I must confess to deriving more pleasure from these Mozart performances than from the more 'authentic' versions with fortepiano, period or replica classical instruments, and low pitch, that I have also listened to recently. These have been by Malcolm Bilson and, for the A major Concerto, Steven Ludin (reviewed below). In fact, I may as well declared a preference in this music for the modern piano and orchestral instruments when they are played so skilfully as this and enjoy, as here, a good recording—save for the excessive reverberation, as on the final tonic unison of the A major Concerto. Louis Lortie, himself a native of Montreal, and the Montreal players under Yuli Turovsky give a stylish account of both works, and the vivacity of the quicker music is no less admirable than the expressive depth of the slow movements. Warmly recommended.
Malcolm Bilson and the English Baroque Soloists under Gardiner on Archiv Produktion are sure if a little unsmiling, and they too are successful in terms of the kind of authenticity that they seek, although not all will care for the tone of the fortepiano (e.g. in the first entry of No. 14).'