Circumscribed Mozart this is not. The Kungsbacka Piano Trio avoid the dispassionate literalism of so-called authenticity. They are musicians of enlightened individual and collective probity who incorporate stylistic niceties into interpretations that are all the more authentic for being authentically felt, and absorbingly communicated. Pianist Simon Crawford-Phillips has the leading role in the music but he does not dominate the proceedings. Get over the initial regret of hearing him smooth out the surprise inherent in Mozart’s fractured phrasing of the opening melody of K542, and follow an artist who creates tension not through a drily percussive attack but through a weight of expression shared equally between both hands; and with a control of instrumental colour and nuance, also a characteristic of his partners Malin Broman and Jesper Svedberg.

No routine note-spinning here. Consider the tasteful decorations in the first-movement exposition repeat of K548, the thoughtfully questing consideration for its development beginning in G minor, the lyrical, affective interplay in the Andante cantabile and the microscopic rubatos discreetly sprinkled in the Allegro finale to stop a descent into mechanical glibness. Consider too how a similar level of artistry is carried over into K564, hushed at the beginning of the D minor section in the first movement with the finale’s “swing” of 6/8 appropriately captured. And vigilance isn’t relaxed for K442 either though Maximilian Stadler’s completions of these fragments aren’t always of Mozartian quality. The cello may sometimes be a touch backward but, otherwise, recording quality is very good.