These fresh, appealing performances stand up well in an awesomely crowded field. With her gut-strung Amati, Monica Huggett does not, of course, rival modern-instrument virtuosos like Grumiaux, Szeryng and Perlman in brilliance and dynamic range. But these concertos gain much from her sweet, slender tone, her light, buoyant articulation and her beautiful control of colour in piano dynamics. The passagework in the opening movements of the first two concertos can often seem tedious in high-powered traditional performances; but the lighter period bow and Huggett's deft touches of timing and shading invariably lend wit and point to Mozart's sequences of triplets and semiquavers. The finales of both these concertos are delightfully lithe and airy, while the closing minuet of No. 5 is unusually delicate—though there is plenty of gusto in the A minor 'Turkish' episode (from 3'59"). In the three slow movements other performances may be more overtly expressive, freer with rubato; but Huggett's purity and poise, her subtle graduations of vibrato and her gentle eloquence of phrase are very persuasive. At one or two points I thought her line over-inflected with dynamic nuances: in her first entry in No. 1's Adagio, for example (1'08"), she crescendos into each of the longer notes, with slightly fussy effect. Here and occasionally elsewhere I would have preferred a broader, simpler line.