A few years ago the horn player Sarah Willis fell in love with the music and culture of Cuba. This is the third disc inspired by that passion, and an earlier entry in the series received an enthusiastic welcome here from Andrew Farach-Colton (9/20), who found Willis’s playing ‘absolutely ravishing’. But to recap: essentially, Willis has recorded a Mozart concerto cycle with the Havana Lyceum Orchestra under its founder-conductor José Antonio Méndez Padrón, with each disc also containing a selection of locally inspired bonus items.

The cycle is now complete, but if you’re new to Willis’s Cuban project this would make as good an entry point as any, featuring as it does the fourth of the Mozart concertos as well as the almost-certainly-mostly-authentic Sinfonia concertante for winds, K297b. The result is a treat, uninhibited by notions of historical performance style, but with the Havana orchestra playing crisply and buoyantly nonetheless. Willis enlists three of her fellow principals from the Berlin Philharmonic, who play with an eloquence, a generosity and a warmth (Stefan Schweigert’s bassoon is particularly characterful) that matches Willis’s own audible enthusiasm.

The same qualities make Willis’s K495 just as gorgeous: her attack is firm without ever being fierce and the luminous lyricism of her tone (particularly striking in the lower register) makes a delicious complement to the vivacity of the orchestral playing. My only reservation is that the orchestra is perhaps a little too far back in the sonic picture. But two of the Cuban ‘encores’ showcase the sound of the HLO in all its richness and flexibility, while Willis’s playing in Olivero’s Rondo alla Rumba avoids cheesiness through charm alone. This whole disc is so happy that it’d be churlish – and probably futile – to resist.