Larrocha in Mozart, whether the sonatas or concertos, has always attracted high praise. But even by her high standards, this particular coupling which made its first appearance in 1983 must be counted among her most successful concerto recordings. One distinguished reviewer wrote at the time that her captivating performance of the Piano Concerto in F major, KV 459 brought out ‘to perfection the tenderness, the wit, the sheer contrapuntal wizardry of that lovable work’, placing her account alongside those of Serkin and Brendel ‘to give some idea of the stature of her performance’. This is helped in no small measure by Uri Segal and the Vienna players with their sensitive and sympathetic support.