Galway is a natural soloist, pointing phrases and rhythms with poetic individuality, but the playing is still full of Mozartian grace and sensuous melodiousness.

Warmly recommended... [I]n the slow movements...Galway takes a far more expansive view, characteristically warm in his expressiveness, observing the marking Adagio in the two solo concertos, rather than the reservation ma non troppo, and taking a very broad view of Andantino in the Concerto for flute and harp... [W]ith Marisa Robles once again an equally characterful partner, the result could hardly be more hauntingly persuasive, and I love their bouncy account of the finale, with Robles’s harp given clearer, sharper focus... Galway...is a natural soloist, pointing phrases and rhythms with poetic individuality, never just a conformist orchestral player.

-- Edward Greenfield, Gramophone [7/1997, reviewing the concertos, originally released as RCA 68256]

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The first two quartets, K285 and K285a were written in 1776/7 for the Dutch nobleman Dejean. The playing here is full of Mozartian grace and sensuous melodiousness. At the beginning of the possibly inauthentic C major Quartet, K285b, Galway achieves a delightful liquid quality. The later Quartet, K298 is more substantial and draws playing of haunting intensity from Galway and the Tokyo... Galway's disc is rounded off with his own arrangement of the Oboe Quartet, K370, whose sumptuous slow movement and elegant finale make this an attractive added bonus.

-- Gramophone [6/1993, reviewing the quartets, originally released as RCA 60442]