An odd suggestion, perhaps, but start by playing the Larghetto of K413. Conductor Michael Alexander Willens sets the scene, the musicians readily responding to his feel for melody, its rise and fall in the orchestral exposition contoured by microscopic rubatos and elastic shaping. Enter Ronald Brautigam in the ninth bar and the momentum continues, mood-set unbroken. The Alberti bass accompaniment that runs almost continuously isn’t a continuously monotonous clatter. Subtle variations in tone and articulation match a singing line from the right hand, the written cadenza enhanced through expressive detail.

This sort of artistry suffuses the whole production. Here is Brautigam at his best, a quality not regularly experienced in other performances within his Mozart concerto series. You will not hear those touches of brusque coarseness and prosaic indifference that often marred the picture. Instead he matches Willens in portraying the gamut of varying characteristics in these works with an intensity that is both robust and refined. The spontaneous impetuosity of the first movement of K246 is one instance; another is the supreme interpretation of the mercurial finale of K415 – trumpets and timpani to the fore in this the grandest of the three concertos, and the only one with parts for bassoons in all movements – operatic in nature, the music switching from C major Allegro in 6/8 time to C minor Adagio in 2/4, a free-flowing unbarred cadenza in the middle plus the surprise of a quiet ending. Include a nicely transparent SACD recording and you have a very desirable disc.