This sonata concludes the set of six works, which were completed rapidly in Munich in early 1775. It is the largest in scale among the six and is considered the work Mozart valued most. This is also evident from its publication in 1784 during his Vienna period, preceding the other five works. The common name "Dürnitz Sonata" originates from Mozart's letter stating he "composed for Baron Dürnitz," but it is believed that not only this work but all sonatas from No. 1 to No. 6 were written for him (sometimes all six works are collectively referred to as the "Dürnitz Sonatas").

While possessing a gallant style, the placement of a variation movement as the third movement is often pointed out as a French influence. Furthermore, it is characteristic that the style of Mannheim School symphonies can be observed in the first movement. It should be noted that Mozart's direct exposure to the music of the Mannheim Court Orchestra would occur several years later.

First Movement: Allegro, D major, 4/4 time. Sonata form.

The influences of the Mannheim School are said to include:

• The brilliant opening with arpeggios
• Clear dynamic contrasts
• The use of the descending second "sigh" motif

A movement with a broad, symphonic sound.

Second Movement: Andante, A major, 3/4 time. Rondo form.

The original edition includes the movement indication "Rondeau en Polonaise (Polonaise-style Rondo)." The polonaise rhythm of the theme is ornamented with each presentation, taking on the appearance of elegant variations.

Third Movement: (Andante), D major, 2/2 time. Variation form.

• Consists of a theme and 12 variations.
• It possesses a scale and structure substantial enough to stand as an independent set of variations.

For the keys of Sonatas No. 1 to No. 6, please refer to the explanation for Sonata No. 1.