''Warmly involving'' was the phrase I used in my review of the LP to describe these performances, which may run counter to current taste in classical performance but which have a purposefulness and characterful strength to counter objections in principle. I also noted how much more compelling this account of the Mozart Sinfonia Concertante is than an earlier one made with the same soloists in the studio (CBS 73030, 10/72). Though the solo instruments are balanced too close—a point which CD tends to exaggerate—the extra clarity of the new format and the weight of bass provide compensating advantage. The solo balance is less exaggerated in Bach and Vivaldi, and there the resilience of the playing in fast movements (with the harpsichord continuo well focused on CD if a little distand) contrasts well with warm expressiveness in the slow movements. The sense of a live occasion is enhanced by the 'actuality' noises linking the movements. The impression is of being on stage with the players rather than in the stalls at Lincoln Center, but it is a very vivid, real impression.'