This is a real bargain. Howard Shelley plays with distinction throughout, and so do the City of London Sinfonia. The pianist gives the music of K467 authority, but is delightfully flexible too, for example in the dolce elements in his initial entry in the first movement and the espressivo quality of the G minor passage leading to the G major second subject—which in its turn has charm without winsomeness. Shelley's direction from the keyboard is good too: orchestral phrases are well moulded in tone and (stylish) rubato, ensemble is admirable and textures are well integrated. The piano is perhaps somewhat to the fore, but this should trouble no one; no should the use (I think) of a modern grand, when it is played so stylishly as this. Yet another feature I admire is the choice of tempos generally, which seems to me just right. In the ''Elvira Madigan'' Andante of this Concerto it's possible that some listeners would like just a bit more conscious romaticism and sensuousness of tone, but the approach seems about right taken in the context of the whole work, which obviously it has to be. The finale dances along briskly but without breathlessness.
We know that Mozart reworked the score of the C minor Concerto, K491, quite extensively: evidently the piece gave him trouble and equally evidently he felt that the extra work was essential. It is scored for the largest orchestral group he used in the concertos and has a long and stressful passage for these players before the quiet but curiously unrestful entry of the soloist. Howard Shelley brings out all the drama of this music without ever falling into the trap of exaggeration or out-of-style rhetoric. And so one's praise might go on. It is clear that I have found this issue very worthwhile, and one need not dwell on further detail, though I cannot forbear to call attention to the wonderful Larghetto of this concerto. The sound is a trace close and reveals the odd click and creak, but is a pleasure overall. I would only say that I wish the composer of the cadenzas played (quite extensive ones, too, in these concertos) had been identified in the notes—which in their brevity and comparative simplicity of style are the only thing that tells us that this is a CD at well below normal price.'