Courtesy of tapes owned by Lord Harewood, the two Aldeburgh performances of Mozart works with Britten as soloist amply demonstrate his prowess and artistry in the music of a composer he so cherished. They become precious additions to the small discography of Britten playing music other than his own.

In the concerto one marvels at Britten’s virtuosity married to the innate musicianship of his interpretation. The balance, rhythmic control and clarity of touch make for mercurial readings of the outer movements, while in the Allegretto it is the airy gentleness of the playing that so pleases the ear. With Britten conducting from the piano, the EOG Chamber Orchestra seems wholly integrated with his vision of the music.

A similar thing happens in the quartet where the Amadeus match and contrast with Britten’s inward, thoughtful contribution. There is wit to add to the vitality in the outer movements, while the enunciation of the ineffably beautiful theme of the Larghetto is heart-stopping in its eloquence. The piano is a shade too backward in the quartet; otherwise the sound is more than adequate.

The faultless mono recordings by Decca of the folk songs are familiar but no less welcome here. I was delighted once again with Britten’s inspired arrangements, particularly those for The Miller of Dee and The Ash Grove, which at once enhance the quirky melody and add their own commentary. Peter Pears sings them with a perfect line and with tone that gives a peculiarly plangent feeling to these heady melodies gleaned from the past. This well-filled CD is a must for all Britten and Mozart enthusiasts.