It’s been a long, long road for Robert Levin’s survey of Mozart piano concerti. He started the project, incredibly, back in the early ‘90s, and here we are, finally, heading towards the conclusion. John McMunn, the chief exec of the Academy of Ancient Music writes that “by 2020, the cycle began to seem doomed to remain incomplete forever” but concludes “instead of asking ‘why now?’ we all at AAM began to feel the real question should be: why not?”. So, this disc heralds the beginning of the end of AAM/Robert Levin Mozart concerto performances, and it’s a real reminder of (a) just how good Mozart is, and (b) how good Robert Levin’s Mozart is.

The disc starts with the Piano Concerto No. 21 in C, K467 (aka the “Elvira Madigan”). Immediately, the comfortable rapport between Levin and the AAM (and Egarr) is absolutely evident, and Levin’s innate understanding of every note Mozart wrote springs out of the speakers. Incidentally, there are notes Mozart didn’t write, too – Levin’s long argued for improvisation as being as intrinsic part of Mozart’s music, and he’s totally...