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movements a shade lacking in tension and drive. In the later work he doesn’t ratchet up the intensity in the development and recapitulation as some conductors do. And for all its clarity and precision, the opening Allegro of the Prague doesn’t quiver and blaze as it can – and does in the thrilling performance from Charles Mackerras and the Prague Chamber Orchestra (Telarc). On modern instruments (and at mid-price), Mackerras tauter, fierier and more sinewy than Bolton is also my choice for No. 40. But if you prefer a more relaxed, elegant view of Mozart, this finely played, superbly recorded new disc might be just the answer. Richard Wigmore

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