[2] Alan Tyson in his introduction to Dover Publications' facsimile of the autograph score (which today is in the Morgan Library & Museum in New York) comments that "Although K. 459 has at times been called a 'Coronation' concerto, this title has nearly always been applied to K.

In addition to omitting the tempi for two of the movements, Mozart also, in Tyson's words, "did not write any notes for the piano's left hand in a great many measures throughout the work.

The 1794 first edition had these gaps filled in, and most Mozart scholars such as Alfred Einstein and Alan Tyson have assumed that the additions were made by the publisher Johann André.

"[9] Nearly all of the passages that necessitated filling in for the first edition lack only simple accompanimental patterns such as Alberti bass figures and chords.

However, the Neue Mozart-Ausgabe volume referenced above prints André's supplements in smaller type, to clearly distinguish them from Mozart's own notes.

While this concerto enjoyed a great popularity at the time due to its beauty and rococo (or galant) style, later judgments have been more divided.

It is both brilliant and amiable, especially in the slow movement; it is very simple, even primitive, in its relation between the solo and the tutti, and so completely easy to understand that even the nineteenth century always grasped it without difficulty....[10]Nonetheless, the "Coronation" concerto remains frequently performed today, and more recently prominent Mozart's interpreters, such as the pianist Mitsuko Uchida and the conductor Colin Davis, have described it as an underrated masterpiece.