ABSTRACT
Happily, there is today no shortage of excellent performances of Mozart’s piano concertos played on fortepianos. The discovery of this new and exciting sound-world has been one of the most important - perhaps the most important - change in our understanding of this and other classical repertoires during the past generation. 1 Some, notably Richard Taruskin, are critical of the whole ‘Early Music’ enterprise, regarding performers’ attempts to recapture the ‘authentic’ Mozart (or Josquin, or Monteverdi or Bach) more as an outcome of twentieth-century taste than as a truly re-creative activity (Taruskin, 1982; 1988; 1992).
