Many of Mozart's own cadenzas are preserved, but many more that he improvised in performance were never written down. In that spirit, famed pianist Lili Kraus sensed an obligation and a challenge to follow the tradition of using her own cadenzas where no original was available. This collection, then contains Mozart's original cadenzas as well as editorial versions by Ms. Kraus for Concertos 1-27.

This volume contains six complete piano concertos in full score: No. 17 in G Major, K.453; No. 18 in B-flat Major, K.456; No. 19 in F Major, K.459; No. 20 in D Minor, K.466; No. 21 in C Major, K. 467; No. 22 in E-flat Major, K. 482. Also included are Mozart's own cadenzas for Nos. 17, 18, and 19. All six concertos are photographically reprinted from the Breitkopf & Hartel printed text, still considered the standard, authoritative edition for the Mozart concertos. Noteheads in this edition are large enough to be read easily, and margins and spaces between staves permit written notes, harmonic analysis, fingerings, and running measure numbers. Since Mozart's piano concertos are frequently performed in concert and there are several recordings currently available for each of these pieces, this edition is extremely useful for study, reference, and enjoyment."

This collection of cadenzas from Beethoven's concertos for piano and orchestra includes three from Concerto No. 1, one from Concerto No. 2, one from Concerto No. 3, and three from Concerto No. 4, as well as several others taken from the Violin Concerto and from Mozart's Concerto in D Major.

Mozart's supremacy as a composer is nowhere more apparent than in his piano concertos, which were a lifelong preoccupation for him from 1767, when he was 11 years old, until 1791, the year of his death. The remarkably precocious works in this volume, written in 1776 and 1777, foreshadow the even greater piano concertos to come. Each exhibits the qualities for which their successors are justly celebrated: keyboard mastery, experimentation with texture, and a natural sensitivity to form and balance. Despite his youth, Mozart captured the spirit of his times with these compositions, reflecting an eighteenth-century mood of elegance and refinement. This volume includes the Triple Concerto No. 7 in F (K.242), Mozart's only concerto for three pianos, with the composer's cadenzas for all three movements. Also here are the Concerto No. 8 in C (K.246) and Concerto No. 9 in E-flat (K.271), offering a contrast in moods — the former, in the lighthearted, refined galant spirit; the latter, a work of dramatic, emotional character. The concluding music in this prized compilation is the world-famous Double Concerto No. 10 in E-flat (K.365), written for the composer himself and his sister Nannerl. Pianists and all lovers of fine music will welcome this valuable compilation of seminal works, reproduced complete and unabridged from the authoritative Breitkopf & H�rtel Complete Works edition. Included as well, as appendixes, are Mozart's original cadenzas for Concerto No. 9 and reproductions of the rare autograph sketches of cadenzas for the Double Concerto.