This disc will be at a disadvantage if a flaw is not corrected. The stereo image is skewed. Renaud Capuçon and the orchestral violins are bunched in the middle while the rest of the band is spread out to the right, thickening the lower mid-range and bass. The effect is disconcerting; worse, it affects a listener’s perception of performances that have much to say.

These musicians have all the hallmarks of excellence and it’s impossible not to be drawn to their empathy with the rhythmic vivacity and finer sensibilities of the music. Capuçon, who’s a telling presence in his collaborations with Martha Argerich, is no less of a presence here, exposing a range of emotion in the Adagio of K207; and the collaboration with an equally superb musician, Antoine Tamestit, in K364 is an exposé of skilled dovetailing, the sympathetic give and take at the heart of fine duo playing.

Standing alongside, though, is the outstanding complete set of the concertos by Giuliano Carmignola and Claudio Abbado (DG, 9/08); and the noteworthy difference lies in the style of the two conductors. Louis Langrée is clear-cut in his intentions, firm-edged in direction, Abbado propulsive yet attentive to timbres, and conjuring a sense of “space” between the notes that opens out the various instrumental textures. Langrée doesn’t separate the strands as successfully; his denser sound and lopsided balance could be negating his musicianship. A very good disc nevertheless.