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Performances to encourage an investigation of Mozart’s rarely played apprenticeship to the piano concerto trade [MG]

Emelyanychev convinces me that Symphony 5 is Schubert’s first symphonic masterpiece and he demonstrates the distinctiveness of Symphony 8, too [MG]

A showcase for the superb ‘Next Generation Mozart soloists’, a little flawed by the use of a hackneyed 19th century version of the Sinfonia concertante [MG]

Damgaard often achieves a wonderful calm in inspired interpretations [MG]

Crawford plays splendidly but spotlighting him disadvantages the orchestra [MG]

Willens is both stimulating and instructive. For me, he proves Mozart wants you eager to listen beyond the overture [MG]

The gloriously expressive slow-movement ariosos are the highlights [MG]

I like the directness and clarity of Rubinova’s approach [MG]

This finely considered account combines freshness with thematic and structural clarity [MG]

Fou’s artistry and expressiveness shows no dimunition in these late, live recordings excellently remastered by Pristine [MG]

Not everything gels perfectly, but when it does Klumpp impressively catches Mozart’s sense of adventure in a whole new world [MG]

(Déjà Review) Beautifully played orthodox performances of a cultivated homogeneity [MG]

Fischer balances the suavely light and the resiliently heroic [MG]

Mettlesome accounts, sometimes less smooth and sophisticated than Herreweghe’s, but a radiant slow movement of No. 2 [MG]

Bavouzet and Takács-Nagy are unsurpassed in sensitively conveying Mozart’s varieties of mood, but K415’s finale is diminished by a plethora of eingangs and a rescoring [MG]

Consistently magnificent performances, but comparison has a sting in the tail [MG]

Illuminating, especially the clarified swing between minor and major perspectives in Concerto No 20 [MG]

Metz’s playing has admirable directness of approach, but the lovely Clementi square piano is a revelation [MG]

Once accustomed to Herreweghe’s robust bass and firm sforzandos, I enjoyed his overall rounded approach and the superb brass playing [MG]

Bavouzet and Takács-Nagy are an ideal partnership in demonstrating the zest, eloquence and operatic underpinning of Mozart’s piano concertos [MG]

The first recording of all Songs of sundrie natures in exemplary performances show Byrd’s charm, humour and unwavering focus on the key messages [MG]

A refreshingly intimate account of Schubert’s impromptus in masterly performances by a fortepiano player of unparalleled recording experience [MG]

Excellent playing, woodwinds especially, but Brüggen brings more compelling, dramatic impact [MG]

Bavouzet’s prolific ornamentation mars the poignancy of K491’s slow movement; but the edginess created in K503’s finale is revelatory [MG]