These 1970 performances are today in competition with many fine subsequent accounts of Mozart concertos, if not in this particular coupling, and they certainly hold their place as interpretations. The approach to the D minor Concerto is very Sturm und Drang, and at times I found this aspect, essential though it is, a little overdone, for example in the pace of the Romanze's middle section and the rather strenuous finale. Otherwise, I enjoyed this sensitive playing, though not the over-romanticized cadenzas—nor the bassy and boomy sound that sent me to the tone controls after a while and certainly does not conform to Britten's preference for a 'slender sound' in Mozart. Even in the more serene last Concerto, K595, the musical approach is perhaps (save for the finale) rather solemn. For example, surely the opening theme of the Larghetto could be simpler: here it seems slow and portentous. I noted too a brief loss of accuracy and ensemble at the 7'18'' mark in the first movement here. Still, the catalogue is enriched by these performances.'