The third piano concerto composed after Mozart's permanent settlement in Vienna. It was composed from late 1782 to early the following year. After its premiere at the Burgtheater on March 11, 1783, it was re-performed on the 23rd in the presence of Emperor Joseph II, alongside works such as the 'Haffner' Symphony, achieving great success. Originally scored for a smaller ensemble, the later addition of trumpets and timpani enhanced the grandeur of the powerful C major theme.

According to Mozart's letter from this period (December 28, 1782), his piano concertos were composed to be "neither too difficult nor too easy, satisfying not only connoisseurs but also those who are not, for some reason." True to his words, the three piano concertos from this period possess a simple, pleasing structure and rich content. They also share the common feature of being arranged so that they can be performed with a string quartet accompaniment, omitting the wind instruments.

Cadenzas by Mozart himself for the first and second movements of this work have been preserved.

First Movement

Allegro, C major, 4/4 time. Concerto-sonata form. Following the majestic opening in C major, the piano's soloistic passages lightly enter, bringing a fresh sound. Against the symphonically expansive orchestra, the piano, while brilliant, somehow conveys a sense of solitude.

Second Movement

Andante, F major, 3/4 time. Small-scale concerto-sonata form. A serene movement where the piano's sound shines clearly. The melody flows smoothly, primarily based on stepwise motion. While it is clear from the drafts that there was an initial intention to set this movement in C minor, the reason for settling on F major is not certain.

Third Movement

Rondo. Allegro, C major, 6/8 time. Rondo form. Begins with a light theme characteristic of a rondo finale. What is striking is that C minor, which was not used in the second movement, is deliberately employed in two episodes, with a change of tempo to Adagio.