The Piano Concerto No. 20 in D Minor, K. 466, was composed by Wolfgang Amadeus Mozart in 1785. The first performance took place at the Mehlgrube Casino in Vienna on 11 February 1785, with Wolfgang Amadeus Mozart as the soloist.
It is not known when Mozart completed his Piano Concerto No 10 but research shows that cadenzas for the first and third movements are written in his and his father’s handwriting on a type of paper used between August 1775 and January 1777.
Mozart’s Piano Concerto No. 21 in C major, K. 467, was completed on 9 March 1785, four weeks after the completion of the previous D minor concerto, K. 466. The second movement, Andante, is one of Mozart’s most famous masterpiece.
The Piano Concerto No. 23 in A Major (K. 488) is a composition for piano and orchestra written by Wolfgang Amadeus Mozart. It was finished, according to Mozart’s own catalogue, on March 2, 1786, two months prior to the premiere of his opera, Le nozze di Figaro
The Piano Concerto No. 19 in F major, KV 459 by Wolfgang Amadeus Mozart was written at the end of 1784: Mozart’s own catalogue of works records that it was completed on 11 December.
Wolfgang Amadeus Mozart began his series of preserved piano concertos with four that he wrote at the age of 11, in Salzburg: K. 37 and 39–41. Although these works were long considered to be original, they are now known to be orchestrations of sonatas by various German virtuosi.
Wolfgang Amadeus Mozart’s Piano Sonata No 8 in A minor, K. 310 / 300d, was written in 1778. The sonata is the first of only two Wolfgang Amadeus Mozart piano sonatas in a minor key (the other being No. 14 in C minor, K. 457).
Joseph Haydn’s Keyboard Concerto No 11 in D major (Hob. XVIII/11) was written between 1780 and 1783, and published in 1784. It was originally composed for harpsichord or fortepiano and scored for an orchestra in a relatively undeveloped galant style.
Chopin’s Prelude No 4 in E minor is one of the 24 preludes opus 28 for piano. By Frédéric Chopin’s request, this piece was played at his own funeral, along with Mozart’s Requiem. Hans von Bülow called the prelude “suffocation”, due to its sense of despair.