Two sources are known for the concerto: a full score from the collection of Aloys Fuchs and a set of parts in Paris made by Eugène Sauzay in 1837 for his teacher (and also father-in-law) Pierre Baillot from the lost autograph (then in the possession of François Habeneck).
Georges de Saint-Foix did not doubt the work, but believed the published version was a later revision by Mozart dating to 1779 or 1780.
The uncharacteristic number of passages for the solo violin in the high register, in pizzicato (in the second movement), and in double stops in tenths were considered by Einstein to be 19th-century additions.
Friedrich Blume, on the other hand, was firmly in favour of the work's authenticity, stating that "not one passage allows of any room for doubt in regard to themes, harmony, rhythm, construction and orchestration".
Bär also believed the dating of the manuscript ("Salisburgo li 16 di Luglio 1777") to be another point in favour of the work's authenticity, as it was in a similar form to those on most contemporary autographs and was in a time that the author of the heading would not have known a violin concerto had probably been written.
Hermann Schmid called the work thoroughly un-Mozartian based on matters of form and technique, saying "I find in the entire Concerto K. 271i no music which I in earnest would put in a claim for Mozart", and dating the composition to the 1780s to a composer who used different forms and techniques to Mozart.
He found the concerto to have not much in common with those of Baillot and much more in common with those of Rodolphe Kreutzer, but also noted that the frequent leaps into the high register (reaching up to D7) without many musical reasons was characteristic of the French composition school of the Paris Conservatoire a little later than the customary dating of this concerto: this school included Baillot and Kreutzer.
The unusual usage of pizzicato in the second movement has a precedent in Baillot's Sinfonia Concertante for two violins in D minor (Op.
He distinguished five possibilities for the actual provenance of the concerto:[1] Richard Kapp stated that players from the Czech Philharmonic Chamber Orchestra laughed when playing the piece, because a melody from the third movement is similar to that of the Czech Christmas carol Půjdem spolu do Betléma.