Two women gave rise to the composition of the Piano Concertos Nos. 9 & 18, which Kristian Bezuidenhout presents here. The "Jeunehomme", a summit work of astonishing audacity, would be better named after its dedicatee, the virtuoso Louise Victoire Jenamy, the daughter of the dancer Noverre, a close friend of Mozart. Mozart wrote the formally less exuberant, yet extremely complex and enchanting Piano Concerto No. 18 for Maria Theresia von Paradis, a blind pianist who was celebrated throughout Europe. Two very different works that complement each other perfectly. Mozart's style changed considerably between the early Piano Concerto No. 6 (1776) and the Piano Concerto No. 25 (1786), which seems like a legacy. Within ten years, the child prodigy became a master who deliberately took this genre in new directions. With this fourth album, Kristian Bezuidenhout and the Freiburger Barockorchester continue their exploration of a group of works that many have tackled before them; with them, one has the feeling of discovering every note anew - as if for the first time. In January 1783, Mozart announced in the Wiener Zeitung "the publication of three new piano concertos", which could also be played with quartet accompaniment - in order to reach a larger audience. Similarly, he explained to his father that these were "very brilliant - pleasant to the ears [...] here and there - even connoisseurs alone can get satisfaction - but in such a way - that the non-connoisseurs must be satisfied with them without knowing why." Are you willing to bet that Kristian Bezuidenhout's brilliant interpretation of Concertos Nos. 11-13 with the Freiburg Baroque Orchestra will also meet with the same unanimous acclaim?