Having provided us with magnificent examples of concertos for stringed and wind instruments, Mozart reaches the ideal conception of a concerto with his piano concertos. They are the high point and peak of his instrumental producing. In Mozart's piano concertos two equal forces are facing each other that are really able to compete. They are therefore essentially his very unique creation. The piano concertos K. 413 - 415 and K. 449 were the first in a row of 17 momentous concertos created in Vienna and consequently founding his fame as virtuoso to the Viennese audience. The double possibility given to the performance, of either playing full orchestra, with oboe and horn (in the C-Major also with timpani and trumpet) or just with string quartet shows the flexibility he wanted to produce.
The piano concertos by Mozart never seem to touch the border of the socially appropriate - how could it, being designed to be acclaimed. But even so, it opens the doors to tell about the dark and the bright, the serious and the cheerful, the deepest - to lead its audience to a higher level of knowledge. The audience that is to deal with Mozart's piano concertos is the best there is.