"How did Ludwig van Beethoven become a great symphonist? A milestone on his way there is marked by the Septet, which he composed in 1799, on the threshold of a new century, for this large-scale chamber work, with its mixed instrumentation of winds and strings, already assembles an orchestra ""en miniature"". At the same time, however, Beethoven thus founded a new genre of ensemble music, which was to be followed by numerous composers from Franz Schubert to Johannes Brahms and Jean Françaix with nonets, octets, sextets or quintets. Beethoven's radiant and entertaining septet combines logic with catchiness and offers a spiritual musical conversation. And it is in this discipline that the soloists of the Lucerne Festival Orchestra, who are dedicated to making music in friendship, are masters. They also prove this in the Nannerl Septet, which Wolfgang Amadeus Mozart probably created in 1776 for the name day of his sister Maria Anna: artfully playful music of the best festive and champagne mood."
Mozart’s Divertimento in D (K 251) is buoyant and fortunately classical all the way, with no attempt to ramp it up and make it loud or romantic. This is pleasant music, hardly world-shattering, but it is played with obvious respect and affection. The Lucerne soloists make a good case for Beethoven’s Septet, emphasizing its Mozartean qualities. The theme and variations (IV) are the high point, as the musicians patiently and gracefully explore the melodies. In V and VI the horn passages are handled with aplomb by Stefan Dohr, and the concert concludes without any applause. The packaging is simple yet in good taste, and the notes add considerable context to the music with stories of the Mozart family’s informal chamber music sessions.
– American Record Guide