MOZART: THE PIANO CONCERTOS Géza Anda – piano and conductor Camerata Academica des Salzburger Mozarteums Deutsche Grammophon 469 510-2 8 CDs £ Complete Concerti for solo piano and orchestra; recorded 1962-1971; TPT: 10 hrs 13'16

Historical performance is not restricted only to the interpretation of, for example, a Bach cantata or a Monteverdi madrigal, since music is an art form that continually responds and adapts itself to an ever-changing environment. For instance, the evolution of musical instruments has ensured that instrumental timbres have undergone considerable metamorphoses: one only needs to look back to Toscanini's early performances of Beethoven symphonies to see that both sound and performance practice are markedly different to today. There are also other factors to consider; importantly, the advent of the recording. Crystal-clear sound reproduction demands technical perfection from its performers and, despite this having an adverse effect on the idea that interpretation, rather than absolute accuracy, is important, recent years have seen musicians increasing their technical skills in response to their critics' requirements for perfection. It is important, therefore, that we keep as much in touch with past performances as we do with today's, since both musicians and music lovers have much to learn from an art of playing that is slowly dying out, something that Anda's performances of the complete Mozart piano concerti clearly demonstrate. A sadly-neglected treasure house of refined and stylish playing, their re-release as part of DG's Collectors Edition is not only a bold, but a welcome decision.

Anda's approach captures the dignity and delicacy Mozart requires, something that has been achieved quite simply with a straightforward reading of the music – performance directions have been followed faithfully and both shape, detail and direction are given careful consideration. The result is a clear, easy to listen to performance that is free of presumptions, with a simplicity that is possibly more rewarding to the ear than any period instrument rendition. It is not all plain sailing, however, since, in earlier recordings (especially those that predate 1965, e.g. K238 – No. 6 in B-flat, recorded 1962), his touch suffers from a somewhat harsh quality. It is telling, however, that these were recorded in the Grosses Festspielhaus in Salzburg, and its somewhat woolly acoustic detracts very much from the clarity of the performance – something for which both orchestra and soloist seem to be trying to compensate; in this respect, the decision to record the remainder in the Kleines Festspielhaus and the Salzburg Mozarteum was a wise one.

The Camerata are, overall, first rate; there are some instances where intonation and ensemble is less than perfect, and I would prefer more attack in the long, semiquaver-ridden passages that accompany the more dramatic concerti. This is quite noticeable in the first movement of K 449 (No. 14 in E-flat, recorded in 1966), for example, where the initial impetus seems to go by the board towards the end of the development section. Overall, the Camerata seem to suit the more dignified passages, but a considerable amount of wit does become lost in the playful sections of, for example the final Allegro of K 595 (No. 27 in B-flat, recorded in 1971), where the important interplay between Mozart's tomfoolery and his more serious, sober side should perhaps be taken to greater extremes.

...not only do we have the unique opportunity to hear consistently high-quality performances, but we are provided with a well-presented collection that, at a mere thirty pounds, is excellent value for money.

What is important here is that we see the results of a long-term artistic collaboration between Anda and the Camerata, and although there is little to be seen in terms of the evolution of their relationship – neither early nor later recordings display any disparity of style or practice – we are provided with a consistency that, whilst providing little in terms of variety, is nevertheless of the highest order.

For those who do prefer that diversity, Volume 7 of the Philips 1991 Complete Mozart Edition (4225072) might be more appropriate, since it includes a wider range of orchestras and soloists from Ton Koopman to the Labèque sisters. That said, this release is one that cannot be recommended highly enough; not only do we have the unique opportunity to hear consistently high-quality performances, but we are provided with a well-presented collection that, at a mere thirty pounds, is excellent value for money.

Alex Barton