Bezuidenhout has recorded Mozart’s complete solo piano music as well as a couple of later concertos, all well receieved in these pages and elsewhere, so no question hangs over his sympathy for the style. The thin booklet, however, leaves a couple of matters unresolved. One is is the authorship of the cadenzas in K413, presumably Bezuidenhout’s own. The other is the identity of the fortepiano, which one assumes is the Paul McNulty copy of an 1805 Walter as used on the pianist’s last disc of concertos (1/13). It’s a fine-sounding instrument, and adds a percussive bass as Bezuidenhout accompanies the Freiburg Baroque Orchestra’s tuttis. There’s plenty of interpretative freedom, too, as the soloist takes Mozart’s scores as a starting point rather than as the gospel handed down from above: Mozart’s piano concertos are famously unfinished in many cases, so some fairly aggressive intervention from an editor or a performer is often required; and even though these three were published, and therefore presumably more ‘complete’ than, say, the Coronation Concerto, the necessity remains for an interpretative ‘brain’ between the score and the fingers. Mozart encoded his memorial to JC Bach in the slow movement of K414 and Bezuidenhout plays this with a touching simplicity; elsewhere he is superbly responsive to the music’s high spirits and to the possibilities inherent in these scores