KV Anh. G 33,01
Anh. G 33,01
Cadenza for a clavier concerto in D of unkown origin K. deest (better described as: sketch for a cadenza, probably for the first movement of the concerto in D K. 40)
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Between 1773 and 1791, Mozart composed a total of 21 concertos for piano and orchestra, two concertos for two or three pianos (see Work Group 14b), and two standalone rondo movements. In addition, there is a considerable number of mostly short fragments of concerto movements that Mozart abandoned. The Salzburg concertos were not yet composed for the fortepiano, and the intended keyboard instrument is not specified; various types of instruments—organ, harpsichord, tangent piano—were available. Up until 1788, Mozart used the general term "harpsichord" (*Cembalo*) for the solo instrument. In Vienna, Mozart became acquainted with the technically advanced fortepianos made by Gabriel Anton Walter. In performances of the four concertos K. 413–415 and K. 449, woodwinds are not mandatory. In all other Viennese concertos, woodwinds are employed in many different configurations. By shortly after 1800, all of Mozart’s piano concertos (except for the Concerto in C, K. 246) had been published, which attests to their extraordinary popularity. Several concertos were specifically composed for Mozart’s female students, especially Barbara Ployer, or for virtuosas such as Louise-Victoire Jenamy and Maria Theresia Paradis. While Mozart usually improvised cadenzas and lead-ins, he wrote out a large number of them for his sister and for his students (see Appendix G).
Autograph, 1767-1768
