This is an entertaining assembly. Holliger has long been adept at digging out odd bits and pieces of the nineteenth-century oboe repertory; and since romanticism did not favour the oboe as much as some other wind instruments, bits and pieces are what usually does emerge. However, it is difficult to resist the dazzling virtuosity of his performances. He invokes the name of Liszt in connection with Antonio Pasculli, who seems to have written a row of fantasies on popular Italian and French works of the day; but there is, on this evidence, quite a distance between Liszt's brilliant re-creations of his favoured operas and Pasculli's fireworks displays. Never mind: there is a lot of fun in his Omaggio a Bellini, and the tenderer arias are lovingly caressed by arranger and interpreter alike. The Mozart duos present two Heinz Holligers at once, courtesy of the recording engineers. They do very well altogether, with a brilliant but sympathetic acoustic; and his wife Ursula Holliger and Gabriel Burgin join in with no less loyal musical support.'