Modern instruments they may be but horns in B flat alto, exultant in the first movement of K238, signal an important point: you don’t need to feel cheated of period attack or timbres. The Orchestra da Camera di Mantova – violins separated – is a refulgent band, closely recorded though. Some distance would have lent enchantment too. Yet it’s easy to be captivated. Concertmaster Carlo Fabiano doesn’t simply lead his forces mechanically; he gives meaning and expressive weight to the orchestration, Angela Hewitt the experience of valuable thought and feeling.

The slow movement, Andante un poco adagio, perhaps a little slower than expected, is but an example of how she thinks and feels. Instantly noticeable is her strong left hand, varying the intensity and accentuation of the triplets to match her shapely treatment of the melody. Hewitt is as touching here as she is graceful in the Tempo di menuetto of K246, a captivating movement that here precedes Mozart’s lofty Jeunehomme Concerto, K271.

It’s a high point. An opening movement, of grand utterance from these musicians, shows that Mozart was maturing artistically. The Andantino in C minor, seen in a light of grave beauty, is the deepest yet from him. And a Presto finale, with a minuet in the middle, is as startling as the piano entry in the second bar of the first movement. But in Hewitt’s hands this is no artless dance; instead, something profound, as you’d expect of her – and get.