[4] The development offers an episode of minor mode arpeggios and broken octaves in the piano, contrasted by "plaintive intervals"[4] of the oboe.

Hewitt traces elements of the Andante in the Concerto in C major, K. 467: "the use of a triplet accompaniment, muted strings, and a pizzicato bass".

[4] She notes a "marvellous effect of chiaroscuro"[4] by switching between major and minor keys, a technique adopted in many of his later works.

Hewitt recalls, that Mozart asked his sister once to remind him "to give the horns something worthwhile to do".

A section in G minor is called "the one really virtuoso page of the concerto, requiring some very nimble Baroque-style fingerwork".