Among Mozart's piano concertos, this is one of only two works in a minor key, alongside No. 20 in D minor. Both defy the social atmosphere typically associated with the genre, but No. 24 possesses a more intense aspect. Unlike the previous two works, where clarinets were introduced in place of oboes, No. 24 achieves a broader sound palette by employing both instruments. The piano also colors the themes across a wide range. While virtuosic, its movements are by no means mere successions of notes; rather, they respond to the demands of the work, and its harmony with the orchestra is superb.

The work was completed on March 24, 1786, and premiered on April 7 at a subscription concert. In the autograph score, the piano part was rewritten multiple times, and improvisatory passages, likely added just before the performance, can also be observed. It is possible that during Mozart's own premiere, more notes were heard than were written in the score.

The composer's own cadenza for the first movement has not survived.

First Movement

Allegro, C minor, 3/4 time. Concerto-sonata form. While the opening unison of strings and bassoons begins with an unusual tension, heavily employing diminished seventh chords and chromaticism, the solo piano's theme is rather mournful. Throughout the movement, the piano maintains this character, but it also frequently develops brilliant passages against the orchestral background.

Second Movement

Larghetto, E-flat major, 2/2 time. Rondo form. Two somewhat tense episodes are interspersed between the gentle, aria-like main theme. Here, the rich sound of the woodwinds converses with the piano (and strings).

Third Movement

Allegretto, C minor, 2/2 time. Variation form. Consisting of a theme and eight variations. In this movement, the piano also possesses a symphonic sound.