The first volume of Mozart’s violin concertos from Aislinn Nosky turns out to be two-thirds reissues, the Third Concerto and the Sinfonia concertante having been released alongside the Handel and Haydn Society’s eminently satisfying survey of the latter composer’s ‘Paris’ and Sturm und Drang symphonies.

Nosky’s introductory note draws attention to the ‘profound emotion’ of the concertos and ‘their inherent humour’, aspects evident in these readings: the ‘lovely, witty performance’ (to quote the original Gramophone review) of the Third Concerto, which is no less the case in the Fourth, and the ‘charisma’ of the conversational interplay with the viola of Max Mandel in the Concertante – try the irresistibly infectious finale. The listener also becomes involved in the palpable engagement between soloist(s) and audience in these live recordings from the warm, woody acoustic of Symphony Hall, Boston, although concluding applause has been removed.

Nosky is clearly the personality at the centre of these performances, audibly directing from the front, in contrast to (for example) Isabelle Faust, whose voice emerges as if organically from within the ensemble in her set with Il Giardino Armonico. The sweetness of Nosky’s tone, however, remains a seductive guide to this music throughout, and contrasts nicely in the Concertante with the gruffer tenor of Mandel’s viola.

It seems odd, perhaps, that this two thirds reissue appears unpaired with its proposed second volume; but then, perhaps present conditions have prevented the remaining concertos being recorded. All the same, and notwithstanding any number of favourite classic recordings of these immortal works, those who treasure Faust’s cycle (which became, after all, Gramophone Recording of the Year in 2017) may feel this disc superfluous. Those who enjoyed Nosky’s recordings first time round, however, will keenly anticipate the follow up volume.