Salieri's mild concerto was originally partnered with works by Cimarosa, Bellini and Donizetti, and is really more suitably placed in the present company. It is competent, harmless and quite testing for the players, but it adds up to little. Lebrun's work is also slight, but it has a perky charm that Holliger captures nicely. Dittersdorf emerges from this realignment of works as the major figure, which sounds like damning with faint praise indeed, but though the last movement of his concerto is perfunctory, there is an enjoyable opening movement and an Adagio of real charm. It would be interesting to hear some of his operas on record: Doktor und Apotheker contains good music, and is historically important. Holliger is masterly; the recordings are (especially the Lebrun) surprisingly plain.'