The fourth instalment in Kristian Bezuidenhout’s Mozart solo keyboard music cycle proves remarkably consistent in relation to the previous three volumes, regarding the fortepianist’s superb technical acumen and musical intelligence, as well as interpretative affectations that seem more precious than stylish. It’s little details that give Bezuidenhout away, such as the contrived ritard in the second subject of K311’s first movement or the slow movement’s dynamic hairpins that draw attention to themselves rather than the melodic trajectory. Here Ronald Brautigam (BIS) is more subtle and straightforward. Also observe Bezuidenhout’s agogic stresses in the C major Fugue, K394, compared alongside Brautigam making interpretative points more through articulation and balancing of lines. At the same time, one ought to credit and (hopefully) admire Bezuidenhout’s elegantly turned left-hand work in K283’s finale and his assiduous tempo relationships throughout the Je suis Lindor Variations. Bezuidenhout opens the disc with the D minor Fantasia, K397, as it exists in manuscript, minus its concluding bars, which allow the pianist to dovetail seamlessly into K311’s opening measures. After K283, Bezuidenhout reprises the Fantasia with the standard ending, believed to have been penned by August Eberhard Müller.

Bezuidenhout’s Mozart concerto collaborations with the Freiburg Baroque Orchestra were recorded with a microphone set-up that places the keyboard in the centre, winds in a line facing the piano and strings both around and behind the piano. In addition, orchestral players are given free rein to embellish their solo lines, while the K386 Rondo’s piano and forte markings respectively represent solo and tutti string textures, as per the Bilson/Gardiner recording (Archiv). Other quiet moments assigned to solo strings include the C major variation in K482’s Andante and the same concerto’s third-movement A flat major Andante cantabile. There’s much to savour in the energy and zest that the musicians bring to both concertos’ sprightly outer movements, yet the strings’ scrawny sonorities obscure the expressive potential more fully realised by the English Baroque Soloists. K453’s central Andante exemplifies what I mean: Gardiner’s violin section’s more focused tone and minutely calibrated dynamic swells in lieu of vibrato contrast with the more pronounced and fragmented results that the FBO’s violins produce. Furthermore, despite Bezuidenhout’s sincere efforts on behalf of equal say between soloist and orchestra, the recorded balance seems to make his brightly voiced instrument dominate, in contrast to Bilson/Gardiner’s clearer orchestral image and more judicious balances. Despite these reservations, however, Bezuidenhout’s spirited style and authoritative fingerwork never operate at less than world-class standards.