If one asks why it seems a slightly odd idea to put three Mozart piano concertos in the same key on the same disc, the answer must be that it appears a trifle gimmicky, and one fears it has been done for a reason which has little to do with the actual music; rather like having a collection of records confined to music in the same key. Indeed, it may risk monotony. On the other hand, keys were important to this particular composer (see paragraph 20 of the Mozart article in Grove) and arguably it is interesting to see what this one drew from him in 1776, 1784 and 1791. In the case of the B flat major Concerto, K238, the inspiration is genial and the central movement lyrical and quietly sunlit—a quality brought out well by the warmth and sensitivity of Zoltan Kocsis and the skilful players of the Franz Liszt Chamber orchestra under Janos Rolla, and the limpid and agreeable digital sound accorded to piano and orchestra alike. Kocsis takes the rondo finale very rapidly, indeed at what might colloquially be called 'a fair old lick' that I would not recommend to lesser mortals, but his finger technique is equal to it and gracefulness is maintained.
Indeed, the performances of these three concertos convey the happiness and well-being of works which, for all their differences, we may in broad terms call life-affirming in spirit. They are very enjoyable for that reason, and in saying this I must not forget to add that Kocsis and his colleagues also do full justice to the places where shadows fall on the scene, as in the extraordinarily wistful G minor variations of the Andante un poco sostenuto in K456. I have heard more spacious accounts of the last concerto of all, K595 (Barenboim's 1967 account for EMI—part of a ten-disc set, 6/90—takes over two minutes longer in the first movement and around 1'40'' more in the Larghetto), but one does not feel that the playing here is hasty, simply alert along with the sensitivity.
All in all, a thoroughly stylish and well-recorded issue, with an informative essay by Tunde Szitha, which is in idiomatic English. If you want these three concertos together, don't hesitate.'