Sebastian Bohren’s previous outings with the CHAARTS Chamber Artists have seen him directing hefty repertoire – Beethoven (7/16) and Hartmann (6/17) – from the soloist’s spot. For a pair of Mozart concertos he cedes direction to Gábor Takács-Nagy, with results that offer bags of character and consideration.

You hear it in the A major Symphony at the heart of the programme, at the very opening of the work, where the spotlight is turned just slightly from that famous first-violin motif to catch the undulating harmonic parts beneath; and again in the Andante, whose lines catch the light off each other as they intertwine. It’s not a soft-centred performance, by any means, though, with plenty of athleticism in the outer movements and the gawky Minuet.

As for the concertos, being relieved of directorial duties means that Bohren can concentrate on extracting the juiciest tone from his 1761 Guadagnini, sure in the knowledge that the orchestra is in safe hands. Not that they play safe – the responsiveness between players is palpable, and the physicality of their playing is audible in the occasional click of bows or the sizzle of rosin. These musicians are chamber artists, after all, acting as a gathering of soloists rather than merging into corporate blandness – an approach that reaches its climax in the parade of personae they assume in the episodes of the Fifth Concerto’s Rondeau finale. Add to this a generous Zurich church acoustic, which gives particular presence to the excellent woodwind and horns, and the result is a listening experience that commands the attention from start to finish. Which way will Sebastian Bohren’s questing approach to repertoire take him next?