We’ve known Evgeny Kissin since he was a boy, wearing the red Young Pioneers scarf of the Soviet Union. Today, he is quite adult — turning 36 this fall — but still has the air of the wunderkind about him.

He is known as a Romantic virtuoso of a pianist, and well he should be. He is a bit of a throwback to a golden age of barnstorming. But his latest CD features Mozart, and what musician worth his salt is unable to play Mozart?

It may help Mr. Kissin that he is playing perhaps the biggest of all Mozart concertos — the meatiest and most impassioned. This is the Concerto No. 24 in C minor, K. 491. Almost all the virtuosos have played it, even those who have shunned Mozart generally. This concerto is virtually Beethovenlike, although we should probably call Beethoven Mozart-like — because, after all, Wolfi came first. At any rate, Mr. Kissin is playing Mozart, and he is doing so in the company of one of the great Mozarteans of our time — Sir Colin Davis. Sir Colin is leading the London Symphony Orchestra on this CD from EMI Classics. We are told that the material on this disc was “recorded in concert.” Given the hocus-pocus of the recording industry, it’s hard to know exactly what this means. But, in all likelihood, this recording is live-ish.

And how does Mr. Kissin do? Much of the Mozart concerto is interesting, beautiful, and wise. Mr. Kissin has a sense of the shape of the piece, following its contours. He is both sensitive and grand, as the music requires. Some dynamics are exaggerated — and some of them are very exaggerated — but this can be swallowed.

And Mr. Kissin has penned his own cadenzas, for the first and last movements. They are big, virtuosic, and skillful. I think Mozart would get a kick out of them, even if he had some reservations.

Do you have time for a quick story? When I was a boy, I knew a manwho, asastudent, onceturned pages for Dame Myra Hess, the great and legendary pianist. Waiting in the green room, she asked the young man (a piano student) whathewasworkingon. Henamed a Mozart concerto. She said, “Oh, wonderful. What cadenzas are you using?” The student, gulping a little, said, “I’ve written my own.” Dame Myra replied, “Oh, how nice. I’m not gifted that way.”

There are problems with Mr. Kissin’s performance: He imposes that thudding, pounding quality we so often hear from him. This mars not only individual notes and chords, but passagework. Also, Mr. Kissin is at times simply too big — too grand, sprawling, and aggressive, even for K. 491.

As for Sir Colin, he is superb, all style and refinement (but without mousiness). In Mozart’s middle movement — that heavenly, ingenious Larghetto — he has the LSO breathing wonderfully.

In the last movement, Mr. Kissin is playful and aggressive, or playfully aggressive, if you like. Sometimes he exhibits more a playful hostility. But I should stress that Mr. Kissin is interesting — maybe not exemplary, but interesting. And if you’re tired of namby-pamby Mozart — this recording is your antidote.

I can sum the matter up: Mr. Kissin plays Mozart’s C-minor concerto exactly as you would expect Evgeny Kissin to play it. If you’re a fan, you will love it; if you’re not, you will dislike it. If you’re kind of in between (as I am): You’ll be glad to have this CD in your collection.

The Mozart is not the only concerto on the disc; it is joined by Schumann’s concerto, a work that many would say is right up Mr. Kissin’s alley. And, indeed, he plays the stuffing out of the first movement: He gives it all its heavings, and then some. What is missing is a certain lyricism, a singing tone, which the soloist in this work must employ now and then. With that thudding style, Mr. Kissin sometimes leaves the notes dead on the page.

Sir Colin conducts with a fantastically sure grasp on the music. He stretches out note values in a compelling way. The excitement he generates toward the end of the first movement is amazing.

The middle movement is rather curious, from both musicians. The tempo is exaggerated, and exaggeratedly slow. We get more a melodramatic Adagio than “Andantino grazioso,” as Schumann indicates. But — I am repeating myself here — this playing, and this interpreting, is darned interesting. As for the last movement, it has all the bravura necessary, but maybe too little of the panache. This movement could use more of a smile, a more debonair air. Mr. Kissin kind of bulls his way through.

Have I mentioned that this CD is interesting? It shows great strengths, and unfortunate weaknesses — just like Mr. Kissin.