Fialkowska's canny combination of rhetorical splendour and individual exuberance is beguiling - this is not delicate, decorative Mozart...Fialkowska is at her invigorating best in the highly contrapuntal weave of the finale, where her unobtrusive enlivening of inner voices, most particularly in the bass, is simply exhilarating. Few performers capture so engagingly the sheer fun in Mozart.

Fialkowska’s treatment is crystalline and unsentimentalised, lending the music a spontaneous fluency that is invigorating

If Fialkowska occasionally slips into some tensionless playing in the fast movement, her performances of the slow equivalents are insightful...Virtues are to be found in these performances of the concertos but they don't compensate for reductions in scale brought on by the absence of woodwind and brass (plus timpani in K415)

Fialkowska's refined delicacy suits this arrangement admirably, forcing us to revisit the music afresh and listen again to the clean lines of accompaniment delineated so strikingly by string quartet and double bass.