These are bright, lively performances, on modern instruments but well aware of 18th-century style. The finales of all three works are especially successful: K216’s is amiable and smiling; the minuet tempo of K219 is interpreted graciously, with the Turkish episode sounding particularly forceful and exotic, and in the Sinfonia concertante, a true Presto promotes a sense of unstoppable vitality.

There’s sometimes a sense that whereas the two soloists always feel the music in a stylish way, the orchestra are just following instructions. Contrast, for example, Tognetti’s thoroughly natural phrasing of the principal melody of K219’s Adagio with the orchestra’s more mannered delivery. Or consider the final bar of K216’s first movement: it’s good to avoid a thump on the final note but this sounds excessively polite – after all, it’s an emphatic conclusion. I also find some of the detached notes too short; upbeats in the Rondo theme of K219’s finale can be lifted without being so extremely short as they are here, and in K364’s great Andante the accompanying quavers would, I think, be more in character were they not so ultra-detached. But this movement does have a strong vital pulse, providing a springboard for the passionate dialogue between violin and viola. Tognetti and Moore are wonderfully well matched, and when they play together in parallel their tones make a perfect blend. The Sinfonia’s cadenzas (supplied by Mozart) are high-points of the performance. A very fine recording (which I’ve only listened to in CD stereo) contributes to a firm recommendation.