deeply-felt performances of some of the very greatest among the solo keyboard works...these performances leave a strong impression. Among the highlights is Bezuidenhout's expressive account of the tragic A minor Rondo K511. Elsewhere, Bezuidenhout is unfailingly imaginative with his own ornamentation. The reproduction Anton Walter pianos he uses are warm and sonorous.

There have been a few recordings on historical instruments made in recent decades, but Bezuidenhout rivals them all for the breadth of understanding he brings to the music, and his astonishing inflections of colour. He is able to make the fortepiano really sing – such an important aspect of Mozart’s music...this is shaping up to be a truly great cycle that does Mozart’s solo piano music the fullest justice.

Any inbuilt resistance to hearing Mozart on a fortepiano rather than a concert grand quickly evaporates as the ear begins to relish the piquant colours and subtle nuances that Bezuidenhout produces...The best of it (K511, 540 and 457) sounds revolutionary while the rest cannot fail to charm.

This is Mozart rethought, unsanitised and maybe unsettling for some. But as Bezuidenhout implies, we have to move on.

There is nothing to fault in the playing, with Bezuidenhout displaying immaculate control of the refinements of tone of a fabulous fortepiano...This is Mozart playing of such intimacy and tenderness, on an instrument able to respond with similar subtlety and nuance

Throughout, Bezuidenhout transcends the apparent limitations of his instrument — a modern copy of a Walter fortepiano — with a remarkable range of colour.

Bezuidenhout steers a wonderful, measured course through both works [Rondo and Adagio], but allows himself a bit of freedom in the two sonatas...Both are perfectly proportioned accounts, with every rhythm neatly sprung, and inflected with a splendid range of keyboard touch and colour.

Bezuidenhout promises great things, and this instalment is superb. The keyboard is perfectly scaled to the music: Bezuidenhout can give the C minor sonata (K457) full force and weight without ever sounding overblown, while the exquisite A minor rondo and B minor adagio have a gentle, unforced eloquence.