There are several unusual features about this disc. First, the fortepiano employed is one (unsigned) that belonged to Mozart himself. Secondly, an earlier version of K450’s Andante – whose existence is not even mentioned by Kochel, Einstein, Hutchings or Grove – with significant differences in the shape of the theme is included besides the usual one. Thirdly, Robert Levin, by playing along in tuttis, improvising cadenzas and lead-ins (apparently differently at each take, which must have posed problems for the producer, Chris Sayers) and liberal embellishments, providing new left-hand parts for K537 (whose printed form has always seemed unsatisfactory) and adopting some of Mozart’s original, more difficult readings in K450 (recalling that he said the work was “bound to make the performer sweat”), has boldly opted for performances with an element of spontaneity and non-familiarity such as Mozart’s own audiences would have experienced.
The results are delightfully fresh and vital, with clean-fingered playing by Levin, effectively contrasted dynamics in the orchestra and well-judged balance between the protagonists. The wind are excellent, the finale of K450 is splendidly light-footed: I just wish Hogwood hadn’t bumped the ends of the initial phrases of its Andante; and in K537 he might have heeded Richard Strauss’s advice not to look encouragingly at the trumpets, who in the first movement are somewhat over-enthusiastic. The biggest surprise comes in the slow movement of this D major Concerto, where Levin often offers a free (but stylish) paraphrase of the solo part. There is an A just below middle C on this fortepiano that gives off a curious tinkle whenever it is struck, and in the initial Allegro of K537 this becomes a bit obtrusive; but it’s not enough to put one off a thoroughly illuminating performance. Do hear it.LS