The latest in Imogen Cooper's series of Mozart concertos directed from the keyboard and recorded at the Sage, Gateshead, is perhaps the finest so far. The grand K482 in E flat is a fairly familiar work, but Cooper gives it an unusually reflective account of it. As always, her passagework is exquisite - impeccably even yet full of life, never mechanical. If possible, even more enjoyable is the endlessly inventive K456 in B flat, composed in the great year of the piano concerto, 1784, shortly after Mozart recovered from a serious illness. His father, Leopold, upon hearing it, wrote of his "delight at the interplay of the instruments", and we delight in it too. The pianist and Northern Sinfonia are like one single, beautifully responsive entity.