Although cadenzas are available for the viola concertos by Hoffmeister and Stamitz they invariably are c19th in content and style, reflecting the character of the composer of the cadenza and his performance preferences, often ignoring the musical content of the concerto and indulging in totally irrelevant technical pyrotechnics which have nothing to do with c18th string playing. My cadenzas are created strictly from the material of the movement to which they are attached and consequently also remain within the technical and stylistic parameters of late c18th string technique. My cadenzas for Mozart's Violin Concertos No. 1 & 2 follow the same principles. These two Concertos are rarely played, especially No. 1 in B flat, but they are perfect teaching material prior to the "bigger" Mozart Concertos Nos. 3,4 & 5 for which popular cadenzas, especially by Joachim for No.'s 4 & 5, are usually played. I should add that l regard No. 2 in D as a gem and its neglect unjustified.

About the author
Mark Knight is Professor of Violin and Viola at the Guildhall School of Music and Drama in London and the Royal Northern College of Music in Manchester. A specialist in the historical development of string playing in the 17th and 18th centuries, he has developed an acknowledged reputation for his training of players of 'modern' instruments in the essentials of authentic performing practice.

A student of Professor Yfrah Neaman and disciple of Carl Flesch's technical principles, Mark Knight has past pupils in many of the UK's premier ensembles including the Academy of St. Martin's-in-the-Fields, London Sinfonietta and the English Chamber Orchestra, as well as senior members of several symphony orchestras. Among his ex-students are established solo performers Philip Dukes and Lawrence Power. Both have been soloists in prestigious ensembles in BBC Promenade concerts at the Royal Albert Hall.