Galway is certainly engagingly whimsical in the bright, rhythmic outer movements of the Op. 25 Serenade, and if his strong instrumental personality dominates, he doesn't hog the limelight: his colleagues are well in the picture, although the recording is just a shade too resonant for an absolutely perfect focus. Galway's warm yet silvery melodic line is at its most appealing in the Minuet, given a classical elegance, with the following Allegro molto generating lots of extrovert energy to make a striking contrast. The Andante con variazioni is very agreeable too. It is certainly a positive performance, but has not quite the simplicity and unostentatious charm that makes the Israeli account on CDI/Pickwick so memorable.

As his main coupling Galway chooses the companion Serenade, Op. 8, but, surprisingly he uses an arrangement for flute and piano instead of adapting the violin part of the original string trio. The result has much less textural interest, for the piano part tends to act rather as an accompaniment. Philip Moll, however, makes the most of it and becomes a genuine partner. Again the poised Minuet is a highlight and Galway is at his most sparkling in the Allegretto alla Polacca, which he turns into a real lollipop.

The Sonata seems unlikely to be by Beethoven at all; its central Largo has a flowing Italianate theme rather like an opera aria and Galway makes the most of it, then carols his way gaily through the closing Allegro molto. Galway admirers will not want to miss this collection, but others may wish to look for the main work with other couplings.

-- Ivan March, Gramophone [7/1990]