However, Hermann Ullrich has discounted this theory, based on the date of entry in Mozart's catalogue and the fact that von Paradis had left Paris at the start of October 1784, which indicated that there was not sufficient time to send her the concerto for performance.

[1] Richard Maunder has countered with the idea that Mozart could still have sent the concerto to Paris and that it would have been forwarded to von Paradis in London, where it was possible that she performed the work in March 1785.

[2] The work is orchestrated for solo piano, flute, two oboes, two bassoons, two horns (in B♭, second movement in G), and strings.

Martha Kingdon Ward has commented that the slow movement of this concerto contains one of the "most tranquil" of Mozart's flute solos, specifically in the G-major variation.

[4] Joel Galand has performed a Schenkerian analysis of the rondo finale and noted features such as its novel use of ♭II as a remote key.