''What had happened in the three months that separate the second from the third...? We do not know. Suddenly there is a new depth and richness to Mozart's whole language'', so wrote Einstein when assessing the five violin concertos produced by the composer, still not out of his teens, in the course of 1775. Grumiaux in fact follows the first two with the Fourth on this generously filled disc, and the transformation from skilful craftsman into budding genius is just as plain. He starts with an obvious advantage over his CD rival in including the First Concerto as well as the Second and Fourth, and let me say at once that no prospective purchaser should have any qualms about the age of the Philips recording. It comes up with splendid fullness and vividness of tone on this remastered CD.
From all concerned the playing is outstanding for its enthusiasm. In the two earlier concertos it is almost as if soloist and conductor were determined to convince us of the error of our ways in underestimating them. Anne-Sophie Mutter and Muti (EMI) are ever so slightly calmer, purer and more classical in approach. This is particularly evident in the slow movements of K211 and K218, for both of which they allow themselves what I feel is a valuable extra minute. And I'm also bound to admit that the Philharmonia Orchestra emerge a little more suave and tonally refined than the LSO. But Grumiaux's lyrical charm and general musical animation, to which Davis and the LSO respond with such immediacy, make this reissue just as appealing—perhaps even more so when remembering that here you get Mozart's B flat Concerto too.'