Comparison of this performance of K466 with that by Serkin (DG) is the more interesting in that both artists were pupils of the same Vienna teacher, Richard Robert (though faulty English translation of the note reverses the chronology—Haskil was of course the older). These two concertos must have been about her last recordings, made only a month before her death in December 1960. When they were first issued, Jeremy Noble detected signs of strain in them; but I was unaware of this, and found myself applauding the neatness, poise and shapeliness of her playing—using (with advantage) less pedal than Serkin and revealing more rhythmic impetus—and her feeling for Mozartian style, particularly in the impassioned outer movements of the C minor Concerto, which stands up well against many more modern performances, though the Lamoureux wind section lacks commitment in the Larghetto. The overall sound, thanks to the digital refurbishment, is surprisingly good.LS