Frank Peter Zimmermann is no stranger to Mozart’s violin concertos. He first recorded them in 1984, when he was 19 years old – the same age as Mozart when he wrote them – and since then he has performed them innumerable times. So it’s fitting that he should return to them on record as he enters his fifties, to offer the fruit of his years of experience of these works. (Concertos Nos 1, 3 and 4 plus the free-standing Adagio and Rondo movements appeared in the previous volume of the cycle last year.)

These new performances are brisk and no-nonsense in the current fashion, devoid of romantic lingering or interventionist point-making. Neither is there any quarter given to that tendency of older artists returning to works they recorded when younger to make fasts faster, slows slower and to weigh more heavily on the more purple moments. These performances sound just as youthful as Zimmermann’s earlier recordings, with nothing placed, so to speak, in inverted commas or indulged unnecessarily. The Turkish episode in the Fifth Concerto’s finale is flavoured with a pinch of paprika but not drowned in it.

Zimmermann is set slightly in front of the orchestra in the sound picture, although he blends perfectly when he plays along with the opening ritornellos. He is joined by Antoine Tamestit for the masterpiece among Mozart’s string concertos, the Sinfonia concertante, in a performance that is as affectionate if not as pungently shaped as, say, that by Kremer, Kashkashian and Harnoncourt.