thought that the work had some content deriving from Mozart but was finished by another person. Rudolf Gerber published another edition in 1934, considering it genuine and noted a theme in the Finale's epilogue to be similar to a theme from the "Gavotte joyeuse" from Mozart's own ballet music to Les petits riens, K. 299b. He also noted similarities between the opening themes of this concerto and the authentic K. 211. The concerto was recorded by Yehudi Menuhin in 1932, with George Enescu's cadenzas, and Menuhin recorded it again in stereo in 1962 and 1974-5. Alfred Einstein renumbered the work as K. 271i, due to the insertion of new works bearing the numbers K. 271b to K. 271h in the catalogue. He believed that the work was based on a rough sketch of a violin concerto by Mozart from 1777, but states that the original form of the work cannot easily be reconstructed. The uncharacteristic number of passages for the solo violin in the high register, in pizzicato (in the second movement), and in double stops in tenths were considered by Einstein to be 19th-century additions. Friedrich Blume, on the other hand, was firmly in favour of the work's authenticity, stating that "not one passage allows of any room for doubt in regard to themes, harmony, rhythm, construction and orchestration". He noted similarities to violin movements of authentic Mozart serenades and divertimenti, stated that some unusual usage of violin technique was not sufficient grounds for doubting the work's authenticity, and criticized Einstein's ideas regarding the concerto. Carl Bär published a paper in 1963 that came down in favour of Mozart's authorship, noting that a passage in Joachim von Schiedenhofen's diary for 25 July 1777 stated that a Mozart symphony, a violin concerto (played by Mozart), and a flute concerto were rehearsed at Gusset's. Bär believed that the violin concerto was K. 271a/271i, and also identified this with the violin concerto Leopold referred to as "the concerto you [Wolfgang] wrote for Kolb" on 3 August 1778. He ruled out the five certainly authentic violin concerti as possibilities, as they were written in 1775, and Leopold had stated on 13 August 1778 in a letter that Count Czernin (who had been in Salzburg since April 1775) had never heard the violin being played by Kolb. Kolb was originally thought to be Franz Xavier Kolb (1731–1782), but Bär suspected it to actually have