Hélène Grimaud has provided a thoughtful program for this, her first ever Mozart recording. The two concertos, both in sunny major keys, are not among the most often recorded of the composer’s output, and there is a substantial addition in the form of a concert aria, originally from Idomeneo, for soprano and orchestra with piano obbligato.

The recording is full-blooded, not unlike Grimaud’s playing. This is not the gentle, caressing Mozart of Maria João Pires. Grimaud finds both strength and depth in the Adagio movement of the A Major Concerto (No 23, K488), taken slower than usual, and a bubbling vivacity in the work’s Allegro assai finale. Similarly fine pianism characterises the F Major Concerto (No 19, K459), where she conveys the carefree nature of one of Mozart’s brightest and breeziest works.

Erdmann sings the concert aria with poise, understanding and spot on intonation. In a live context she may have a small voice, but it records beautifully. Again Grimaud’s piano is an asset.

The downside of this disc lies in the fact that these are live concert recordings. In big dramatic works the presence of an audience can galvanise a performer, but this is not so necessary in Mozart. Unlike other pianist/conductors in this repertoire (Barenboim, Perahia and especially Richard Goode), Grimaud fails to get the best out of the orchestra. The strings’ articulation could be more pointed, balance is sometimes iffy and neither concerto starts confidently. The recording would have benefited from studio conditions or a conductor.