[1] He composed the work for Victoire Jenamy, the daughter of Jean-Georges Noverre and a proficient pianist.

As Cuthbert Girdlestone (1964) notes,[4] its departures from convention do not end with this early solo entrance but continue in the style of dialogue between piano and orchestra in the rest of the movement.

[8] Cuthbert Girdlestone was not quite as effusive in his praise, however, noting that the slow movement, while a great leap forward for Mozart, was still somewhat limited and the work as a whole was not equal to the piano concertos from the composer's peak in Vienna from 1784 to 1787, nor equal to his best compositions overall.

[9] More recently, the Mozart scholar Simon P Keefe has summed up the concerto as "characterized by a conciseness of thematic development, a depth of expression (in the Andantino in particular) and a level of exuberant virtuosity (especially in the finale) that surpasses anything witnessed in his preceding piano concertos.

[11] However, Michael Lorenz demonstrated in 2004 that the dedicatee was actually Victoire Jenamy (1749–1812), a daughter of Jean-Georges Noverre, a dancer who was one of Mozart's friends.