ABSTRACT
On 28 December 1782, Mozart wrote to his father about the progress of his ‘freelance’ existence in Vienna, incidentally mentioning his work on three new piano concertos, K.413–15:
There are still two concertos wanting to make up the series of subscription concertos. These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear and natural, without being vapid. There are passages here and there from which connoisseurs alone will derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why. 1
