Perform K449 as conceived with oboes and horns – not just for strings as Mozart also sanctioned – and the difference is palpable, especially with period instruments as here. And dramatic indeed is the sound of horns crooked to play at written pitch. Yet not quite as dramatic in this recording, because the orchestra is a little backward in relation to the fortepiano; which doesn’t help a small string complement, beginning with four each of first and second violins. Ronald Brautigam, playing continuo too and varying as he usually does from insouciance to dedication in concert or studio, shows his negative side in the first movement, an Allegro vivace without much vivacity either from him or Michael Alexander Willens. Both err towards bluntness in a slow movement too fast for Andantino (the diminutive of Andante, strictly speaking meant to be slower) and rattle through the finale at a tempo that’s beyond Allegro ma non troppo.

Despair not. Brautigam puts his best foot forward for the remainder of the programme, and with Willens in far finer form they offer an interpretation of K467 that scales the heights of a work on a symphonic scale, both artists refusing to stint on a creative approach to the score. It’s a remarkably superior performance, excellently engineered, all instruments realistically balanced with one another; and Brautigam’s superiority extends further to offer Carolyn Sampson a flexible give and take to support her expressively phrased and perceptively discerned text of Ch’io mi scordi di te?