Mozart's Sinfonia Concertante for violin and viola, if it is to confirm its reputation as one of the composer's first profound masterpieces, demands not only two superlative soloists but also the most perceptive of conductors. In Edinburgh, Glasgow and St Andrews last week it got all three, and the result was one of those experiences that makes you realise the music is even greater than you thought.

Louis Langree, the director of New York's Mostly Mozart festival, was the Scottish Chamber Orchestra's revelatory French conductor. Renaud Capucon, Martha Argerich's protege from the Lugano festival, was the violinist and Antoine Tamestit the intent young violist. Tone and touch helped to make the performance what it was, but there was more to it than that. Langree's fan-shaped layout of the orchestra, with violins to left and right, violas likewise divided and cellos in the middle, supplied the radiant layers of sound sought by Mozart and exhilaratingly produced by the conductor in the long crescendo near the start of the first movement.

This was Mozart playing of a special sort, warm yet keen-edged, fine in phrasing yet rhythmically bursting with life. Every note counted, in a way that made other Mozart performances seem humdrum. Into this background the soloists fitted to perfection, registering the subversive passion of the music and sustaining the long lament of the slow movement.

It was a performance all the better for coming between Langree's flaring account of Beethoven's second Leonore overture and his no less volatile, but wholly coherent, treatment of Schumann's Symphony No 4, in which the strings shot upwards like volcanic eruptions.