Opera composer Domenico Cimarosa wrote nearly 90 keyboard sonatas that, until the late twentieth century, were ignored by musicologists as well as performers. It is easy to understand why, when they are compared to contemporary works by Mozart and Haydn. Cimarosa stuck to the one-movement sonata form that was used by Domenico Scarlatti. There is some evidence that Cimarosa considered using the three-movement structure, but no such sonata by him has been found, nor has there been found any indication that some of the single movements should be combined in such a way.

A cheerful little record, this, of three lightweight works played most exquisitely by very distinguished artists. In fact I am not sure that the chief distinction doesn't emanate from the orchestra: it is a while, as it happens, since I have heard the Academy of St Martin in the Fields and they seem to be playing here better than ever—sweet string tone, pure intonation, finely moulded phrasing, impeccably precise ensemble. Of the three works, the Cimarosa, written for two flutes (in which form it has several times been recorded), is the most attractive for its fluency, its melodiousness (the finale is a real charmer) and its elegant musical form; the Salieri seems by comparison rather carefully devised, though of course it has plenty of entertaining music. Carl Stamitz's piece takes itself more seriously, trying to be symphonic and taking less trouble about being tuneful—though the warm, galant slow movement makes very pleasing listening. The recorded sound is clear and true. (Stanley Sadie, Gramophone)