The Piano Concerto No. 14 in E major, K. 449, by Wolfgang Amadeus Mozart was written in 1784. History It is the first composition he entered into a notebook of his music he then kept for the next seven years, marking down main themes, dates of completion, and other important information. From this notebook we have the information that he completed the concerto on February 9, 1784. In the same year, he wrote several concertos in succession, and in a letter to his father that May, wrote of the 15th and 16th concertos (K. 450 and 451) that he "could not choose between them" but that "the one in E flat [No. 14] does not belong at all to the same category. It is one of a quite peculiar kind...". The 14th is regarded as being the first of the mature series of concertos Mozart wrote, and indeed, commentators such as Girdlestone and Hutchings valued it as one of the best, particularly as all three movements are of the highest standard. Movements This concerto has three movements: Works written in 1784 include, besides this concerto, the five piano concertos 15–19, the Quintet in E for Piano and Winds, and several piano works – the Sonata in C minor being the most noteworthy—one string quartet (the "Hunt"), and several sets of orchestral dances. Works by other composers who were known to Mozart from around this time include the 80th symphony (in D minor) and second cello concerto of Joseph Haydn. Michael Haydn had published two sets of quartets the year before, and Carl Stamitz and Ignaz Pleyel each wrote another set of six quartets (Pleyel released a further set in 1784.) A Pleyel cello concerto (in C) was also released at some point between 1782–84 (Pleyel being a composer whose quartets, at least, Mozart rated highly.) I. Allegro vivace The first movement begins in a time signature, an unusual feature among Mozart's 27 piano concertos. Among them only this, the fourth, the eleventh, and twenty-fourth open with a movement in . It is also traditional, in the tutti of a classical concerto, for there to be little key adventuring. There are several reasons for this, but the upshot is that, the less this is true, the harder it becomes to distinguish the tutti from the opening of a classical-era symphony. The first phrase of this concerto begins ambiguously. A unison E