Each time I’ve heard Ray Chen I’ve been impressed by the way he infuses his performances with spirit and vitality. This apparently instinctive musicianship is joined to beautiful, luminous tone and polished technique. There are places, particularly in the first movement of K216, where I felt he hadn’t quite engaged with the youthful Mozart’s blend of playfulness and cantabile, downplaying the more vocal moments. Also in this movement, Eschenbach resorts to exaggerated dynamic inflections in shaping the orchestral themes. However, when we reach this concerto’s wonderful Adagio, all doubts vanish before Chen’s luminous sound and sensitive phrasing. And the finale, together with the whole of K218, reinforces the impression of fine, sensitive violin-playing supported by a well-balanced, responsive orchestra. The Andante of K218 may not have the perfumed sweetness of Anne-Sophie Mutter’s account, but with a more pointed observance of Mozart’s bowing indications, each phrase speaks more clearly and affectingly. The one blot comes with Chen’s self-composed cadenzas. With their seemingly unmotivated modulations and serious departures from Mozartean style they jolt the listener into a different musical world.

The Sonata makes a substantial bonus and the performance is a distinguished one. Some listeners may find the playing over-refined, especially at the ends of phrases, but in the Andante I love the way that each variation is given its own expressive character. I’d like to hear more Mozart from Chen and Eschenbach.