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Mozart wrote these three concertos for harpsichord or fortepiano, with full orchestra. He also wrote them in such a way that the wind parts might be omitted, and the traditional four string quartet instruments used to create a chamber version of the work. Clearly, this called for very careful string writing and attention to balance. Colour, too, will have been a consideration for Mozart as he wrote for winds to enrich the orchestral texture.
This recording uses fortepiano with the quartet version but makes one important change. Conductor and, in this instance, first violinist Sigiswald Kuijken has replaced the cello with a double bass. His argu¬ment for this is that Mozart would likely have assumed that most private buyers of his published score owned harpsichords and would have chosen the chamber version, where the harpsichord was better balanced with the four string instruments. In choosing to record with the more robust fortepiano, the louder, richer bass was an equally robust alternative to the cello. Additionally, switching to double bass moves that pitch an octave lower, creating a fuller, more orchestral effect for the small ensemble.
The choice is a calculated but clever and effective one. It places a larger scale work in an intimate setting for a very satisfying and engaging performance.