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Ronald Brautigam’s latest Mozart disc features two popular, yet very different, concertos from the composer’s later years. Robert Levin once described K466 as ‘demonic’ – only a slight exaggeration, given its predominantly Sturm und Drang spirit: from the baleful turbulence of the first movement to the fretful third (upbeat ending notwithstanding), it’s a dark, dramatic work. K595, in contrast, is a personal, low-key affair, a refined pastoral idyll, composed for a smaller orchestra without trumpets or timpani and possibly intended for a chamber ensemble. As Daniel Isoir and La Petite Symphonie proved on their 2012 Agogique recording, a one-instrument-per-part version can bring out the music’s intimate, playful qualities to sparkling effect.

Brautigam plays both concertos with his customary brisk efficiency. His purposeful approach works well in K466, the scampering piano like a small boat darting through a stormy seascape, evoked with thrilling menace by Die Kölner Akademie. He’s less successful with the reflective K595, whose delicate poetry needs more time and care than Brautigam allows. He hastens through the concerto, taking each movement more quickly than any of the other seven pianists whose versions I have. Whether you hear K595 as infused with a bittersweet melancholy (it was Mozart’s last piano concerto, completed in the year he died) or as imbued with a sunny optimism (he immediately reused the closing Rondo for a song about welcoming the spring), you may feel cheated by Brautigam’s keenness to hurry the music along.

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