Keith Jarrett’s Mozart is clean and precise, sensitive in phrasing and rubato, with embellishments of the solo line from time to time, always in excellent taste. But his speeds are often slightly slow, robbing the music of wit and nervous energy. And although the dynamic range of the recording is wide, that of Jarrett’s playing (at least as rendered here) is not, which makes for a disappointing lack of light and shade. I am inclined to blame the recording for some of this: the orchestral sound is bass-rich, smooth and rather fat – the orchestra seems larger than it actually is – while the piano, seemingly in a different and more reverberant acoustic, sounds huge but not quite in focus. One of the reasons I blame the recording for part of this negative impression is that the orchestra on its own (in the G minor Symphony) sounds much more like a chamber group and gives a very competent performance. In the concertos the sound is curiously old-fashioned and rather ponderous; combined with the well-turned but not very characterful suavity of the solo playing the overall effect is dull.'