It finds [Marriner] and the ever-faithful Academy of St Martin in the Fields doing what they did best: Mozart in elegant, unpretentious style, with great attention to detail that never unbalances the bigger picture and longer lines. This is Mozart for both heart and mind, without distraction by mannerism of exaggeration…from this recording [Son] is well worth Marriner’s attention and ours.

The first impression is a reminder of what a stylish Mozartian the late conductor was, his Academy musicians rolling out a plush carpet for Son’s entrance…Son is clearly her own woman, however, with a broad dynamic palette and a keen awareness of style…She takes care not to grandstand, blending well with the orchestra In a closely recorded acoustic…This is an uncommonly fine Mozartian debut.

[K467] What a sparkling performance it is! Marriner bringing a lifetime of experience to produce an accompaniment of youthful energy to match that of the soloist a third of his age. he opening Allegro maestoso is exactly that, fast and majestic, its grandeur subtly drawn in what is one of Mozart’s finest creations. Her phrasing of the celebrated Andante is a model of restraint and delicacy, reminiscent of Curzon at his best. The finale breezes along, a model of harmony between soloist and orchestra. Yeol’s brilliant account of the 10th Sonata rivals Christian Blackshaw’s Wigmore account; and her polished interpretation of the Fantasy in C minor concludes a rather fine disc.

A model of clarity and fleetness.