This is the composer, writes the South Korean pianist…who always brings him joy – and there’s a sense of that uncomplicated, direct relationship with the music in his playing. Not that it’s easy to perform, and Cho is always elegant, even and measured…If another concerto might have been more satisfying than the sonatas that complete the disc, Cho’s refinement is always impressive.

Cho talks in the booklet interview about how much Mozart means to him and that conviction is apparent in these performances. He couldn’t wish for a more empathetic conductor than Yannick Nézet-Séguin, while the COE combine the warmth of a traditional orchestra with the characterful wind and brass of the period-aware.

In the concerto, with its darker-than-usual colours, the orchestra are the stars of the show. Nézet-Séguin keeps the accompaniment moving with great energy, drawing out some exquisite playing.

It comes as no surprise to learn that listening to Mozart’s operas — rather than his piano music — as a child has informed Cho’s “demonic” interpretation of the outer movements and the interlude of the Romanze...The COE’s woodwind soloists and Nézet-Séguin revel in the conversational “operatic” interplay with the pianist, in a performance that always sounds fresh-minted.