If “heavenly” is also meant to confirm cosy notions about how Mozart is performed, listeners will be certainly surprised by the thought-provoking account of the concerto featuring Sydney pianist and academic Neal Peres Da Costa, who brings his wealth of knowledge about early performance styles to the task.
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Presented as a study in contrasts, the symphony opens with bristling Sturm und Drang elements well realised by the orchestra that give way to poised dance-like traits in the second and third movements before the players unleash a vigorous attack on the fugal finale. This triumphant conclusion with its incisive rhythmic bite may well signal that Mozart is in heaven and all will be well with the world below.
Tony Way, Limelight