An unequal collaboration, Bruno Weil only a presence, Lena Neudauer potentially a soloist of imagination and resource held back by a lack of empowering leadership. At no point in any of these works can the chosen tempi be faulted. Speeds fit the instructions. But effervescence, tonal variety and inflection are often in short supply, as can be heard from the beginning, the first movement of K207. Weil’s exposition is an example of staid detachment and unvarying contrast that Neudauer follows, though she alone recognises the change of mood needed for the F minor second subject.

Weil lacks inner vitality. He is metronomically exact, an underlying inertia in his pacing invariably keeping the musicians on a rigid rein. Lightness and resilience so often give way to an opaque texture of equally weighted notes and constrained phrases, characteristics that are most apparent in the slow movements, and clearly exposed in the Adagio of K219. Weill makes heavy weather of the 20-bar orchestral preface and doesn’t loosen up for Neudauer, who finds herself embroiled in a tedious performance. And tedium sets in easily elsewhere, too, though Weill is less leaden-footed in the first movement of K216 and in the finales of K211 and K219. In comparison, Neudauer shines in her own cadenzas, models of good taste.

The model of superlative conducting is Claudio Abbado impelling Guiliano Carmignola to great heights. If you also fancy a ‘golden oldie’ there is none better than Arthur Grumiaux and Colin Davis.