Although primarily associated with the Spanish repertoire Alicia de Larrocha has increasingly found a special place in her affections for Mozart. Doubtless, Mozart’s more contained and formal genius provides a refreshing change from the often torrid intricacies of Falla, Granados and Albeniz. And now, having found her direct to the point of plainness in some of her previous Mozart discs (1/92, 3/93 and 7/94), I’m delighted to say that here she has recovered her finest form. Her distillation may be essentially that of a great artist in the autumn of her career, but there is little lack of energy or concentration. True, you will notice a certain stiffness at the start of the Romanze in K466 and a tendency for the rhythm to fray at the commencement of the first movement development. However, although these performances are occasionally vulnerable around the edges they are much more frequently keen and alert. The spare lines of the Romanze are discreetly decorated, and in the central downpour, Larrocha’s elegant detache creates an ideal style and perspective rather than a more overtly virtuoso drama.
To an even greater extent the same qualities colour and pervade the great C major Concerto, K503. And here, after so much ardent romantic prophecy resolved in smiles through tears, the ceremonial opening tutti comes like a burst of sunlight, magnificently robust and truly maestoso in Sir Colin Davis’s hands. Taking her cue from her distinguished partners, Larrocha provides some of the most vital and energized playing in her ongoing series of the complete Mozart piano concertos, with more than a touch of radiance in the Andante and a delightful lifting of the spirits in the finale. In the ever-enchanting second subject she shows that you can mirror Mozart’s greatness without a hint of mannerism; without recourse to anything fancy or extraneous.
You may look elsewhere for the quality of revelation, yet in their transparency and vitality these performances (particularly of K503 which Larrocha recorded previously for Decca, 9/79 – nla) are outstanding. Sir Colin’s partnership is affectionate and exemplary, the recordings are spacious and pleasingly grainy and the cadenzas (by Badura-Skoda in K466 and Casadesus in K503) are novel and adventurous.'