These are clear and stylish readings, well up to the standard that Howard Shelley has set in his previous Mozart concerto performances (1/92, 11/92 and 6/93). The playing of both the soloist-director and the London Mozart Players is assured, relaxed and unfailingly enjoyable, allowing the music to unfold very naturally. As before, Shelley demonstrates his fine judgement of that very important matter, tempo, and textures are also well served; the recording gives quite a bold sound to his modern piano, but its overall immediacy and warmth are not excessive and the balance is just right. Phrasing is another area deserving praise: Shelley and his expert team manage to shape the music gracefully without falling into the slightly mannered delivery which can affect other artists in this repertory. Finally, cadenzas have the right balance of freedom and formality.
Have I nothing adverse to say? Well, no, though perhaps I should suggest that the two 'slow' movements here—the quotes are because that of K414 is an Andante and K459's is an Allegretto—are richer in style than will suit many tastes: they do not sound authentic in period-performance terms, but then this is another kind of performance and I find it perfectly convincing. Try the second movement from K414 if you are in doubt.
No reservations elsewhere, though. The opening of K459 (without piano, of course) shows Shelley the director at his most attractively buoyant, as well as demonstrating the skill of his players, and the piano entry just before the two-minute mark is of a piece with the rest, crisp yet songful. Collectors following this pianist's ongoing Mozart concerto series need not hesitate to acquire this latest disc. The excellent recordings earn a tribute to Ralph Couzens's team and their chosen London location, St Jude's Church, Hampstead.'