“These are hidden operas,” says Piotr Anderszewski of Mozart’s piano concertos, but he also says that he understands these works as chamber music. That may seem contradictory, but only until you hear the results. This is the playing of someone who has lived with this music for decades but continues to seek new meaning in every bar. One of the many delights of this album is hearing Anderszewski and his marvellous band explore every corner of these pieces for expressive possibilities, and yes the results can be simultaneously operatic and intimate.

Take the Larghetto from Piano Concerto No 27. The interplay between soloist and ensemble is so assured that there is no question of anyone accompanying anyone else. In fact the orchestral introduction is so expressive and self-contained you are almost surprised when the keyboard...