Mozart: Piano Concertos 6, 8 & 18 brings together Mozart’s Piano Concertos Nos. 6 (KV 238), 8 (KV 246) and 18 (KV 456), performed by Olga Pashchenko with Il Gardellino. Spanning the Salzburg years of 1776–1777 and the mature Viennese period of 1784, the programme traces Mozart’s evolution from refined galant elegance to deeper expressive and symbolic complexity.

For KV 238 and KV 246, Pashchenko performs on a copy of a Tangentenflügel by Späth & Schmahl (1794), whose sound lies between harpsichord and fortepiano. This timbral ambiguity highlights the empfindsam and galant gestures of Mozart’s early concertos, with their lyrical vocal lines, transparent textures, and courtly grace. KV 246, written for Countess Antonia Lützow, radiates charm and poise, its minuet finale unfolding with polished refinement.

In contrast, KV 456 — possibly associated with the blind virtuosa Maria Theresia von Paradis — is performed on a copy of an Anton Walter fortepiano (c. 1792), typical of Mozart’s Viennese sound world. Here the expressive palette broadens: dramatic contrasts, stormy minor inflections, and richly varied orchestration point toward the composer’s later concerto style. The Andante un poco sostenuto unfolds as a set of variations of striking emotional depth, while the finale juxtaposes brilliance with a darker central episode in B minor.

Throughout the recording, Il Gardellino’s period-instrument playing offers clarity and flexibility, engaging in a true dialogue between soloist and ensemble. Cadenzas written by Mozart are respected where provided, while improvised ornamentation enriches the texture elsewhere, reinforcing the historically informed approach.

The result is a vivid exploration of Mozart’s concerto language — from youthful elegance to mature dramatic insight — performed on instruments that illuminate the composer’s evolving sound world.

Olga Pashchenko, Piano
Il Gardellino