1. The estimable Franz Kullak, whose sense for textual integrity and whose profound knowledge of the Beethoven concertos was probably unequaled in the late nineteenth century, tucked the cadenzas away in the Anhang to his edition of the Concerto (Leipzig, 1884), favoring cadenzas by Johann Nepomuk Hummel in the text proper. Published as early as 1836 in the Wiener Zeitschrift für Kunst, Literatur und Mode, Beethoven’s cadenza for the first movement failed to catch public attention until sanctioned in the Breitkopf and Härtel Gesamtausgabe in 1864. Friedrich Blume, giving the Beethoven cadenzas in the appendix for the Eulenburg miniature score (1933), praised them as “die meisterhaftesten, die dennoch leider selten benutzt werden”; thirty years later, Hans Engel (Bärenreiter miniature score, 1965; based on the edition of the Neue Mozart Ausgabe) more circumspectly wrote of “eine allerdings ‘Beethovensche’ Kadenz,” which he incorrectly believed Beethoven to have written for his own performance.