19 in F major, K. 459 by Wolfgang Amadeus Mozart was written at the end of 1784: Mozart's own catalogue of works records that it was completed on 11 December (works surrounding it in the Köchel catalogue are K. 458, the "Hunt" quartet and K. 464, the fifth of the Haydn set).

Simon P Keefe, writing in the Cambridge Mozart Encyclopedia[1] comments that "the first and second movements of K459 contain particularly rich dialogue between the piano and winds, quickly establishing and maintaining an atmosphere of intimate collaboration".

Cliff Eisen notes that Mozart's own catalogue of his works lists the concerto has having trumpet and timpani parts, but these do not survive.

The orchestra opens quietly with a prelude of 71 bars (Hutchings incorrectly states 72), wherein six orchestral themes are exposed (A–F in Hutchings' notation; see main article on Mozart piano concertos for a discussion of this notation), of which the first, rhythmical and with a military ambiance, becomes increasingly important as the movement progresses; indeed, its insistent rhythm dominates the entire movement.

The orchestra then returns on its own with its short first ritornello (22 bars) that introduces another theme, G: the scheme is AGAG.

In the ensuing middle section (35 bars) yet another orchestral theme is introduced, H: the scheme is HAHAHA.

This is followed by a long recapitulation, also of 116 bars, where, as is typical of his concertos, Mozart rapidly departs from a simple repetition of the previous material: the scheme is ABAyADA Free.

In contrast to the languid second movement, the theme is sharply defined and introduced by the piano, quickly followed by the winds.

A sweeping passage by piano and then by orchestra leads into the cadenza which provides a temporary break from the relentless exhilaration of the movement.