The work was completed on March 22, 1784, a mere week after its predecessor. Its premiere took place on March 31, at the third subscription concert of the "Trattner Casino Concerts" organized by Mozart, held at the casino within Trattnerhof (the building erected by the publisher Trattner), where the Mozarts resided at the time.

This year was the most prolific for piano concertos, with six works (Nos. 14-19) composed. This Concerto No. 16 is the third of these. Unlike its predecessor, which pursued brilliance as piano music, this work features a large orchestration including trumpets and timpani, as if reflecting Mozart's peak form at the time. Furthermore, the expansive and bright sound of D major is produced with a symphonic writing style, creating a grandeur uncharacteristic of a concerto. Moreover, as Mozart himself stated in a letter to his father that both No. 15 and No. 16 were "concertos that make one sweat," the virtuosity of the solo piano is also remarkable.

Cadenzas by Mozart himself are preserved for both outer movements.

First Movement: Allegro assai, D major, 4/4 time. Concerto-sonata form.

It begins powerfully with a unison on the tonic. The descending dotted melody, which leaves a particularly strong impression, evokes the image of a noble figure descending a staircase, and the solo piano, which immediately enters with brilliant sixteenth-note passages, plays such movements as its central focus throughout the movement.

Second Movement: Andante, G major, 2/2 time. Rondo form.

In stark contrast to the heroic preceding movement, this movement features a soft, lullaby-like theme. It is an interesting movement with intriguing interplay and intertwining between the voices.

Third Movement: Rondo. Allegro di molto, D major, 2/4 time.

An interesting movement characterized by the passing of melodies between instruments. In the coda after the cadenza, it shifts to 3/8 time, concluding the work with a more joyful surge. The piano, similar to the opening movement, elaborately colors the movement with sixteenth notes beyond the main theme.