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It is a rare treat to hear these early concertos played with one instrument to a part (Mozart prepared versions for piano and string quartet). Fialkowska is not the first to have captured them on disc in this form (there is an EMI set by Collard, for example), but her offering is pure delight.

The scaling down seems to aid the vibrancy of the K415 Allegro. The bracing string exposition leads to Fialkowska’s charming reply, which at once exemplifies her approach throughout: clean articulation, perfectly placed accompaniments, perfect melodic projection. All this is captured in a recording of stunning immediacy and presence.

The first movement cadenza is beautifully handled, a thing of delicacy and beauty (the re-entrance of the strings is a letdown, though, as one misses a full ripieno for the first time); and the sense of timeless floating in the central Andante is a real highlight. Only the finale brings a caveat. The humour, so vital here, is missed; in recompense, the slower minore episodes are properly thought-provoking.

The opening of K449 is gentle rather than energetic. Indeed, the word ‘civilised’ would seem to encapsulate this entire performance (the Muir Quartet, with Collard, provide something larger-scale).

On Naxos, Robert Blocker and the Biava Quartet provide, on the surface, a more logical coupling (Concertos 12-14), but the ATMA release instead includes a perfectly judged set of Variations and a bright and breezy ‘Eine kleine’ to complete a most satisfying, beautifully recorded disc.

COLIN CLARKE Read the full review on Agora Classica

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Piano International, 2013 - ©Rhinegold Publishing