Obviously my feelings about the magnificent Perlman/Levine Mozart cycle (see above) are going to influence my reactions to other performances for a while at least. Even so, I still found much to enjoy in Jean-Jacques Kantorow's readings of these concertos. Kantorow is an agile and sensitive player, capable of considerable tonal variety and expressive intensity, though for the most part he avoids sententious romanticism: expression and technical display are balanced by awareness of the elegance and carefully calculated proportions of Mozart's writing. I must admit, though, that I have serious doubts about Kantorow's cadenzas, the principal problems being his excessive fondness (amounting almost to obsession at times) for long passages of double-stopping. It's difficult to avoid the impression that Kantorow is particularly anxious to show off this aspects of his magnificent technical armoury—strange when in each case the rest of the performance is remarkable for its lack of ostentation. Leopold Hager and the Netherlands Chamber Orchestra accompany discreetly, and the recording is atmospheric with a finely judged soloist-orchestra perspective.'