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There can be no doubt that Pollini reads scores more exactingly and thoroughly than others do.The sounds he produces as a result often explore undiscovered territory, pianistic as well as interpretative.Underlying classical values can be more difficult to sense when surrounded by Pollinis astonishing resources of virtuosity. 488 is therefore all the more instructive in that this is one of Mozarts least virtuosic concertos.

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Pollinis manner is at once contained and playful, finding the right balance between classical poise and the release of feeling on which a concluding rondo of this kind insists.Some moments to savour include the tone of understated mystery at the start of the development section and the precise and telling shift of pace just a touch slower that marks the recapitulations journey into new harmonic regions.The second movement begins with the Vienna Philharmonic strings not so much playing as seeming to sing the music like a choir.Millions of words, in dozens of languages, must by now have been written about the playing of Maurizio Pollini, one of the great pianists of our time.Much of this vast output of journalism has related to the rich store of recordings which he and Deutsche Grammophon have together created, in the course of a relationship that continues to be as fruitful now as it was 30 years ago.

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