Composed for the subscription concerts in the spring of 1786 (the exact date of the premiere is unknown). The clarinet, still a new instrument at the time, was incorporated into this work, following its use in the previous one, occasionally asserting its rounded tone in a subtle yet distinct manner. The predominantly woodwind scoring results in a work that is overall calm and refined. As the composer himself stated, “If there are no clarinets, they may be transferred to violins or violas,” indicating that the instrumentation was not absolute. Nevertheless, this scoring, lacking trumpets and timpani, possesses a chamber music-like intimacy.

Beyond its beautiful structure and melodies, a notable aspect of this work lies in its cadenza. In most of Mozart's piano concertos from No. 20 onwards, the cadenzas have not been preserved. However, in this Concerto No. 23 (and No. 27), the composer's own cadenza is written into the first movement. By meticulously notating even the cadenza, which typically carries a strong improvisatory character, did he perhaps intend to create a single, complete work?

• First Movement: Allegro
  A major, 4/4 time. Concerto-sonata form. It possesses a bright and clear sound. Mozart's own cadenza is crafted to be relatively short and, while technically demanding, also reveals an inner depth.

• Second Movement: Adagio
  F-sharp minor, 6/8 time. Ternary form. A melancholic movement. The orchestra adds color to the piano's melody.

• Third Movement: Allegro assai
  A major, 2/2 time. Rondo form. A lively finale movement. The solo piano, with its generally brilliant passages, takes a prominent and active role, leading episodes and carrying melodies accompanied by the orchestra.