Dumay has in common with his teacher Arthur Grumiaux a warmly communicative style and a strong feeling for Mozart, so it’s no surprise that this account of the Sinfonia concertante has something in common with the well-known 1964 Grumiaux version (on a two-CD set). The 1964 LSO still sounds pretty good, but this accompaniment is in another class, with near-perfect balance that fully expresses the lights and shades of Mozart’s wonderful instrumental writing, notably warm, clear recorded sound, and care for the shape of every phrase. And if Dumay and Hagen don’t quite have the sense of spontaneity that’s such a delightful feature of the Grumiaux recording, they score by not feeling the need to project their tone so forcefully. The rise and fall in intensity in the great minor-key Andante is powerfully affecting. Veronika Hagen, too, is a much more imaginative player than Pelliccia, an equal voice in the dialogue, not just a competent partner.
Dumay seems to me to take more account of historical correctness in his direction of the SCA than in his own playing, his tone production and bowing style being fairly similar to what he would use for Grieg or Brahms. Christian Tetzlaff, in his fine two-CD set of the concertos and incidental movements, gives more feeling of the 18th century, with his bright tone and sprightly rhythms. This isn’t Dumay’s way, but if the music sometimes sounds a bit too smooth, in the K373 Rondo, for instance, his warmth and variety of expression will soon win you over. Listen to his seductive account of the K261 Adagio and you’ll want to buy the CD!'