Set throughout against Claude Monet’s sunlit painting Quai du Louvre—carriages and figures with parasols strolling along the Seine before the Panthéon dome—Brilliant Classics’ Mozart in Paris assembles music from the twenty-two-year-old composer’s turbulent 1778 French sojourn. Writing to his father Leopold that June, Mozart mocked Parisian obsession with the Concert Spirituel’s premier coup d’archet: “What a fuss they make of it, those animals! What the devil! I see no difference—they begin together, just as they do elsewhere.” Jed Wentz and Musica ad Rhenum’s period-instrument account of the “Paris” Symphony, K. 297, relishes that opening D-major unison and Mannheim-rocket crescendo, dropping to a theatrical subito piano after the exposition’s blazing tutti climax (1:25) with leaner, raspier period-horn bite than Giedrė Šlekytė’s polished Camerata Salzburg reading. A word of caution: the third work at (45:41), mislabeled in the video’s tracklist as the Oboe Concerto, K. 314, is actually the E-flat Sinfonia Concertante for Four Winds, K. 297b. Klára Würtz crowns the anthology with a gripping A-minor Sonata, K. 310, matching Alfred Brendel’s tragic weight.