Ingrid Jacoby pairs two of Mozart’s most delectable concertos on her new disc, which is rounded out with the early D major Rondo. At her finest, she displays a wonderful clarity of fingerwork and she’s particularly impressive in the irrepressible 6/8 coda that closes K449. However, Uchida and Perahia find even more glee in this movement and manage to be simultaneously immaculate and spontaneous-sounding. Although it’s easy to understand the temptation to emphasise the Andantino’s sinuous lines with a slowish tempo, it does make life more difficult for the soloist, and one that Jacoby doesn’t entirely overcome. Pires finds a perfect balance between expressiveness and momentum here, cushioned by Abbado’s Vienna strings.

Marriner is an ever-attentive partner, coaxing much characterful playing from the ASMF, not least in the Larghetto of K595. But again Jacoby can’t quite compete with the finest in terms of tone production and poetic phrasing. If Uchida is arguably too self-consciously beautiful here, an effect increased by Tate’s highly reactive ECO, then Perahia, Brendel and Goode are all effortlessly alluring, and Pires brings off that difficult trick of shaping each phrase lovingly without ever sounding mannered or self-indulgent. Jacoby’s finale is very crisp but just a little po-faced: she lacks the ease of Perahia and the deliciously skipping quality that Goode conveys. A similar earnestness informs Jacoby’s approach to the variation-form Rondo – alongside which Perahia is wonderfully relaxed. The recorded quality is pleasingly natural and the booklet features a class act from Richard Wigmore.