Recorded live in Berlin in December 1995 and March 1996, these performances compensate in spontaneity and animation what they sacrifice in surface polish. Barenboim directs from the piano, the Berlin Philharmonic responding with vigorous energy, and the dialogue and interplay between piano and orchestra are suitably conversational. The orchestral sound is full-bodied, with a slight emphasis on the bass in the tuttis; collectors who like their Mozart with a lean texture, or influenced by the sound quality of period instruments, may find the sound a little dense or saturated.
Barenboim’s performances are stylish and vividly characterized. He highlights the dramatic contrast between the passages of virtuosic brio and those of operatic allusion. Most convincing are the livelier sections where his pert articulation is thrilling. Occasionally I found the slow movements a little bland: in lyrical simplicity Barenboim’s sound can lack tonal beauty, and elsewhere his fortes are sometimes a little hard. That said, the good points comfortably outweigh any personal reservations, and given that these are live performances, it is the sense of enjoyment and spontaneity that are the primary selling points (despite the rough edges). The joyous and colourful account of the C major Concerto, K415, is for me the highlight of the disc. For a lasting document of these works, Murray Perahia and the English Chamber Orchestra are recommendable for the sheer beauty and elegance of their performances. However, Barenboim’s disc, recorded with good sound, is an excellent complementary version, wonderfully atmospheric yet with only occasional audience noise.'