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Mozart's fascination with the piano concerto parallels Europe's interest in the piano itself. In the composer's early years, pianos were still regarded as new inventions. Harpsichords, which had been the stars of the Baroque era, were as yet highly regarded. Gradually, though, the greater power and versatility of the piano gave it precedence over its predecessor. A growing demand arose for compositions suited to this new keyboard instrument, and a fine pianist (Mozart was acclaimed as one of the best) could earn a good living playing concerti for appreciative audiences, especially if one could do so in Vienna, where appetites for new piano concerti seemed insatiable. For this reason, Mozart abandoned his native Salzburg. He settled in the imperial capital in the summer of 1781. In the decade that remained of his life, he would produce seventeen piano concerti, many of which now number among the masterpieces of the repertoire.
According to the date that the composer himself noted on the score, the Fourteenth Piano Concerto was completed February 9, 1784, the first of four concerti that he would write in a two month period. Mozart typically produced several piano concerti at the end of each winter. In 1785, he would write two such works in February and March, in 1786, two more. At first glance, the timing of such productivity might seem to be due to a burst of spring fever. However, the actual explanation has less to do with weather than with religion. These numerous concerti were all written during or just before Lent, the six weeks of reflection that precede Easter each year. In Vienna, at the time a very Catholic city, the dramatic theatres usually closed during Lent, depriving the Viennese of a favored source of entertainment. Lacking competition from theatres, concert attendance soared, and musicians capitalized on the demand by presenting even more concerts. Mozart's own letters, as well as contemporary accounts, attest that during Lent he frequently gave three or four concerts each week. As a pianist, he would want some new music to perform on these concerts, hence the series of concerti.
With such a busy schedule of concert appearances, Mozart certainly played his new Concerto no. 14 himself, however the specific person for whom it was first intended was his piano student, Barbara von Ployer. The young lady, known as Babette, was the daughter of a Vienna-based Salzburg court agent and was clearly a talented musician, for this concerto demands grace and fluidity from the soloist. It is not particularly easier to play than any of the composer's other concerti from this period. Later this same spring, Mozart would write another concerto for her, his Seventeenth. On the occasion of the premiere of that latter work, Mozart performed his Two-Piano Sonata, K. 448, with Fraulein von Ployer, and invited the composer Paisiello to witness both the student and the music. Although it is known that Mozart preferred composing over teaching, he must have been gratified to count such a talented young artist amongst his protegees.