No talk here of historically informed performances. “We simply look at the notes Mozart wrote down, and start from there,” says Richard Tognetti. “As a consequence what we create is a hybrid, modified and translated for your ears by digitised waves of sound, but hopefully carrying an embodiment of truth – which is still, after all, the only genuinely useful definition of the word ‘authentic’.” Wise words, wise scholarship, and period instruments in an outstanding band.

Tognetti is named as “lead violin”. But the intelligent, recreative exchange he inspires suggests a musician conducting from his instrument. There are no perfunctory notes or turns of phrase. Modulations are acknowledged by mutations in tone colour and dynamics, and bar-lines all but disappear in the wake of tractable tempi. The Adagio of K207 is swifter than expected but it’s so evocatively shaped that reservations are silenced. And you are sure to be captivated by the finale of K218, where Tognetti weaves an element of fantasy into a Rondo of alternating themes and speeds plus a Gavotte in G major impishly thrown in for good measure. But two examples of a keen individual and collective feel for style and character.

Individual too is the contribution from Carmignola and Abbado. Their perspectives on the music are different. Both versions are necessary, but BIS’s SACD sound is much superior.