The 14th is regarded as being the first of the mature series of concertos Mozart wrote, and indeed, commentators such as Girdlestone and Hutchings[This quote needs a citation] valued it as one of the best, particularly as all three movements are of the highest standard.

12, K. 414, and 13, K. 415, Mozart wrote the E-flat Piano Concerto for his subscription concerts, "either with a large orchestra with wind instruments or merely a quattro" [with string quartet].

Here a possible second theme is heard, played by strings, winds not coming in until its later strain (near the modulation back into E♭).

(Girdlestone 1964, p. 187) writes that the gait of this finale is "neither that of a gallop, nor of a race, nor even of a dance, but just of a swinging walk, swift and regular, and the virtue of its refrain, with its sketchy outline and its 'sillabato' diction... rests in its rhythm rather than in its melody."

Further, he notes that while this rondo can be divided into contrasting sections, the appearance on the page is very different from what falls on the ear, which is almost monothematic: "When, score in hand, one notes each return of the first subject... it is possible to pick out the four expositions of the [rondo] refrain and the three couplets... but on hearing it one's impression is that the refrain never leaves the stage."