The slow movement of the A major Piano Concerto, K488, is a revealing indicator of a pianist’s approach to Mozart. It is marked Adagio (although the 19th-century complete edition altered this to Andante, indicating a more flowing tempo), and Olga Pashchenko starts out larghissimo, slowing further in the second bar. When the orchestra enters, the pace picks up appreciably. Again, when the soloist is left alone later to reiterate the opening theme, she reverts to her lugubrious opening tempo. Her entry in the opening movement of the D minor Concerto, too, pulls the tempo back markedly from the go-ahead speed set by the band.

Then there are her decorations. Barely a phrase is left uninflected: as well as a variety of trills, holdings-back in runs of semiquavers, desynchronisation of hands and so on, barely a leap is left unfilled with chromatic runs or arpeggios. The effect is a little like an incorrigible graffitist, determined that not a single patch of wall be left unembellished by their artistic expression, and Pashchenko’s highly individual view of Mozart will be very much your cup of tea if you see this hyperactive approach as evidence of a questing player, taking the score merely as a guide upon which to impose their own voluble personality.

If so, you will also be delighted by the keyboard Pashchenko plays, a characteristically full-bodied instrument by Paul McNulty based on a c1792 Anton Walter with a plumper, more even sound than the instrument played by Robert Levin on recent volumes of his concerto cycle with the Academy of Ancient Music. You will be beguiled, too, by the beauty of the orchestra, especially the woodwind, who make one long to hear these players in a selection of the later symphonies. And the appropriateness of Pashchenko’s own substantial cadenzas for K466 (she plays Mozart’s in K488) is unarguable, down to her cheeky nods towards the well-known Beethoven cadenza in the first movement and to the Don Giovanni overture in the finale.

Equally, you may feel that a K488 Adagio that is so heavily decorated leaves it overloaded and erases that important sense of fragility that makes it so special. Or you may like your K488 finale to be a carefree romp as soloist and band toss bubbly repartee back and forth, not as something freighted with tempo distensions that hobble the pace, along with a free approach to ‘surprise’ dynamic interventions. Try at 6'39", where the soloist picks up the rondo theme for the last time, and if you can stomach Pashchenko’s sudden slowing and precious pianissimo, then go for it without hesitation. Otherwise, plenty of less fidgety but equally individual recordings are available.