On track: Targeted to tug on listener's heart

The deluge is under way. Expect Mozart, Mozart and more Mozart this year and I wouldn't be surprised if some CD companies do not give up until the champagne corks are popping on December 31.

Piotr Anderszewski made his name with solo albums that were not afraid to couple Bach and Beethoven with Webern; his second venture into the realm of Mozart Concertos has the young Polish pianist as both soloist and conductor with the Scottish Chamber Orchestra.

The D minor Concerto K 466 is a high-voltage curtain-raiser and, as the orchestra storms through its opening pages, you realise why so many have made comparisons between this concerto and Don Giovanni. Edinburgh's Usher Hall ensures a big, generous sound and the musicians almost throw their perukes (wigs) to the floor.

It is telling that Anderszewski uses Beethoven's cadenza here to further fuel the drama.

An Andante almost contrives to dance until an impetuous Rondo thrusts us back into darker terrain. Anderszewski uses his own cadenza here, evoking the spirits of Beethoven and those who followed.

Alongside, the G major concerto of K 453 disguises any deeper issues in bright tonalities and courtly dances. Anderszewski the conductor insists on finesse from his players, and at his keyboard, allowing every chromatic sigh and falling cadence to tug on the listener's heart.

Mikhail Pletnev's new disc of Mozart Sonatas finds the Russian taking more liberties with the composer than anyone since the late Glenn Gould, who gained notoriety by turning Mozart's left-hand patterns into chug-a-lug machine music.

Pletnev has none of Gould's aggression. Quite the opposite. At times he seems hardly able to deliver more than 30 seconds in tempo, before the music wilts into what sounds like impressionist improv. It all comes off best in the restless slow movements of the F major and C minor Sonatas, caught in the best Swiss recording that Deutsche Grammophon can muster.

The man is taking a stand, giving us attitude and playing for individuality in a crowded field. Schumann once asked whether Mozart's works became "fresher and fresher the oftener we hear them". I suspect he might have been smitten by Pletnev.

* Piotr Anderszewski, Mozart Piano Concertos (Virgin Classics 344696); Mikhail Pletnev, Mozart Piano Sonatas (Deutsche Grammophon 477 5788)