in the music here recorded (all I know of his composition) the prevailing feeling is amiability.
Indeed, all the music is an interesting exploration, and one made exceedingly enjoyable to undertake by the quality of performance brought to it by the Aulos Quintet. They lavish the very best of wind-playing on the music in this interesting programme; and a first-class recording (for once the horn is not too strong!) gives the quality of the playing every possible chance.'