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This is precisely where Richard Fuller is disappointing. There is no doubting his dexterity, and the passagework whirls over the instrument with maximum velocity thanks to the flexibility of the action. Mozart is sparing with his dynamics, confining himself to the contrasts between loud and soft, which may come thick and fast. Then will crop up a crescendo, decrescendo, fp or pp. Nor is the player yet safe: mf occurs, to be followed by sf, plus the exotic mfp and calando. I have never played a 'Viennese' forte, so do not know whether to tax player or instrument with an inadequate response to Mozart's markings. It so happens that Mr Fuller begins with the C major Sonata K545, published as 'easy' and 'for beginners'. The work has not a single dynamic marking, and this is how the player acquits himself [listen -- CD1 track 1, 0:01-1:01]. 'Some beginner', one might add.

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