I have already expressed admiration in these pages for Howard Shelley's playing of Mozart's piano concertos and am glad to do so again in full measure.
The E flat Concerto, K271, is unusual in that the soloist makes himself heard almost at the outset, and although thereafter the first movement unfolds in a more conventional sonata shape, there is always a certain sense of economy in the structure—though to talk of terseness would be misleading, for although there is no padding there is certainly no feeling of paring either. The performance is warm, vigorous or gentle as the music demands, and altogether stylish. As a soloist director in this repertory, Howard Shelley has often worked with this fine London orchestra and the evidence of their rapport is clear from the very pleasing results. I really need not single out details when all is so satisfying, but feel that a hearing of the work's beautiful C minor Andantino will convince most listeners of the real distinction of the playing.
What else is there to add about this performance of K271? Only that the buoyancy and gaiety of the finale (which also incorporates an unhurried rococo minuet that JOC calls ''Watteau-like'' in her valuable booklet note) is no less pleasing: indeed, it is a delight. As for the G major Concerto, K453, it is something of a favourite of mine and has a key which, for all its seeming ordinariness, is rare in Mozart. It, too, receives a performance that I can only praise for its fine balance of skill, sensitivity and sheer naturalness—the latter being a quality high on my critical list. The recording, made in a south London church, is clear yet atmospheric, with the tone of the soloist's instrument (a modern one) caught to perfection and a fine balance with the other players: as so often in the case of Chandos issues, the producer Ralph Couzens deserves praise and one feels that the whole team must work happily together, with artistic and technical matters each receiving their proper weight. Congratulations to all concerned!'